The 25 Best Songs of 2023 So Far
Let’s get the obvious out of the way: it’s been a pretty weird year for music. With the top of the charts remaining relatively stagnant thanks to lengthy reigns at No. 1 from Miley Cyrus and Morgan Wallen, 2023 has been defined but our inability to accurately define it.
As we approach the halfway point of the year, 2023 could become the year of a number of genres. Between Wallen, Luke Combs, Bailey Zimmerman, and Lainey Wilson, country music seems to have finally found its footing in the streaming era, and a new generation of stars have emerged on the scene. R&B has boasted several excellent releases and hit singles alike from Coco Jones, SZA, and Kali Uchis. Música Mexicana has exploded Stateside with some help from Peso Pluma and Bad Bunny, while reggaeton-centric Latin music continues to rule by way of Karol G, Shakira, and Bizarrap. Of course, Afrobeats is still king; Rema, Arya Starr, Asake, and Omah Lay, among others, continue to score hits across the globe. And even though a rap song has yet to hit No. 1 this year, we’ve gotten great songs from the likes of Ice Spice, Lil Durk, and Baby Keem. Oh, and who can forget the indie darlings across the alternative and rock scenes like The National, Phoebe Bridgers, Caroline Polachek, and more?
In an attempt to sort through the mountains of music released in 2023 (and at the tail end of 2022), here are The Bulletin’s 25 best songs of the year (so far):
25. “Growin’ Up and Gettin’ Old” (Luke Combs)
“Fast Car” is currently the runaway hit from Luke Combs’ fourth studio album, but Gettin’ Old’s de facto title track is just as great. And on a good day, it’s even better. On the wistful midtempo track, Combs basks in the sunset of nostalgia with one foot in the bright-eyed wonder of childhood and the other in the green pastures of accepting aging. Combs embodies the essence of classic country through this reflective number which acts as the bridge between his third and fourth studio albums — both some of the best mainstream country records in recent years.
24. "This Is New York” (Scar Lip)
Everyone has an opinion on New York. Everyone has an opinion on New York rap. For Scar Lip, she quite simply does not give a f—k. Paying homage to Cardi B and DMX alike, “This Is New York” is an explosive, raucous anthem of New York pride. Both her cadence and the beat recall New York rap’s ‘90s glory days, but her language is decidedly contemporary — an important way to preserve the evolution of the New York spirit.
23. “Only Love Can Save Us Now” (Kesha)
One of the boldest pop albums of the year, Kehsa’s Gag Order is truly stunning work from one of the most transcendent pop stars of her class. In between angstier genre fusions and reflections on her embattled past decade lies “Only Love Can Save Us,” a gorgeous anthem of love and desperation that combines notes of gospel, dance, hyperpop, and Christian contemporary music. Ke$ha may be dead (and for good reason), but the bits of Kesha that gave true life and verve to that character are alive and well.
22. “Fly Girl” (FLO & Missy Elliott)
We haven’t yet escaped the sample vortex that is contemporary mainstream music, but there are some gems amidst all the clutter. With its sleek combination of a “Work It” sample and FLO’s impeccable, intricate harmonies, “Fly Girl” is an easy winner. It doesn't hurt that the Y2K aesthetic feels authentic from them thanks to the groundwork they laid with their The Lead EP. The perfect pre-game jam and a feisty ode to Gen Z’s independent women, “Fly Girl” is yet another slam dunk for FLO. Read the full review here.
21. “Body Do” (Chlöe)
Chlöe has been on the receiving end of an unfair amount of scrutiny for the better part of the past two years. Somehow she continues to persist and deliver some absolutely terrific tracks while she’s at it. In Pieces standout “Body Do” is one of the best examples of Chlöe’s maximalist approach to pop&B. You can hear a bit of Kelis in the way she crafts her lyrics, and the scuttering percussion recalls Missy Elliott, but the Chlöe combines all this with a Beyoncé-esque rap-sung cadence, hyperpop influences that bring to mind SOPHIE, and vocal arrangements in the style of Imogen Heap — a fusion of so many different inspirations that eventually results in one distinctly unique approach to the age-old sexed-up dance-pop jam.
