CD Radio's Top 52 Songs of 2022 - Part 1

2022 — I started and ended the year with COVID, left my first job, had a two-year delayed graduation from Harvard, moved to my first solo apartment, saw live wrestling in Mexico City, danced to Beyoncé’s “Break My Soul” at Berghain, finally understood why people write those heartwrenching breakup songs, and began to truly reckon with what adulthood is — an endless series of putting out fires, finding refuge in community, love and laughter along the way. For me, music is the center of that refuge always.

I found a lot of refuge in clubbing this year, expanding my music taste to include more music without lyrics (I know — shocker). Music helped me land a new job at Spotify, get my ass out of bed, and process the trials and tribulations of your 20 somethings. It was a year of getting used to change — the uncomfortable, often anguishing process of shedding old skins. Music was the soundtrack to it all — my coping, planning, and growing.

Whether it was Omar Apollo’s Ivory, Beyoncé’s RENAISSANCE, Megan Thee Stallion’s Traumazine or Ravyn Lenae’s HYPNOS, I turned to music for strength, solace and distraction this year. Here are the results — this is my Top 52 Songs of 2022.

Let’s get it.

52. Hot In It — Charli XCX and Tiësto

In October 2021, Pitchfork re-reviewed Charli XCX’s critically panned yet streets-favorite 2016 EP Vroom Vroom, citing paranoia around hyperpop’s motivations as the main reason for its initial abysmal score. The very apt final sentence of editor Cat Zhang’s re-review is: “when you don’t think too hard about it, it’s pretty fun.”

Sometimes, it’s important not to think. But also we should be thinking hard about how fucking fun Charli’s music is, and “Hot In It” is a prime case study. A thrilling club beat courtesy of internationally renowned Dutch DJ Tiësto, paired with an uncomplicated and repetitive hook that even the most kundled of club goers can recite, birthed a certified club banger. Charli just wants to have fun and look hot while doing it, and I’m definitely here for it.

51. Most Men — Amber Mark

Amber Mark has had me in a chokehold ever since “Lose My Cool” dropped in 2017, and she continues to deliver. “Most Men” is the latest favorite, a pulsing anthem encouraging listeners to free themselves from the chains of relationships with men who aren’t treating them the way they deserve.

The open, choral intro is nothing short of stunning. She sings with grit, rasp and tenderness: “The way that he’s looking, oh, it is enough/Girl, you’re so reckless with your heart.” The production subsequently expands, and the lyrics, written solely by Amber Mark, manage to be deftly inspirational and catchy without falling victim to corniness — no small feat. “Most Men” and the rest of Three Dimensions Deep are proof that Amber Mark is a top-tier vocalist and gifted writer and producer.

50. KILL DEM — Jamie XX

So thankful to have friends who put me onto good music. Jamie XX, known for his work in the English indie pop band The xx, proved himself as a solo artist with his 2015 critically acclaimed debut In Colour, and clearly he’s just having fun now — and succeeding at creating innovative records that challenge the ears and stimulate the brain.

“KILL DEM,” a standalone single (for now), is a creative shitshow in the best way. Filtered tribal chants blend with congas, thumping bass and classic house synth to birth the perfect song for a ripe night at the club when you don’t want words or thoughts — just dancing

49. Happy Ending — Kelela

Very few artists are pushing sonic and visual boundaries like Kelela. “Happy Ending” is a shining example of her artistic prowess. It blends canorous, lullabye-like melodies with rave-ready LSDXOXO production to create a gorgeous, distant and remote energy that makes the track feel like a mirage you’re hearing from afar. The song is ripe for 2022, and its exciting to see an artist like Kelela, who has been steeped in experimentation and rooted in the Black dance/electronic tradition since her debut mixtape dropped in 2013, have her moment in a year when Pop stars like Drake and Beyoncé have brought huge mainstream attention to the genre. Its refreshing to say the least — patiently awaiting the release of her highly anticipated 2nd studio album Raven, slated for a February 2023 release.

48. LL Cool J — Leikeli47

Leikeli47 is mysterious — the artist said in an interview with Vibe that she conceals her face because she “feels like the Dark Knight, or one of those superheroes…the mask, it represents freedom. I’m free with it on.” The guise suits her. If you want to get to know Leikeli47, start with the music. “LL Cool J” is a great first option.

