20. Like I Want You — Giveon

There’s no reason to believe I’ll save us now/But if you really love me, say it now/Why is it so hard to figure out?

Giveon is one of my favorite artists that I discovered in 2020. He is bringing a sound to R&B that is a blend between Charlie Wilson and Ty Dolla $ign. His voice is so huge and floats effortlessly, with an undeniable rasp and such particular phrasing.

“LIKE I WANT YOU” is Giveon at his best, as he croons about the pain of a love where the speaker can’t muster up the courage to admit how he feels about the other. “Sometimes I wish you knew/But I disguise the truth
I say I’m happy but I’m still stuck on us.” Not only does the song’s slow, tentative 6:8 tempo make it a great sex song, but it also is incredibly relatable for very different reasons. The song, in a similar way to #26, perfectly captures the moment when you just can’t defeat your own pride, and it blocks you from potentially pursuing a connection that is mutually felt.

Giveon is bringing back a sound in R&B that I’ve sorely missed, and I am so excited to become a full stan in 2020.

19. Touch Me (Remix) (feat. Kehlani) — Victoria Monét

You know I love when you call me Monét/But the way you make me rain/Gon’ make me wanna change names

Nothing gets me more hype than two R&B girls singing about having sex with each other. You know in Naruto when the characters get a bit excited and their noses start running? Yeah — that’s basically what happened to me after I listened to this song.

“Touch Me,” originally a solo track on Victoria Monét’s incredible 2020 EP Jaguar, got the remix treatment this fall, bringing Kehlani on to make all of our wildest dreams come true. The two sing back and forth about sex and love. “And when you rock them short nails, that’s lowkey sentimental/
Now keep ’em cut though so there ain’t no incidentals.” You can feel their chemistry in the song, so much that some of my friends wondered if this song was perhaps based in more reality than we know.

What makes this song stand out more than other stellar, R&B, sex ballads — besides the fact that there is not even one (1) man involved in the lovemaking occurring in this song — is Victoria Monét’s undeniable pengame. Monét, the co-writer behind hits like Ariana Grande’s “7 Rings,” “Thank U, Next”, “34+35,” and Chloe x Halle’s “Do It,” is an undeniable lyrical storyteller. “And I love them tattoos, I still gotta learn ’em all/Tell me when you’re gonna make them the writings on my wall.” The amount of double entendre in Monét’s lyrics is what make her songs have so much replay quality. Monét sings so confidently about knowing Kehlani’s body, and yearning to know it more — and we can imagine the several meanings behind wanting somebody’s tattoos to be the writing on your wall. In this song, it’s Monét’s lyricism that makes the song all the more sexy, and Kehlani matches her energy perfectly.

18. WAP (feat. Megan Thee Stallion) — Cardi B

Some songs’ cultural impact is undeniable. The world stops when they release — you remember where you were when you first listened. This year, no other song impacted the world and music charts more than Cardi B and Megan Thee Stallion’s “WAP.”

Let’s just start with some accolades: “WAP” debuted at #1 on the Billboard Hot 100 with the most weekly streams for a song ever. It also nabbed the largest digital sales week for a song since Taylor Swift and Brendon Urie’s “ME!” in 2019 (This is huge — nobody pulls in digital sales in the streaming-era like Taylor Swift). “WAP” is also the ninth all-female collaboration to ever top the Hot 100 ever, four of which came in 2020.

You know you’re iconic when you make republicans mad — and that’s exactly what Cardi B and Megan Thee Stallion did. Republican political commentator Ben Shapiro went as far as critiquing the literal concept of a wet pussy, arguing that a woman who gets as wet as WAP describes should seek medical attention. While this backlash revealed that Ben Shapiro clearly does not arouse his wife, it also reminds us why it’s so goddamn important that this song exists. So many of my women friends’ first sexual experiences with men were marked by pain and discomfort, and they were made to feel like it was their fault. Way too many men get away brashly declaring that they do not participate in foreplay with women. Newsflash: foreplay is not optional.

There were never conservative think pieces about J. Cole’s verse on Jeremih’s “Planez,” or Ty Dolla $ign and The Weeknd’s “Or Nah,” nor Tear da Club Up Thugs and Three 6 Mafia’s “Slob on My Knob,” all songs that explicitly speak about men’s sexuality. Why? Well, besides the fact that none of these songs impacted the world like “WAP,” the reason is because hearing men speak explicitly about their sexual desires is something our society has no issue with. Hearing two black women rap about what they want and how they want it is so culturally unprecedented, and the backlash it received only further confirms its necessity in our musical canon.