20. “Ego” (Josh Levi)
As quiet as it’s kept, the rising class of R&B’s male vocalists is making some really dope music. Josh Levi has consistently been improving and flaunting his chops as a singer, songwriter, and dancer, and he’s raised the bar even higher with “Ego.” A slinky bedroom banger, “Ego” finds Josh reveling in the beauty of the chase. “Of course I want you, won't hear it from me though / I'm not other people, messin' with your ego, ego,” he sings in the chorus. Topping it all off with an interpolation of Beyoncé’s “Ego,” Josh’s “Ego” is a worthy addition to the lexicon of songs about, well, ego.
19. “Great Is He” (Popcaan)
The closing track and titular song from Popcaan’s fifth studio album is also one of his most poignant songs yet. Taking a break from sex and guns, Popcaan holds some space for reflection on the power of God and the virtues of faith. A wistful choir joins him on the Mojam and Wez-produced track. “God give me that power long time / Fi go kill Satan and him evil plan them,” he spits — a simultaneous call to arms and a reminder of the diversity of dancehall lyricism.
18. “For The First Time” (Halle)
Halle Bailey delivered some of the most stunning vocal performances in years on the soundtrack for Disney’s live-action remake of The Little Mermaid. From her jaw-dropping rendition of “Part of Your World” to her surprise ad-libs on “Under the Sea,” Bailey’s gorgeous voice carried the entire affair. “For the First Time,” a new original song penned specifically for the remake, blends Lin-Manuel Miranda’s musical theatre songwriting foundation with Bailey’s jazz and R&B-influenced approach to vocal performance for one fantastic number.
17. “Someone” (Fireboy DML)
For his first release of the year, Fireboy DML immediately hits it out of the park. “Someone,” which takes heavy influence from house music, is a lovestruck ode to that special person that makes your world keep turning. His staccato cadence pairs well with the rolling drum and bass, but it’s when he starts to belt the chorus with a touch of desperation that he truly begins to sell the high drama of the song.
16. “On My Mama” (Victoria Monét)
After going viral with choreography set to Trillville’s “Some Cut” last year, it was only a matter of time before Victoria Monét crafted a banger of her own out of that style of gritty oh-so-fly Southern hip-hop. Set in the same aesthetic and sonic lane as her previous Jaguar II singles, Monét delivers a smooth reinterpretation of Chalie Boy’s “I look fly / I look good” hook with this anthem of self-confidence that is guaranteed to get at least one person’s head nodding.
15. “Charm” (Rema)
This seductive deluxe addition to Rema’s highly successful Rave & Roses album is a relatively new sound for the Nigerian star, and he rides it well. “Charm” reunites the “Calm Down” singer with his go-to production collaborator London. The pair craft a sultry ode to a woman “dropping her body armor” and falling under the spell of Rema’s charm. It’s a slow-burner and intensely sensual, a smart play of versatility and an unabashedly sexy entry to the 2023 Song of the Summer race.
14. “Back In Office” (Saba & No I.D.)
“Young Sabastian, back in office,” Saba snarls in the opening of his No I.D.-helmed manifesto of business. One of the most gifted active rappers, Saba tends to fly under the radar, but those who know, know. A simultaneous ode to Chicago and a showcase of hilarious punchlines and smart metaphors alike, “Back In Office” continues Saba’s stunning streak of consistency. Here’s to hoping that the rest of his and No I.D.’s “private collection” can match “Back In Office.”
13. “CUFF IT (Wetter Remix)” (Beyoncé)
We’re all well aware that the remix — in the contemporary sense — has more or less become a cycle of renting the hot trending rapper of the moment to slap eight bars on an unchanged beat. Thank Beyoncé for Beyoncé. With the sexy “Wetter Remix” of her Grammy-winning Renaissance cut “Cuff It,” Queen Bey transforms the Nile Rodgers-blessed disco-funk banger into a horned-up synth-laden R&B affair that rests on an interpolation of Twista’s “Wetter.” One of the best songs of 2022 is now also one of the best songs of 2023.