An effortlessly sexy flow, simple confident bars, and a bass heavy, sparse beat envelope Leikeli as she raps about who she is under the mask: “I like ’em cocky, hands real rocky like Diddy/You could never stop me, chain stocky.” In a way, her decision to keep her legal name and face from the public is an act of rebellion against projection — “LL Cool J” is a representation of the result. She is hyperconfident on the track, sharing her own narrative and disavowing anything that challenges it. Lil Kim, Foxy Brown and Eve are definitely pleased.

47. Jungle — Rico Nasty Remix — Rico Nasty and Fred again…

The collab we didn’t know we needed — or maybe we knew the whole time. “Jungle” is a powerhouse techno track, with a crawling intro that erupts into a volcanic techno explosion. Brilliant production blend with a studio outtake to usher in Rico’s entrance: “This shit is fucking crazy!/Wait, hold up like/I fucking love the go, go, go, go…”

From there, Rico pops off over that techno beat. Hip-hop and electronic music are such an intuitive combination. The raw, carnal energy of both genres make “Jungle” delectably unhinged: “Kill or be killed, drill or be drilled/It’s heating up, how the temperature feel?” Rico took this challenge personally, and she definitely didn’t opt to be killed or drilled on this track.

46. Cartier — Muni Long

It’s impossible not to root for Muni Long. She boasts a decade plus of co-writing huge hits like Rihanna’s “California King Bed” and Selena Gomez’ “Who Says,” all the while fighting what felt like a hopeless battle for recognition as a solo artist. 2022 was the year she got her flowers. While her breakout hit “Hrs & Hrs” garnered three nominations at the upcoming 2023 Grammy’s, a deeper look into her discography reveals even more hits under her belt.

Muni Long is a masterful songwriter. Her songwriting is cheeky and garish, and that’s what makes it resonate. On “Cartier,” Muni drops subtle hints that a lover make their love known with their wallet rather than empty words — “They say love don’t cost a thing/But I don’t even know what that means.” Me too, girl.

Even within the frivolity of some of the lyrics, she croons with passion and soul like her life depends on it. The production slinks in, starting with a shy guitar and sturdy snaps, building into an explosive bass line led chorus that makes “Cartier” so enjoyable to hear.

45. Tie The Knot — Syd

2022 was a big year for alumni of The Internet, and not just because of Steve Lacy’s breakout album Gemini Rights. Syd, lead vocalist of the band, released her stunning second studio album Broken Hearts Club. While the album didn’t perform on the charts like her debut, she stepped into her artistry even more fervently and cohesively than before, and “Tie The Knot” is the highlight. Clad in voluptuous, cartoonish production, the song details what it’s like to have a crush — “I like you a lot/We can lace ’em up, we can tie thе knot.” It’s incredibly fun to see Syd, who usually sits in a croonier space, toy with bouncy, upbeat production and curt phrasing. “Tie The Knot” is proof of Syd’s incredible versatility as an artist.

44. Big Steppa — Flo Milli

Flo Milli is one of the hottest rappers out right now. Her artistry has been ferociously bold and cohesive since her career broke. I could write a thesis about how much more she deserves, and why I think she hasn’t had the breakout she deserves — but I’d rather spend this review talking about how fucking good “Big Steppa” is.

From the first line, Flo Milli is armed with fervor— “Whole fit dipped in Margiela/Nigga, this pussy got levels, bitch, I’m pressure.” Saying you’re applying pressure is one thing, but being the pressure? Not everyone can say that!

Flo Milli is pointed and sharp throughout the track, further instantiating her spot in rap as thee high-femme darkskin barbie. I could’ve selected many tracks from Ho, why is you here? to encapsulate Flo Milli’s musical impact this past year, but “Big Steppa” just feels right. I am patiently waiting for her to globally smash, and until then, the real ones will be streaming.

43. Taco — IDK

I had the amazing opportunity of interviewing IDK back in 2019 when he visited my college, and I’ve respected him so much as an artist since. After reflecting heavy on religion and his time in prison on his debut album Is He Real?, IDK arrives swinging with hip-house lathered assurance on his third effort Simple. “Taco” is the highlight.