Lastly, the bars are undeniable. While Cardi B surely holds her own, Megan Thee Stallion shines on this song more than anything else. Her second verse is the immediate standout: “Your honor, I’m a freak bitch, handcuffs, leashes/
Switch my wig, make him feel like he cheatin’.” Her flow is immediately nothing to play with — the playfulness and cockiness in her lyrics encapsulate the badassery that defines “WAP.” With “WAP,” every part of its rollout from song to video was world-stopping. I am definitely looking forward to Cardi B’s next album.

17. Stuck. — Durand Bernarr and Ari Lennox

Durand Bernarr is the R&B vocalist I’ve been craving for so long. His voice is effortless, his personality is infectious, and you can tell that his inspirations — Rick James and Erykah Badu to name a few — shine through in his music. His pairing with Ari Lennox on “Stuck.” was more than perfect, allowing the two to sing with nothing but groove.

The song is immediately vibey, but it takes off most when Durand Bernarr’s sinks into a sexy, groovy almost rap-like flow on the second verse: “You be in your cornеr being whatever you wanna/Butcha cain’t be that with me (uh-uh).” The song makes you want to roll your body, moves your hips, and dance somewhere with dark liquor in your hand. It’s an ode to loving with no strings attached. Both singers are on the same page about not trying to get stuck in love: “I won’t catch you if you fall, but I can love you on your way down/So you can never say that I kicked your emotions around.”

Vocally, Bernarr is giving — he rides from the top of his range to the bottom (see riff on “Love” at 1:09), and is serving us the fresh-sounding, traditional leaning R&B duet teas that I needed in 2020. The duet structure is cool. Ari Lennox is listed as a lead artist alongside Bernarr yet her contributions, while consistent, blend behind Bernarr’s seamlessly. While Bernarr stands out on the song, it wouldn’t have the same groovy feel without Lennox, the original Badu spawn herself. “Stuck.” is one of the best releases of the year, and if you haven’t tuned into Durand Bernarr’s recent album DUR& (or Ari Lennox’s incredible discography!), then don’t worry — it’s not too late.

16. Jaguar — Victoria Monét

I’m just living on instinct, that’s the way I feel//And I want you to know you got that thrill that I like/I want that jungle kind of love

This year, I finally got on the Victoria Monét stan train, and I have this song to thank. The title track of her most recent EP Jaguar, this song encapsulates groove like no other. In classic Monét fashion, she uses horns to call us back to a funky, marching band, gospel-jazz-esque vibe. The song begins with layered airy vocals sung in a much slower tempo than the rest of the song, indicating to the audience that the suspense and tension you feel being built is intentional: “Supersonic pussycat/Just like a jaguar, silky black/So let me climb your wood like that/You got nine times to come hit that.” From jump, you get smacked in the face with Monét’s clever songwriting. We begin to understand that the black jaguar featured in the video is not only the album’s mascot, but perhaps a representation of Monét herself — or her vagina. Either way, we are obsessed and she knows it.

The funkiness that Monét encapsulates evokes some of the same rhythmic fire that Bruno Mars was praised for heavily by the Grammys back in 2016. However, Bruno Mars’ sweep at that awards ceremony hinged upon an implication that what he was doing has never been done before. Sure — it was great, but to me, Monét is doing it effortlessly and even better. The song made me hope for a Bruno x Victoria collab one day.

You know when a groovy song comes on and you just wanna twirl your hands together in the air, and spin in circles while you skate across the dance floor?That’s “Jaguar.” My fervor for the song is definitely heightened by the fact that I only got to do my twirl dance in my room, so I can’t wait to play this at the next public event I DJ and watch the room erupt into twirls.

15. Lost One — Jazmine Sullivan

Just don’t have too much fun without me/Don’t have too much, don’t have too much fun/Please don’t forget about me
Try not to love no one

One thing about Jazmine — she’s gonna make us cry.

One of my favorite parts about Jazmine Sullivan’s music is the accountability in her songwriting. She never declares herself to be perfect, nor infallible. She is brutally honest in her writing and it’s what makes her music so relatable and touching. “I know I’m a selfish bitch/But I want you to know I’ve been working on it/I know it don’t matter/I know it don’t help you heal no fuckin’ faster/I know I’ve been nothing short of a disaster.”