12. “Independently Owned” (Alex Newell)
From the minute the first clip of Alex Newell performing this song started making the rounds on social media, the Tony was theirs. And theirs it was. This month, Alex Newell made history as the first trans actor to win the Tony Award for Best Featured Actor in a Musical. Their powerhouse performance of the Brandy Clark and Shane McAnally-penned track is one of the most towering vocal moments in recent Broadway memory. Newell blends country, gospel, and soul to contour their approach to musical theatre vocal performance, and the result is a peerless number that flaunts both their acting and singing chops. Of course, it helps that the lyrics are clever and the melody is ridiculously catchy. But this whole thing rests on Newell’s shoulders, and they absolutely rise to the occasion.
11. “Heaven, Iowa” (Fall Out Boy)
Fall Out Boy’s So Much (for) Stardust houses some of the band’s best music in years, and “Heaven, Iowa” is a gorgeous evolution of the group’s penchant for melodrama. The pacing is steady and deliberate; Patrick Stump stretches out his phrases to paint across a sparse instrumental that slowly transforms into a mélange of pounding drums and wailing guitars. Equal parts cinematic and histrionic, “Heaven, Iowa,” is a winner.
10. “Dawns” (Zach Bryan & Maggie Rogers)
Zach Bryan and Maggie Rogers are one of those combinations that look good on paper, but there’s still a slight chance the whole thing could bomb. Thankfully, “Dawns” is even greater than what most were expecting. Juxtaposing a sweeping pre-chorus against sparse verses, Zach and Maggie belt about recapturing and reclaiming days that they’ve wasted in the past. The song dips into the same pool of existentialism and grief that colors a large number of this year’s releases, and the rawness of the mix and both artists’ vocals add to the vulnerability of the lyrics. After having one of the best songs of last year with “Something In The Orange,” Zach Bryan has done it again.
9. “Boy’s A Liar, Pt. 2” (PinkPantheress & Ice Spice)
Jersey club + UK garage + two of Gen Z’s hottest new stars = the year’s best collab? There are still six months left in the year, but it’ll be no easy task to top this endlessly catchy tune from PinkPantheress and Ice Spice. The Bronx rapper reinvigorates the British singer’s stuttering Mura Masa-produced track with her signature “like” ad-libs and disarmingly introspective bars (“And I can't eat enough without you / If you don't speak, does that mean we're through?”). The pair duet about the various anxieties that a lying boyfriend can spark, but it’s the juxtaposition of the morose lyrics and jaunty beat that make this song so irresistible.
8. “Not Strong Enough” (boygenius)“
The lush melding of each member’s tones, the “ceiling fan” lyric, that damn bridge — there isn’t a single moment when boygenius isn’t firing on all cylinders on “Not Strong Enough.” Equally self-aggrandizing and introspective, “Not Strong Enough” works because it buys into the complexity of the self. There are pop songs that feign emotional intelligence, and then there are pop songs that get to the root of anxieties that stunt one’s ability to love in any capacity. “Always an angel, never a God,” the trio sings as they unpack how the dehumanization of women manifests itself in some of the most emotionally fraught moments of the human experience.
7. "Ego Talkin’” (Saint Harison)
If you’re on the side of TikTok obsessed with vocals and riffs and runs, you’ve definitely heard this song. Last year, Saint Harison had a couple of viral moments thanks to covers filled with his trademark rapid-fire riffs. “Ego Talkin’,” an original track, contextualizedsSaint’s highly technical riffs with conversational songwriting, bluesy instrumentation, and a bright, warm melody. We seem to be coming to the end of an era where R&B’s strongest vocalists weren’t making the genre’s best or most interesting songs, and Saint is a welcome addition to the cohort continuing to help push the genre forward.