The KAYTRANADA produced record is explosive from 0:01, garnished with an infectious hook that proves IDK’s versatility as a rapper who can dip his toes into pop as well: “Eenie-meenie-meenie-miney-mo/I’ll catch a hating-ass nigga by his toe/Make him tip-tap like he tap dancing at a show.” From my first listen, I knew this was a song made for charging through New York City streets, or cruising down an open LA highway, two difficult tasks that seem a lot more obstacle free in movies. The song is apt in that sense — it’s a cinematic, picturesque ideal.

42. Tití Me Pregunto — Bad Bunny

It’s indisputable at this point — Bad Bunny was the biggest artist in the world in 2022. Like a lot of other artists featured on this list such as Beyoncé and Lizzo, he released an album this year wrestling with authentic experiences that still force you into movement. From destroying streaming records and making Grammy history, to thrusting Latin music even more into the mainstream, Bad Bunny’s critically acclaimed Un Verano Sin Ti is a career high, and the global smash “Tití Me Preguntó” is the highlight.

The track tastes like the perfect Carribean cocktail, blended with the elements of Jamaican dembow and Dominican bachata with a touch of psychedelia. The result is a playful, top-tier dance anthem about how many girls Bad Bunny gets, which, I mean…I get it. Bad Bunny is taking a well-deserved break after this year, and I’m looking forward to inhaling whatever he releases next.

41. VICES — Josh Levi

Heartwrenching R&B breakup ballads always get me, and Josh Levi released one of the best of 2022. And yes, I may or may not have had a breakup this year, and this song may or may not have been played on repeat for weeks on end in the aftermath.

Vocally, the Issa Rae co-signed singer is no doubt one of Frank Ocean’s many sons, but he quickly graduates from any comparison with his pen: “Proud of myself for not answering your calls/But just know I been tempted/One day I’ll be a thousands days away/From missing you but right now it’s just/Two weeks.” His delivery amplifies his honest words. He takes intimate lyrics and leverages phrasing to tell a story about a love that was bitter like liquor, and sweet like intoxication, with a cadence that renders every verse shapeful and hazy like both metaphors. The track, which was featured on the Season 5 soundtrack of the classic Insecure, is a brilliant showing from an artist who is one-hit away from superstardom.

40. About Damn Time — Lizzo

Guest Write-Up: LEMMONS

In July, “About Damn Time” cemented itself as Lizzo’s second #1 hit on the Billboard Hot 100 — knocking Harry Styles’ “As It Was” out of the top spot after an impressive 10-week run. And for good reason: this funky Pop bop with a groove-heavy baseline and Soul Train sensibilities tapped into the meteoric resurgence of disco and dance music into so many pop stars discographies this year. (Not to mention a desire to finally hit the streets and twerk off some worldwide trauma of the pandemic.) “About Damn Time” is a masterclass in feel-good pop hits.

This song is absurdly marketable for social media, with Instagrammable lyrics like “it’s bad bitch o’clock, yeah, it’s thick-thirty.” “About Damn Time” uniquely captures the experience of those who found themselves chronically online, particularly on TikTok, during the pandemic: lines like “walking in my Balenci-ussies,” highlight a once popular phrasal trend of adding “ussies” to the end of any word amongst Gen Zers & the zoomer/millennial cuspers on the clock app. (And no, none of these words exist in the Bible.)

People have a lot to say about Lizzo’s music. I’ve heard it all: songs for an Old Navy back-to-school commercial, a playlist for a middle school dance, the type of sound that makes white women delude themselves into feeling like they really understand (or can even “relate” to) “Black Girl Magic.” And I get it — I do. Lizzo is pop-forward, lyrically simplistic, and all about a catchy hook. And I gotta speak for myself when I say, I’m just not mad at it. Her performance skills elevate each of her songs to an entirely new level. In her iconic BET Awards performance of “About Damn Time,” Lizzo became a disco ball herself, dancing with her iconic Big GRRRLS (former contestants on her Emmy-award winning Amazon reality show), singing, and playing the flute all in the same two minutes. “It’s about damn time we stand in our power. Black people, my people,” she roared during the show. White people might have claimed Lizzo as a neo-liberal signal, but as she details in her HBO Max documentary, Lizzo has never felt that when she walks into a room and represents her unapologetically fat Black self that she makes people, especially white folks, feel comfortable.