“Lost One’ is a bit of a dark horse. Upon first listening, it might appear to just be a simple ballad, coveted in an eerie, longing guitar progression. However, further listens reveal the song’s secret weapon — the adlibs. Singers like Jazmine Sullivan are almost hurt by how effortless their rasp, tone, and riffs are because you don’t even realize they are happening. In the first verse and chorus, she holds back, subtly adding stylistic choices that do not necessarily stick out. However, as she begs and pleads and breaks down, the intensity of her riffs escalate, marked especially by her brilliant, soul-shredding riff into the second chorus.

What makes Lost One most heartbreaking is the simplicity of it all — the selfish feeling of begging a lost loved one not to love anyone else, even though you know you won’t ever be together again. “There is one thing I need for you to know/Just don’t have too much fun without me.” “Lost One” is about balancing wishing an older lover the best, but also hoping they won’t locate the same joy they found with you with anyone else — because that would mean they don’t need you anymore. To me, it’s the best breakup song of the year.

14. SONGS ABOUT YOU — Chika

Say my intensity impractical/My pen is tactical/Yeah, I’m the actual/I smack fire out these lists, like “Bitch, be rational”

CHIKA might be my favorite “new artist” of 2020. It feels like I’ve been waiting for her forever.

The queer-identified, Nigerian rapper and singer from Alabama burst onto the scene this year with her first EP Industry Games. She’s had a huge year, marked by a Best New Artist nomination at the 2021 Grammy’s and a place in Complex’s Freshman XXL Class, an accolade given to up and coming new rappers. And we can expect a lot more from her — past XXL inductees include Kendrick Lamar, J. Cole, Wiz Khalifa, Megan Thee Stallion, Rico Nasty, and Tierra Whack (Fun fact: Drake and Nicki Minaj both rejected spots in Complex’s Freshmen XXL issue. Power moves only.)

However, while all of the accolades are impressive, what got me into both CHIKA and “SONGS ABOUT YOU” was her immaculate NPR Tiny Desk concert. Arguably one of the best Tiny Desks I’ve heard since Tank and The Bangas’, CHIKA raps and sings with ferociousness and cockiness. She knows she’s the best, and her personality is mesmerizing. The highlight for me is her incredible background singers. They are clearly gospel-trained and are featured both in the album and in the Tiny Desk — “a flex,” as CHIKA says during the performance.

“SONGS ABOUT YOU” is definitely my favorite song featured. An ode to her haters, CHIKA lets us know she doesn’t give a fuck what they are saying — she’s finally getting her flowers and didn’t need their validation for it. “And I’m havin’ the time of my life, you gotta pay me to care.” She states confidently that her “come up was picture perfect,” and that you may even find her celebrating in your lady friend’s thighs. However, when it seems CHIKA is caught up in the glory of her come up, she lets us know that she “sound[s] too fuckin’ pressed, man/Let’s backtrack.” She reminds us she’s still grinding, and still working, and this is the only the beginning. What an amazing beginning it is, CHIKA— I cannot wait for her debut album in 2021.

13. Hit Different (feat. Ty Dolla $ign) — SZA

I was into you from the beginnin’ even if you wasn’t mine/Scared to admit my shortcomin’s led to overdraft in this affair, declinin’

Our girl is back. After a three-year hiatus, SZA gave us not one but two singles as a lead artist in 2020. Clearly, she knew we were struggling and needed it.

I love “Hit Different” because it shows immense growth from her last project, CTRL (my third favorite album of the last decade). Vocally, she is at her peak, running through her range, riffing in a way she hasn’t before. And this is proven by the vocal prowess she’s shown in live sessions on YouTube throughout quarantine. The song is a complete vibe — it sits in that indescribable niche of good-for-a-party-but also-coitus-but also-working-but also-a-sesh-with-your-niggas.

I can’t lie and say I wasn’t underwhelmed at the first listen. I was confused by the absence of SZA in the first 40 seconds of the song. While I love Ty Dolla $ign, I was looking for SZA. However, with time, the song aged like wine — Ty’s feature is tasteful and actually feels like the perfect length. By the time SZA comes on, Ty has almost seasoned our eardrums perfectly for SZA’s entry. She sings passionately about a messy relationship, one that only really feels good because of the prospect of not having it. Ty and SZA’s chemistry is effortless, and for all of those reasons, despite a September release, the song became my 7th most played song of the year — and my 13th favorite release! Thanks, SZA ❤

12. Savage (feat. Beyoncé) — Megan Thee Stallion

Hips TikTok when I dance/On that Demon Time, she might start a OnlyFans/Big B and that B stand for bands/If you wanna see some real ass, baby, here’s your chance

The song that brought back the lost art of the remix. In April 2020, Megan Thee Stallion remixed her already top 20, Tik-Tok smashing hit “Savage” with Beyoncé, propelling the song to #1 on the Billboard Hot 100, a first for Megan Thee Stallion. What made the remix immediately hit for me was the fact that Meg and Beyoncé left it all out in the music. As a whole, the song was taken to a completely new level energy and lyric wise, and within the song itself, each verse bests the one before it. Beyoncé, who does sing on the track, shines most as a rapper, reminding us of her versatility as an artist. In the days after its release, traffic to the website OnlyFans rose by 15% in response to Beyoncé’s shout-out — the best free promo you could get. The Houston natives’ chemistry is undeniable, and that’s why the song had the impact it did.