6. “GLU” (Usher)
The King of R&B has been delivering incredible music for 30 years now, and “GLU” is the latest addition to a discography filled with jewels. This ode to the stickiest physical manifestations of love finds Usher deep in his Prince bag. He resides almost exclusively in his falsetto, stretching the register to its most carnal limits. Between the wailing, sensual guitar, and Usher’s wildly expressive vocal performance, “GLU” is a sizzling sex jam that actually sounds sexy — a rare occurrence in today’s music climate. Read the full review here.
5. “Shakira: BZRP Music Sessions, Vol. 53” (Bizarrap & Shakira)
Uh, how is Shakira’s official takedown of her ex over a thumping Bizarrap beat not one of the best songs of the year? Shakira’s vocal performance is elite, she’s simultaneously defiant and cheeky with an undertone of sadness to provide a sense of gravity to the whole affair. She seamlessly moves from rapping to singing as Bizarrap’s beat swells and contracts. The real MVP of this song, however, is the structure. Three full verses, multiple choruses, pre-choruses, an intro, and an outro… this is a full-bodied song, and Shakira maximizes every second of it. Few artists can pull off a song that sounds of-the-moment yet familiar, but, of course, Shakira has found a way.
4. “3 Boys” (Omar Apollo)
Fresh off his first career Grammy nomination, Omar Apollo unleashed this contender for the year’s best song all way back in February. This soulful doo-wop-inflected number finds Omar pulling off two songs at once. On the one hand, he’s lamenting over his difficulty in committing to a new partner because his ex is still weighing on his heart. On the other hand, he’s flirting with the concept of polyamory and trying to square it with the intimate connection he feels to his first lover. It’s murky business for sure, but between Omar’s gentle, airy vocals and the earthy guitar, “3 Boys” makes perfect sense.
3. “Talibans” (Byron Messia)
New York’s official Song of the Summer, “Talibans” is probably the greatest example of contemporary music’s multiculturalism. A dancehall song rapped in patois over an Afrobeats production, Byron Messia’s breakout hit embodies all of the gritty pride that connects the West Indian diaspora. The song is fairly sparse and Byron yields to its flow rather than imposing his own rhythm on top of the beat, a smart choice. Trap dancehall has had a wonderous evolution over the past few years, and this latest fusion with Afrobeats is one of its most exciting iterations yet.
2. “People” (Libianca, Omah Lay & Ayra Starr)
Party songs about the depression and sadness that people often use partying to attempt to alleviate will always hit. On this remix to Libianca’s original solo track, Omah Lay and Ayra Starr each add sleek verses and harmonies to the worldwide smash hit. Arya Starr kicks off the remix with a self-deprecating faith-seeking verse that features melodic splashes of gospel. Omah Lay’s verse lays everything bare; “Yes, I smoke weed / I can’t find peace,” he laments. The song’s despondent production emphasizes the gloomy nature of its lyrics, but there’s a brightness in Libianca’s voice that cuts through all of that. For all of their rebukes of people who aren’t genuine, there is still the underlying hope that those genuine folks will reveal themselves.
1. “Eat Your Young” (Hozier)
Not to be hyperbolic, but Hozier just might be our greatest living songwriter in popular music. He’s definitely among the best of the best, at least. Continuing down the road he forged with “Take Me To Church” a decade ago, Hozier blends religious and sexual imagery to ground his critique of society’s obsessive gluttony. “Skinnin' the children for a war drum / Puttin' food on the table sellin' bombs and guns,” he croons in his takedown of society’s prioritization of war profits over the protection of children. Less of a vocal showcase than “Church” or “Movement,” the song does well as a display of the mélange of the different components of a track. Everything sounds better because they were placed together — the glum choral energy of the background vocalists, Hozier’s scraggly falsetto floating around as the primary upper harmony, and the pounding drums and guitar all coalesce into the most rewarding listen (as far as single tracks go) of the year so far.