She has clawed her way to the top of the charts — over the roof of Harry’s House, no less — not to fulfill a liberal dream, but to inspire a mode of Black liberation, to be and build powerful representation she wished to see as a kid. I hear the criticisms — not every Lizzo song is my cup of tea — but if loving Lizzo is wrong, I don’t wanna be right. “Turn up the music!” — Hannah L.

39. Last Last — Burna Boy

Instant classics are special — they don’t come very often. If you went out almost anywhere in the world this summer, you heard “Last Last” by Burna Boy, which hit #1 in South Africa, #4 in the UK, and topped the US Afrobeats Chart. The song was Burna’ s breakout global smash for a reason. Bolstered by a nasty sample of “He Wasn’t Man Enough” by legend Toni Braxton (whose songwriters receive 60% of the royalties on the track), “Last Last” emerges as a timeless dance hit upon the first listen. After a chilling Braxton-led intro, the beat explodes, its jubilance masking a somber reflection on lost love: “I need igbo and shayo/I need igbo and shayo (shayo).” We feel you Burna — we’ve all had to drink and smoke a lost love away.

It’s laced with nostalgia, not just because of it’s sample, but because of how much the track takes its time, and melts infectious melody and a steady, pushing beat. “Last Last” is song of the year material, and I’m just thankful we didn’t miss out on dancing to it in the club.

38. SWEET RELEASE — Amber Lee

Amber Lee is a consistent hitmaker, and her 2022 EP THE SWEET RELEASE showcases such incredible growth as an artist, writer and vocalist. “SWEET RELEASE” opens with a stanky electric guitar riff, and a spoken section bolstered by Amber’s soothing, alto tone, reminiscent of the iconic spoken section in Alicia Keys’ 2004 classic “You Don’t Know My Name.”

The track is a groovy, mid-tempo R&B track detailing the feeling of reuniting with someone you can’t get enough of — the destabilization that comes with feelings so addictive that they make you rearrange your day to quench them, and the resulting sweet release when you finally do: “Sweet release/Been so long since anybody held me in the way you hold me/Woes to my confidence we only going up from here.” The vocals on the entire EP ressemble a young Beyoncé — a comparison many people get, but very few deserve. Amber Lee is a stunning vocalist and visionary who is expanding her sonic palette and lyrical prowess with every release, and “SWEET RELEASE” is her best yet.

37. goodguy — Krishna Canning

“goodguy” is a masterful debut effort. The track is doused in swirling, mountainous synths and layered climactic harmonies, which dress Krishna’s personal admission of faults and resulting wish of acceptance. It prods at the concept of the “goodguy,” disrupting it with honesty. The writing is as compelling as the adept production, earning it a “Samuel Eells Literary & Educational Foundation” award in 2020 for its music and lyrics before its formal release this year.

The full yet sparse production utilizes resonance to fill the room, and empty space to reinforce it. The track’s lush vocalizations and lofty synths remind me of Joji’s “SLOW DANCING IN THE DARK” — both tracks are cinematic and embody relinquishment in the most freeing sense.

While they have already followed up with the impressive rainfall EP and the hypnotic single “Home(stranglehold),” I am stuck on the power of “goodguy” and so excited for their discography to keep growing.

36. Secret (feat. Vince Staples) — Raveena

Raveena has a sonic integrity that bleeds through in everything she creates. On her 2nd studio album Asha’s Awakening, she pushes herself more than ever. Asha’s Awakening is a stunning concept album, detailing a story of a Punjabi space princess who travels through time, experiencing love and loss and everything in between.

“Secret,” the 2nd track on the album, is a sexy, upbeat dance anthem about the sport of seducing a man. The decidedly tentative, inviting lyrics are bolstered by an infectious flute refrain that slithers around your entire body like undisguised flirting with a new crush: “Boy, can you keep a secret?/I know I’m the one you can’t have/I know that I am your weakness/If you wanna play, I’ll call you back.” Vince Staples slips into the song seamlessly, providing a suitably brief male perspective — ultimately he can’t get enough of Raveena, and we are right there with him.