Most importantly, the song became an anthem in a year where a lot of us were not feeling our best. The chorus is pop perfection — catchy as hell, but not cliché. It encapsulates why Meg is such an audience favorite— she is unapologetically herself. We all can be savages, who are also classy, bougie, ratchet, sassy, moody, and nasty. Why not?

11. Forgive Me — Chloe x Halle

2020 was Chloe x Halle’s year.

They spent the last ten years or so not exactly being taken seriously. Despite nabbing two Grammy nominations in 2019 for their fantastic debut album The Kids Are Alright, the pair struggled to alter the public’s view as them as those-girls-who-covered-Pretty Hurts and were discovered by Beyoncé… until this year. With the release of their ascendant 2020 sophomore album Ungodly Hour, I think we can all agree those days are behind them.

“Forgive Me” is a clear highlight off the album. It opens with a haunting, incoherent falsetto message from Halle, which moves into a powerfully produced hip-hop/pop beat. The production, done mostly by Chloe, paired with the twos effortlessly blended vocals gives the song its replay value. Chloe and Halle basically stomp on the beat — and our necks— with their swagger, sexuality, and energy. “Baby, what you think this is?/Why you wanna plead the fifth?/You ain’t gotta tell me what it is/’Cause I saw the messages/You must got me fucked up.” They sing assuredly about a boy who has wronged them one time too many. “So forgive me ’cause I’m not teary/Best believe I’ll move onto better things.” The energy of this song is the point of healing we all yearn to be at, able to look back at a situation in hindsight and know so clearly you were and are better than the situation that tried to kill you.

Rather than end the song with a traditional bridge and chorus repeat, the pair introduce an entirely new motif at the end. At this point, they breakdown. “Goodbye, you stay wastin’ time/No, you never try/You said this for life/But you know you lied.” Shortly after this, the song ends so abruptly that you wonder if you cut it off by accident. This abrupt ending almost feels symbolic of the song — they weren’t about to spend a second more lamenting the romantic crimes of the nigga in question.

10. XS (Remix) (feat. Bree Runway) — Rina Sawayama

Hey, I want it all, don’t have to choose/And when the heart wants, what it wants, what can I do?

At this time, I’d like to shoutout gay college-aged twitter for putting me on to Rina Sawayama this year. She is bringing a sound and energy to pure pop with an edge that has been sorely missing over the past five or so years. She came out swinging this year with her debut album SAWAYAMA. While the award shows weren’t quite caught up, the world is listening — SAWAYAMA landed on almost twenty publications’ year-end lists, including Billboard, Rolling Stone, NPR and Metacritic.

“XS,” second song on the album, is a perfect pop song. Pushed by a fierce guitar and lively percussion, the song is made by Rina and Bree’s ad-libs. They speak brashly about wanting it all — Rina declares there is no reason why she should have to choose between the luxurious in life. “Gimme just a little bit (More), little bit of (Excess)/Oh me, oh my/I don’t wanna hear (No, no), only want a (Yes, yes).” The song is cleverly titled “XS” to drive home that point — excess. Bree Runway, who joins on the remix, boasts an effortless flow, bouncing over the beat with so much ease that you momentarily forget this isn’t her song.“It’s a ring on my finger, of course I said yes/I ain’t married to no man, I’m married to success.”

In an interview with Genius, Rina explains that the song was inspired by her time in L.A. She decided to embody this person who represents the unhealthy, absurd level of excess in the world we live in — the “modern capitalist monster” as she describes it. Her intentions behind it make the song even better. That monster is a fun character to play and that’s why we all love singing along, but she is careful to remind us of its consequences.

“XS” is power pop at its best, and was the song that immediately brought me on as a fan.

9. Fkn Around (feat. Megan Thee Stallion) — Phony Ppl

Sending me the supersonic signal/
You ain’t lay a finger but I feel you/Independent woman, I won’t tell you how to act/But you and I both know we could be gone ‘fore he gets back

Personally, I think Phony Ppl is one of the most talented musical groups of our generation. Their music is timeless, channeling all of the flare of the 80s with a fresh, funk-esque twist. Their music is the epitome of “fresh-sounding.”