Raveena is yet another artist on this list who deserves so much more attention, but I’m thankful the industry has made a place for her — no other artist is quite doing what she’s doing.

35. God Body (feat. Smino) — Lucky Daye

Lucky Daye is carrying the men of R&B on his back. The American Idol alum has completely obliterated those origins with his second LP Candydrip, While “Over” took over Tik Tok and opened Lucky Daye to a more expanded audience, “God Body” was his standout 2022 track. It’s a breezy, sweet reflection on a love so dangerously fiery that you lose track of its progression: “A good heart, bad timing, bright lights, too blinding/Too lost, no finding and we fall like dominoes.” Lucky Daye is brutally honest about the impracticality of a connection this discernible — but he loves it.

Smino slides in to close out the song: “She cut on that Kehlani and start to climb on me/And we in here climaxin’ and matchin’ the moment.” A master of the R&B feature (petition for Smino, 6LACK, and JID to form an R&B feature group as a side hustle), he garnishes the song with his charming lyrics and easy flow. “God Body” was so slept on, but its an affirmation of Lucky Daye’s artistry — he’s not just following the modern R&B radio formula, he’s breezing past it.

34. OMG BRITT — Sudan Archives

Guest Write-Up: Skylar-Bree Takyi

The seventh track on Sudan Archives’ genre-agnostic sophomore album NATURAL BROWN PROM QUEEN, “OMG Britt,” is an electric, dizzying display of the artist’s ability to capture a vibe, an emotional moment, a feeling. The feeling in question? The realization that the friends you’ve made in Los Angeles are just as full of shit as everyone told you they’d be.

The song opens with a threateningly whispered pre-chorus that repeats several times throughout — it creates a building anticipation that culminates as a second Sudan Archives jumps on to join the whisper: “You don’t gotta do this all alone.” (Do we believe her?) A hard-ass beat drops as she scream-sings the chorus; she knows just how good the song is, she knows they’re going to be mad when they hear this track, and she doesn’t care, because she’s independent and they’re stank. The first verse reveals who “they” are: the fake friends who fail to show up. “Never trap alone, always go in packs,” she sings, dropping her voice to a Vocaloid-esque baritone to flag the lyrics as advice she’s gotten (haven’t we all). But that doesn’t come easily to her, and perhaps for good reason — verse 2 recounts a specific failed friendship. The beat drops and remixes itself as she tells us about the “incident with this chick.”

LA offers two options: vast, hilly loneliness or company of folks you can’t trust farther than you can throw them. Sudan Archives encapsulated that often untenable reality — and somehow still kept us dancing the whole time on one of the best tracks of the year— Skylar-Bree T.

33. Sailor Moon — LAYA

Thank god for Spotify’s ability to know exactly what I want to hear. LAYA, who signed to Warner in November 2021, burst onto the scene with her debut EP Um, Hello this year. “Sailor Moon” is the highlight. The track is a bouncy, mid-tempo R&B anthem about being certain that someone is the one for you. A win for the anime girls everywhere, the title references the iconic manga of the same name as LAYA likens herself to the protagonist, Sailor Moon, who is destined to save earth: “Changing form/For you I’d slay a raging swarm/Of demons I ain’t ‘fraid no more/Come get this ’cause this place is yours.”

The song is beautifully referential, the intro conjuring up visions of Beyoncé’s “Kitty Kat.” LAYA’s raspy, easy tone and the bouncy and sparse yet intricate production are reminiscent of the late Aaliyah. A true Detroit House remix featuring Baby Tate takes the track to another level. If “Sailor Moon” proves anything, its that LAYA is very prepared for superstardom — and I think preparation is about to meet luck.

32. I’ll Wait — Arewa Basit

“R&B is dea-” GUNSHOT

Arewa Basit is a multifaceted star —a performer, dancer, vocalist, and infectious personality. They’ve been gracing New York City and beyond with their talent for years across all mediums, but this year their single “I’ll Wait” did something extra special to me. The slinky R&B track is carried by Arewa Basit’s meticulous, warm tone: “What we do in the light/We do in the night/We’re doing it right/It’s hypnotic.” With all the preferential treatment for sopranos and tenors, it’s a pleasure to hear a lower voice thrive. Hypnotic indeed.

The simple lyrics feature Arewa Basit declaring uninhibited love for their partner, even if they have to wait for reciprocation. The vocal and instrumental production are precise and breezy. At 1:40, the most brilliant part of the song commences when a slick, agile riff explodes into a melodically new section, wrapped in a bow by an overwhelmingly sexy and perfectly brief interpolation of Rihanna’s “Kiss It Better.” There are so many artists pushing the boundaries of music and influencing the zeitgeist — it’s time we place Arewa Basit in that conversation.

31. This Is Why — Paramore

Paramore is fucking back baby.

If you know anything about me, or Black culture at large, you know we love us some Paramore. Hayley Williams is a cultural icon — she is a key fabric of my musical pallete, dating back to when my big sister introduced me to her music in 2006. “This Is Why” is one of the strongest comeback singles from a band in years. Dressed in a sultry, groovy guitar, the track leverages the signature Paramore sound — decidedly suspended and tenacious: “If you have an opinion/Maybe you should shove it/Or maybe you could scream it/Might be best to keep it/To yourself.”

The chorus is explosive, and the reason why the song is so satisfying. Paramore managed to return to their signature, while still answering the demands of the zeitgeist in a Tik Tok-led music consumption world: “This is why I don’t leave the house/You say the coast is clear/But you won’t catch me out.” Not only is the primary refrain something you might see on Twitter, and thus ripe for Tik Tok-sound byte potential, but it’s also relatable as hell. While the track had a soft landing commercially, I predict it will take off as this Paramore era progresses — they’ve always been one for sleeper hits.

30. XO — Citizen Queen

Citizen Queen has simply refused to release a bad track since their official switch from a cappella to produced music last year in 2020, and “XO” might be their best effort yet. The track opens with delectable syllablic harmonies led by Kaedi Dalley, a call back to their a cappella roots. Kaedi opens the song, her warm sultry tone riding over a sparse beat carried by snaps and claps. Before the production hits its stride, she undergirds the entire song with vocal honey: “I’m over giving second chances/Confidence too lit to let you take my heart for ransom.” The NovaWav produced track features the girls at their best, confident and delivering absolute Pop perfection. While none of Citizen Queen’s singles have taken off in the way I think they should, they have spent the last two years perfectly laying the groundwork for the day it happens. Keep going, ladies.

29. honda (feat. pa salieu) — FKA Twigs

This year, FKA Twigs released her long awaited mixtape CAPRISONGS to critical acclaim. I floated between which track I was going to include here — for a while I was certain it’d be “oh my love,” but as summer crept in, the sultry club record “honda” crept in too, and has firmly remained my favorite. The record was recorded across the world, including Jamaica, and the Carribean influence is obvious on “honda.” After a spoken word intro from Pa Salieu, the track explodes into an addictive dancehall beat with an infectious whispered refrain from FKA Twigs: “Baby, we can roll it on the M way/Smokin’, Honda, roll it.” FKA Twigs and Pa Salieu deliver two agile verses back to back, never letting the song’s momentum fade. Pa Salieu’s appearance is welcome — and not just because of my weakness for British rappers.

What’s stunning about this track and the entire CAPRISONGS mixtape is that FKA Twigs is clearly done being sad. While her risky move to expand into more mainstream sounds could have alienated fans, it only unveiled her versatility as an artist.

28. Killing Me — Omar Apollo

Before I begin, insert obligatory “I was on this man before it was mainstream and y’all wasn’t there!”

It’s Omar Apollo’s year, and it is so deserved. Omar released his debut studio album Ivory this year, and while I loved his breakout hit “Evergreen” (renamed “Evergreen (You Didn’t Deserve Me At All)” after the bridge section with that lyric blew up on Tik Tok), when the dust settled, “Killing Me” emerged superior. The painfully nostalgic R&B track weaves between English and Spanish, detailing the story of a girl who is breaking Omar’s heart: “What I do makes me wonder if I’m alright/Holding back feelings like it’s the end of my life/That’s right you’re killing me.”