“Fkn Around” was release as a single this year, and combines that infectious sound with one of the most infectious performers of our time, Megan Thee Stallion. Songs like this prove her versatility as a rapper. Like many of the greats, she finds her footing on a funk and disco song “Fkn Around” just as easily as she would (and has) on a hip-hop, R&B, pure pop, or dancehall song. Lyrically, Phony Ppl and Megan Thee Stallion discuss their infidelity: “I got a man but I’m fucking around/’Cause I’m young and I can’t be tied down (ay, ay)/He got a girl she got nothing on me (whoa)/But we young so we both do the same thing (whoa, whoa, whoa, whoa).” Elbee, lead singer of Phony Ppl, is enthralled by it — he can’t get enough of Meg because he knows he’s not the only one. She is empowered in her stance, reminding us she has plenty of niggas to choose from, and is truly having fun.

The pairing of these two artists isn’t necessarily intuitive, but oh does it work. They have a type of inherent chemistry that after hearing the song you’re like — “Oh, duh. Of course this works.” Perfect for a darty or a barbecue, I definitely can’t wait for the world to open up so we can hear this one at the function. Check out their joint Tiny Desk to see them perform it live.

8. Deep End — Fousheé

Shawty gon’ get that paper/Shawty tongue rip like razor/Shawty got wit, got flavor/Pardon my tits and make-up, uh, uh, pay her

Fousheé was one of the most exciting artists to watch blow up this year. Her voice has been all over Tik Tok all year, first heard in an uncredited sample on “Deep End Freestyle” by Sleepy Hallow. The craziest part? Fousheé had no idea her voice was going viral for months. After she posted a Tik Tok explaining that it was her voice in the sample, many folks (yes — a lot of them were men) declared she was lying, clout-chasing, or trying to defame Sleepy Hallow. I like to think of her extended, solo version of “Deep End” — which has now accrued almost 100 million streams on Spotify and 525 million views on Tik Tok since its release — as her response to those accusations.

In year where we all definitely felt close to going off the deep end, the song is scarily relatable. “Deep End” opens with a spooky, ominous guitar riff that undergirds the rest of the song, matching the Western feel of the music video. She sings in a strained whisper throughout the song, almost as if she’s letting you in on a little secret — don’t fuck with her. “Life ain’t fair, you fight for your cut/Think I spy your eye on my bucks/Great, look, now the lion woke up.” Fousheé did not fall into the shadows while her voice took over Tik Tok — she fought for her cut. The world has become much too accustomed to Black women defining the culture without proper compensation, and the violent reaction against Fousheé capitalizing on this moment is indicative of that. Now, she has already shown us she is so much more than “Deep End.” Fousheé signed to RCA Records in September, has artists like SZA and Noname rooting for her, and is working on an album that is sure to show us how much more she has to offer.

7. pov — Ariana Grande

I’m gеtting used to receiving/Still gеtting good at not leaving/I’ma love you even though I’m scared/Learnin’ to be grateful for myself

This year, Ariana Grande released her fifth studio album, entitled Positions, further reemphasizing her spot as the queen of the streaming era. I enjoyed the album — it felt like a full circle return to her original, R&B/pop sound featured on her first two studio albums. Since my first listen, my favorite song was “pov” — and that hasn’t changed.

Lyrically, “pov” deals with healing, self-image, and self-love. “I wanna love me/The way that you love me/For all of my pretty/And all of my ugly too/I’d love to see me from your point of view.” I see this song as the third song in a healing trilogy alongside “Better Off” and “ghostin,” from Ariana’s third and fourth albums respectively. While “pov” does not showcase a completely healed Ariana, it definitely shows her healthiest self as someone who is actively in that journey towards self-love.

The song describes a love so strong that you yearn to see yourself through their eyes. The simplistic beauty of that concept immediately drew me in as a listener. “Things we’ve always been afraid of/I can feel it startin’ to subside/Learnin’ to believe in what is mine.” She writes honestly about how the love she is experiencing is breaking down her own fears and reorienting her self-image. To me, “pov” is one of the best songs Ariana Grande has ever made, and is the clear standout on Positions. It demonstrates a level of musical and emotional maturity that you cannot fabricate — you simply have to be there to make music like that.