After attending Omar’s show this past May and sobbing my way through it, I gained even more respect for him as an artist. He’s not just a pretty face — he put on an electric show, and had all of Terminal 5 waiting for his next move with baited breath. Also, “Love me like I’m gonna die/Fuck me like you fantasize” is the exact type of toxic shit I eat up. Considering the chart success of “Evergreen,” we should expect Omar Apollo to be a household name very soon. As his mainstream success grows, I hope fans continue to return to his early work.

27. BIZCOCHITO — ROSALÍA

This was a tough choice. ROSALÍA’s third studio album MOTOMAMI was released this year to universal acclaim, widely agreed upon as one of the best releases of 2022. The album is jam packed with flamenco, dark pop and alternative reggaeton. She croons powerfully on “Hentai,” samples one of my favorite Tik Tokers on “CUUUUuuuuuute,” and created “SAOKO,” one of the hottest club anthems of the year. I wondered if the silliest song on the album was a fair representation of its brilliance.

Duh, of course it is.

“BIZOCHITO,” which falls just under 2 minutes, is punchy anthem about ROSALÍA’s evil eye-averting powers. It’s hypnotic, with a simple chorus that has made instantly everyone burst into song and dance this year. The simple combination of “ta” and “rá” syllables and a swing beat (plus an off-putting gum-chewing trend) was enough for the track to take over Tik Tok and the world. I recall a moment where the track played at Elsewhere in Brooklyn this year — the entire crowd erupted into joy, laughter and screaming. Tracks that affect crowds like that are undeniable hits, and “BIZOCHITO” is the blueprint — it remains a defining song of 2022 and will surely be a signature ROSALÍA record for years to come.

26. Blick Blick (with Nicki Minaj) — Coi Leray

Blick Blick is an organic CD Radio hit — and I say that because frankly this year I wasn’t checking for releases by either of these artists, for various reasons you can infer about on your own. However, Coi Leray got a feature from the Queen of Rap, and she more than rose to the occasion — and thus respect must be given where respect is due.

The chorus is explosive — it’s perfectly produced, with an impeccable blend of pop and hip-hop. It’s bounce is toxic, while the two rappers invoke a noxious flow: “All these diamonds different color, color, color (yeah)/I done ran up all these commas, commas, commas (yeah).” I bike everywhere (it’s the only efficient way to get around Brooklyn) and this song is a top-tier bike song — the type of track to leave you pummeling head first into a brick wall because you’re way too fucking lit, in a good way of course.

However, per usual, the Queen of Rap is the highlight of the track — Nicki opts not to skimp on her feature, giving us almost a full minute of bars: “Wrist on chunky Barbie (Barbie)/Me, Onika Tanya (Tanya)/All these PR stunts, but bitch, you ain’t puertorriqueña.” Chockfull with typical Nicki slant raps, mimicked flows from Coi’s verse and reimagined, dynamic phrasing, Nicki solidifies the song’s crown as one of the best rap songs of the year.

25. hover like a GODDESS — WILLOW

Guest Write-Up: LEMMONS

“hover like a GODDESS’’ — like the whole of <COPINGMECHANISM> — invites listeners to wail out; to unclench; to fall deep into emotional vulnerability. WILLOW’s musical career spans over a decade, with a penchant for switching up genres. From alt-pop to psychedelic R&B to grunge, her pen’s defining characteristic can certainly be summed up with the word “angst.” I remember feeling a similar sense of release when watching the music video for “Whip My Hair” at 12 years old — the first time WILLOW inspired me to let go with reckless abandon. “hover like a GODDESS’’ features a sapphic declaration of love that verges on fanatical: “You’re addictive/so indicative of my inhibitions.” Her taste? Sweet. Her touch? Divine. This mysterious celestial being doesn’t walk, she glides just above the earth — a vision that reminds me of my own daydreams about all the girls I loved before.

The song’s fast pace leaves one breathless and flushed amidst WILLOW’s powerful beltings: ”I’ll never be fine if you won’t be mine.” But my favorite part — the one that had me playing this song on repeat in 2022 — is a 10-second respite from the high energy strain of beat-driven guitar and vocals, at 0:50: a delicate riff on the above line’s echo, perfectly displaying the unguarded heart of this sweet fantasy. Raw and exposed, it sonically captures that suddenly certain feeling of queer desire: an ephemeral balm that leaves one chasing that soothing again and again —Hannah L.

24. Coffee — KLARK

Very specific songs are bestowed with the title of ‘perfect Pop song’ —KLARK’s “Coffee” is the crown jewel. “Coffee” is a sweet, longing R&B record about the beauty of morning skin, morning dew and morning coffee: “Coffee/Melting away this/Mourning/Rising/Like flora/After the storm.” The song brushes a vivid portait of love and ectasy, the feeling in your spine when your skin touches a lover.

“Coffee” is the type of song that makes even the most emotionally unavailable person crave a relationship, and KLARK’s warm, bass tone is at least 50% of the reason. It’s a gorgeous ode to love, presumably a track dedicated to KLARK’s lover, who is the muse in the video to KLARK’s biggest track yet, “Simple,” which has already accrued over 100,000 streams on Spotify. I am so excited to see what sounds KLARK dabbles with next — he is constantly reinventing the pop wheel, and meticulously crafting gorgeous records on every level — flawless production, lyrics and vocals.

23. HMU for a Good Time (feat. Channel Tres) — Tinashe

A link up to be discussed for the ages. “HMU for a Good Time” is the kunty klub anthem of the year.

The Channel Tres co-produced track opens with a distorted sample, before a briefly disjointed, quickly cohesive techno beat guides us into his vocal entrance, marked by his signature, heat-inducing deep whisper: “All it takes is one ring, she gon’ pick up.” If it’s the club calling, Tinashe would certainly agree: “We just tryna fuck it up, smoke it up, pass the blunt/These hoes can’t compete with us, drink with us, can’t sit with us.” The track is so transparently for the pretty girls who like to get fucked up and have a good time. How can you be mad at that?

Production wise, around 3:18, the tempo slows back to its disjointed origin— mirroring the cycle of the muddled process of making plans to go out, gathering the girlies together, and the uncanny, slow-motion unraveling that ensues once you’re all together. The track, which was featured on the deluxe version of Tinashe’s critically acclaimed fifth studio album 333, rounds out the album impressively, showcasing yet another example of Tinashe’s ability to capture the milieu before it’s mainstream.

22. Leak It (feat. Chloë) — Ari Lennox

Guest Write-Up: Nate Vinson

Ari Lennox is more confident and empowered than ever before on her sophomore LP age/sex/location, which is evident by the sultry, slinky “Leak It.” The DC-born songstress brilliantly captures the sensuality of a sex tape while simultaneously ridding it of any sleazy, shameful stigma. Modern verbiage like “no filter, backdrop/no sparkles, no crop” and “‘cause you got me, got me feelin’ a way” have never sounded more timeless. Chloë — who Lennox reached out to just a week before the album’s release — proves to be a perfect addition as she showcases her vocal prowess over Cardiak and WU10’s soulful production. — Nate V.

21. Cardboard Box — FLO

What a year these ladies have had. It’s hard to believe “Cardboard Box,” their debut single, was only released in March of this year. They have since accrued tens of millions of streams, released their debut EP The Lead to critical acclaim, and won the Rising Star Award at the Brits, sharing it with previous winners like Adele and Jorja Smith. It’s satisfying to see a talented group of Black women receive the immediate acclaim and runway to cultivate their artistry that so many deserve.

The inclusion of “Cardboard Box” over other stellar tracks like “Immature” and “Not My Job” should not indicate they peaked upon debut — they have only risen the bar, but the way “Cardboard Box” hit the streets like crack in the 90s must be recognized. The track was propelled by a viral tweet and within days received co-signs from Missy Elliott and SZA, and for good reason. FLO’s signature 90s R&B sound complements the romanticized memory of the time, while bringing a bright, pop flare that is distinctly 2022: “So I’ma put your jeans next to the dreams that you sold me/Believe karma is a B and she gon’ teach.” FLO has been primed and trained — it’s clear they are ready for stardom, and the best part is the world clearly is too.