6. Busy Boy — Chloe x Halle

That’s why I don’t play with you/I spend a little time, don’t stay with you/I tell you what you wanna hear all the time/Just because you’re so damn fine

My favorite part about this song is the storytelling journey you are taken on. First, the duo and their girls are getting the same “u up?” texts from the same guy. Yikes. Then, within the first verse, his infidelity is exposed. “You told me that you with your family/My girl saw you with someone, leavin’ the party.” We continue on, and things only get more intense. After he sends unsolicited drunk nudes at 4am, not only does the pair find out he has a girlfriend, but she is also pregnant. The drama.

Musically, the dazzling sister-duo is serving all types of 90s and 2000s tea, giving us Destiny’s Child, TLC, or XTina, while maintaining the Chloe x Halle flare that make their songs unforgettable. The song opens with a 50s, croony doo-wop moment, a la Paul Anka or Barbara Lewis before diving into brash, in your face pop. A friend and I tried to put a name to the specific sound they channel in “Busy Boy”— we settled on “plastic pop.” It’s a super traditional, saccharine pop sound with a distinct edge — think “Lip Gloss,” “Hollaback Girl,” or “BO$$.” Like #33 on this list, all of these songs would be placed in similar scenes in Clueless, Mean Girls, or Bring It On. So yes, it’s a perfect genre.

Busy Boy is a song that is irresistible. It reveals the unstoppable range these two girls have, to create dreamy pop ballads, hip-hop break-up anthems, and a classic, traditional “plastic pop” song that make you puff out your chest, move your hips in the mirror, and strut across your room like you’re walking body at the ball. And lord knows we needed that energy this year.

5. Cut Me — Moses Sumney

That’s when I feel/The most alive/Masochistic kisses/Are how I thrive

I was introduced to “Cut Me” locked away in a new dorm at the beginning of the pandemic where I spent my final three months in college. I was a fan of Moses Sumney before, but this song definitely turned up the heat for me.

“Cut Me” is a mid-tempo, genreless song. Moses Sumney molds the opening around a simple bass line and his signature growly falsetto. The song slowly builds and burgeons until the very end, where it matches the quiet energy it begins with.

Lyrically, the song discusses what I understand as the human condition. An obsession with pain, struggle and endurance as evidence of success or aliveness. “A stiffness/Side my neck/Bangin’ my head/Gainst the desk/If there’s no pain/(Is) There any progress?/That’s when I feel/The most alive.” Sumney both critiques and implicates himself in this toxic culture, explaining that it “might not be healthy for me but seemingly I need/What cuts me.” Sumney has long discussed the line between consumption and desire in his music, and in a way, this commentary is linked — what are our bodies if they’re only seen through the lens of how much others can extract from them, and how much pain we can survive in the process.

The song came to me at the perfect time — I had just been thrusted out of my four years at Harvard, into a bizarre limbo where I had three months left but suddenly nothing academic mattered. The theses my friends and I delayed joy and fun for didn’t matter. We endured so much pain and pushed ourselves to our limits in the name of some future “senior spring” that never even existed. I was reflecting a lot on whether any of this was worth it. The idea that if you push yourself past your limit, you don’t come out of the experience sustaining that damage is the exact lie that keeps our toxic capitalistic, hyper-productive society going. Moses Sumney is honest about how knowledge of this cycle does not halt your participation in it: “Guess I’m a true immigrant son/No vacancies, no vacations/Sure, I could do better than this/But I don’t, I won’t.” For black people, especially those who descend from immigrants, this self-mutilative, work hard and rest later mentality is something we rely on for survival. But, honestly, it’s only as true as the American Dream itself. “Cut Me” begs the question: what is the benefit of self-mutilation in a world where our bodies are all we have?

4. Distance — Yebba

Because of the time we shared/Time we lost in love with one another/Days we had, pay the cost of losin’/Hearts desire, so soon/I’ll be sending my love all over you

Yebba is a powerhouse vocalist. Many will recognize her from her earth-shattering performance of “My Mind” at a SoFar Sounds concert in 2017. She hasn’t performed the song since because she says a spirit took over her during that performance. It’s very clear that she’s not bluffing when she says that.

Luckily, the emotion, storytelling, and raw vocal prowess that made “My Mind” resonate did not stop there. On “Distance,” her emotion shines through more than ever, as she sings of a love where, despite the two’s best effort, “the only thing that came naturally was the distance.” She describes the song as a goodbye. It exudes calm acceptance that this pairing won’t work, while creating the space for healthy reminiscence. The song exudes nostalgia. Yebba’s blend of quiet storm, placid percussion, and coffeehouse R&B erupts into horns and jazz, garnished by her signature, mosaic and manifold riffs.

“Distance” is incredible because it makes you nostalgic for something you never even had. The song, which recently landed a Grammy nomination for Best Traditional R&B Performance, is the first single from Yebba’s upcoming, untitled debut album. It was supposed to come out this summer, but she delayed the release of it in an effort to avoid contributing to “any white noise that takes the focus away from the movement.” While I was definitely sad because ultimately a Yebba album would’ve brought me — a nigga — lots of joy, her thoughtfulness and knowledge of her own positionality as a white woman in R&B is what makes her music that much more honest and moving.

3. CHIKA— U Should

I’m always in the position/Of sipping my drink tryna make a decision/Of how I can shoot my damn shot with precision/I swear that it’s harder than what I envisioned

“U Should” might be the best love song released in 2020. While CHIKA shines — per usual — as a rapper, she also brings out her vocal talents more explicitly than ever. She sings every part of the song besides her smooth, effortlessly rapped first verse. She croons like a 60s blues singer longing for their love as she describes the experience of seeing a pretty girl across the dance floor. The song opens with a beautifully bare guitar and ad-libbed “hms” and “das” from CHIKA. From there, the song feels like the sun coming out. It is brimming with joy, uplift, and love.

After a heart-melting chorus, she moves onto a fiery verse, bouncing on the beat with a ridiculous slickness. “She got class for days/Walk in the room and got niggas consumed/Now they all rushing home to go mastur-/Wait, I’m talking my shit.” It’s hard not to smile during this verse — she’s playful, but on a mission to secure the bag. There’s something so charming about CHIKA in this song — she raps and sings earnestly, with modesty and spirit. Right when you think you can’t smile more, she moves into the perfectly rap-sung second verse. “I need a rider/I’ll be your provider/Taken by your outer/But I see inside ya.” If CHIKA was serenading me, I would definitely take the bait.

I love this song because it’s so simple yet effective. It almost feels like it could be in a musical, right when the main character first spots their love interest. CHIKA is bringing a level of rap and vocal prowess that we haven’t seen from an artist since Lauryn Hill.

“U Should” is dreamy, warm, and made for the beach, layered with harmonies that communicate one thing: wholesomeness.

2. Dive — Victoria Monét

I wanna see what your head game like/Do you know what you’re doin’?/Is your neck game tight?/Do you know how to use it?

No one writes songs about sex like black women. And “Dive,” released as a promotional single for Monét’s EP Jaguar, is my favorite sex song of 2020.

The song opens with a gorgeous, melodic flute lick that reminds me of “Lovin’ You” by Minnie Ripperton. You can feel the tension between Monét and her love interest as she seductively sings the first verse: “You’re saying everything I like/I could watch ya lips move all night/Makin’ me think you might/Have the type of brain I like.” It makes sense why certain sex songs are so great — there’s nothing like a song about eating pussy (or having a great conversation!) The endless amount of metaphor, visual imagery, and aural innuendos render songs like “Dive” so satisfying.

While Monét’s clever, whimsical writing and pleasing vocals make the song what it is, the highlight for me is that the last 50% of the song is mostly an instrumental interlude. The song’s previous horn interlude (If you listen to Jaguar, you’ll notice Monét really likes horns) takes over, undergirded by quiet, percussive moans, climaxing to a burst of strings. It’s almost like the song takes us from the fantasy to the real, the end delivering the same excitement and relief that a sexual climax would in real life. The movement and precision of that interlude makes you completely forget that Monét doesn’t even sing for almost two full minutes. That’s what makes the song so impressive — it demonstrates the expansiveness of music, how it can be fulfilling and locomotive without a focus on vocals. Monét is consistently raising the bar as it pertains to the relationship between production and songwriting.

Alongside a lot of other amazing, majority black women (see Brandy, Jazmine Sullivan, Kehlani, Teyana Taylor, Jhené Aiko, JoJo etc), Victoria Monét pulled up and saved R&B in 2020. While Jaguar’s run time sits way too short at 25 mins and 31 secs for my liking, its only part one of a three-part EP series that will come together to be her debut album. She has long graced us as a songwriter, and 2020 marked the year where she stepped out from behind the page.

And god are we grateful for it.

1. Ungodly Hour — Chloe x Halle

You know that I, I heard it all before/You’re hesitant, but you could give me more/I know you like to play those silly games/When you’re done, call my name

Some songs just deserve the title of “perfect pop song” — “Ungodly Hour” is one.

My song of the year, “Ungodly Hour,” is the song that got me into my album of the year of the same name. After my first listen of an album, I often return to the title track first in the hopes it’ll ground me in the album’s essence. With Ungodly Hour, that was more than easy.

The song begins with futuristic, spacey keyboard chords. A pushing beat enters, giving Chloe x Halle the space to vocally introduce us to the lulling, almost phantasmagorical world that the song builds from its onset. The song became a standout to me just 45 seconds in where Chloe x Halle sing “I heard it all before.” Some melodies have a certain je nais quoi that makes them irresistible. I actually believe the pre-chorus is sometimes more important than the chorus when making a great pop song (see “Problem” by Ariana Grande or “Firework” by Katy Perry). The melody in the pre-chorus of “Ungodly Hour” is so catchy that it could suffice as a chorus in itself. But then, the girls erupt into a beat-drop, club-certified chorus. Without feeling too clunky or heavy, they create a rather bare chorus that you can still feel in your chest.

Lyrically, the song deals with walking away from someone who you know isn’t ready for you. “When you decide you like yourself (Holler at me)/When you decide you need someone (Call up on me).” Another talent Chloe x Halle have is making positive, affirming songs that don’t feel quixotic or preachy — “Ungodly Hour” is one of them.

If I was an A&R, I would’ve put so much money and resources behind a full top 40 rollout for this song. I still think it could be Chloe x Halle’s first real chart smash. Regardless, though, it is the title track of an album that impacted the world like no other this year. With regular, tastefully flamboyant virtual performances, decorated with immaculate outfits and vocal perfection, no other act was promoting an album harder than Chloe x Halle. My favorite part was even if songs like “Ungodly Hour” or “Busy Boy” weren’t officially released as singles, we got visuals and performances that made them feel like they were.

So — thank you Chloe x Halle, my artists of the year, my album of the year, and “Ungodly Hour,” my song of the year. Regardless of what the Grammy’s say (they’re up for three nominations at the 63rd ceremony next month), we know you’re about to dominate this decade.

Honorable Mentions:

cellophane — FKA Twigs| Borderline — Brandy|Want U Around (feat. Raul) — Omar Apollo|12:38 — Mac Miller|Save Room For Us — Tinashé|34+35 — Ariana Grande|Body — Megan Thee Stallion|Do It — Chloe x Halle | Exclusively — Tiana Major9|Zoom — Leikeli47|Rainbow Cadillac — Yung Baby Tate|Tryna — Jhené Aiko|Qadir — Nick Hakim|Off the Table (feat. The Weeknd) — Ariana Grande|Woman (feat. Lianne La Havas) — Nao| Bye BiPolar — Brandy|Honey — 070 Shake

CED’s Radio’s Year-End Top 40:

1. Ungodly Hour — Chloe x Halle

2. Dive — Victoria Monet

3. U Should — Chika

4. Distance — Yebba

5. Cut Me — Moses Sumney

6. Busy Boy — Chloe x Halle

7. POV — Ariana Grande

8. Deep End — Fousheé

9. Fkn Around (feat. Megan Thee Stallion) — Phony Ppl

10. XS (feat. Bree Runway) — Rina Sawayama

11. Forgive Me — Chloe x Halle

12. Savage Remix (feat. Beyoncé) — Megan Thee Stallion

13. Hit Different (feat. Ty Dolla $ign) — SZA

14. SONGS ABOUT YOU — Chika

15. Lost One — Jazmine Sullivan

16. Jaguar — Victoria Monét

17. Stuck. — Durand Bernarr and Ari Lennox

18. WAP (feat. Megan Thee Stallion) — Cardi B

19. Touch Me Remix (feat. Kehlani) — Victoria Monét

20. Like I Want You — GIVEON

21. I’m Amazing — Omar Apollo

22. Believe It (feat. Rihanna) — PARTYNEXTDOOR

23. Love Goes — Sam Smith and Labrinth

24. Bi Fren — Omar Apollo

25. Everybody Business — Kehlani

26. Waiting For (feat. Jamila Woods) — rUm.gold

27. BLACK PARADE — Beyoncé

28. Pussycat Doll — Flo Milli

29. my future — Billie Eilish

30. Me in 20 Years — Moses Sumney

31. Hit My Phone (feat. Kehlani) — Megan Thee Stallion

32. You Sad — Tkay Maidza

33. Call Me Queen — Citizen Queen

34. Guilty Conscience — 070 Shake

35. Marry Me — Rileyy Lanez

36. Can’t Fight — Lianna La Havas

37. Disappear — Tei Shi

38. Cool — Dua Lipa

39. HONEY — KLARK

40. Simmer — Hayley Williams

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