Thirty songs to celebrate this most important of month-long holidays.
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Tunes Du Jour Presents 2015
“Uptown Funk” opened 2015 by daring the rest of pop music to be as fun, and not much else quite matched it on that front — Mark Ronson and Bruno Mars had assembled something so precisely calibrated to delight that it almost didn’t seem fair. From there the year spread out in several directions at once. Drake’s “Hotline Bling” turned a mid-tempo, vaguely melancholic R&B track into a cultural event largely on the strength of its own awkwardness. The Weeknd crossed into genuine ubiquity with “Can’t Feel My Face” — a song that managed to be both a mainstream smash and, lyrically, a fairly dark piece of work. And then there was Adele, who released “Hello” in October and promptly reminded everyone that a big voice and a big melody, executed without a trace of irony, can still stop a room. The song broke streaming records almost immediately and felt, in its very straightforwardness, like a rebuke to the year’s more studied cool.
If one artist owned 2015 critically, it was Kendrick Lamar. To Pimp a Butterfly arrived in March and immediately reoriented conversations about what rap could do structurally and politically. “King Kunta” was the album’s most visceral punch — confrontational, funky, and specific in its references in ways that rewarded close listening. Elsewhere in hip-hop, Fetty Wap’s “Trap Queen” was one of the year’s most improbable success stories: a track rooted in trap music’s skeletal, skittering beats but softened by Fetty’s melodic looseness and a surprisingly affectionate lyrical premise. It peaked at number two on the Hot 100 and spent most of the year on the chart. Rihanna’s “Bitch Better Have My Money” drew from the same trap well but to a very different emotional effect — harder, more confrontational, and delivered with a precision that made the demand feel non-negotiable. Nicki Minaj, meanwhile, was doing something technically sharp on “Truffle Butter”: she announces early in her verse that she has a dozen flows, and then proceeds to demonstrate it, cycling through registers and tempos within a few bars in a way that most listeners registered as energy without necessarily clocking how much control it required.
Some of the year’s most durable music came from artists working at a slight remove from the mainstream. Carly Rae Jepsen’s Emotion became a critical darling almost in slow motion — “Run Away With Me” is the kind of opening track that makes you understand why people proselytize about a record. Tame Impala released Currents, and “Let It Happen” announced a shift toward synthesizers and a more expansive, unhurried sound that influenced a lot of what followed. Courtney Barnett’s “Pedestrian At Best” was wired and funny, running on nervous energy throughout. Grimes put out “Realiti” as a demo and it felt more fully realized than most finished records.
The year also had room for artists doing something closer to American roots music, though rarely in straightforward ways. Leon Bridges arrived with “Coming Home,” drawing on early soul so precisely that it occasionally felt like an exercise, but an extremely well-executed one. Alabama Shakes’ “Don’t Wanna Fight” was rawer and harder to categorize — Brittany Howard never let genre expectations dictate what she does, and her voice on that track does things that make those expectations feel beside the point. Father John Misty’s “Chateau Lobby #4” was a love song about his wife, filtered through deliberately bizarre imagery — satanic Christmas Eve, a wedding dress someone was probably murdered in — that somehow landed as genuinely romantic. Sufjan Stevens released Carrie & Lowell, and “Should Have Known Better” is among the most quietly devastating songs of the decade — it moves from grief into something that feels, carefully and without overselling it, like hope.
What holds this particular year together isn’t a unified sound but a productive restlessness. Run The Jewels brought Zack De La Rocha in for “Close Your Eyes (And Count to Fuck)” and made something that sounded urgently necessary. Skepta’s “Shutdown” was a reminder that grime had been building momentum for years and was finally getting its due internationally. Missy Elliott, back after a long absence, sounded exactly like herself on “WTF (Where They From)” — which is to say, like nobody else. Thundercat’s “Them Changes” and Julia Holter’s “Feel You” pointed toward where adventurous R&B and jazz-adjacent pop would head over the next several years. EL VY — the side project of National frontman Matt Berninger — closed things out with a song whose title alone (“Return to the Moon (Political Song for Didi Bloome to Sing, with Crescendo)”) tells you something about the year’s appetite for work that didn’t feel the need to make things simple.
Dig into thirty of the best offerings from 2015.
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Tunes Du Jour Presents 2016
If you want to understand what 2016 felt like, you could do worse than just sitting down and listening to its music. It was a year when several of the biggest artists in the world released some of their most ambitious work, while a second tier of artists was quietly making records that would age just as well. The result is a body of music that holds up not because it captured a singular mood, but because it didn’t — it scattered in a dozen different directions at once, and that tension is exactly what makes it interesting to revisit.
The blockbusters were genuinely good. Beyoncé’s Lemonade arrived as a cultural event, and “Formation” was its defiant opening statement — grounded in Black Southern identity, uninterested in making anyone comfortable. Rihanna and Drake’s “Work” was inescapable in the best way, a dancehall-inflected earworm that somehow felt both effortless and precise. Drake also appeared on “One Dance,” a song that helped bring Afrobeats to mainstream Western audiences in a real way, with Wizkid and Kyla doing a lot of the heavy lifting that often went uncredited. Kanye West’s “Ultralight Beam” opened The Life of Pablo with a gospel choir and a Chance the Rapper verse that became one of the most talked-about moments in rap that year. These were pop and rap operating at a high level, and they knew it.
But some of the year’s most lasting music came from artists working in a quieter register. Solange’s “Cranes in the Sky” approached anxiety and avoidance with a kind of elegant restraint that her sister’s more maximalist work doesn’t always make room for. Frank Ocean finally released Blonde after years of anticipation, and “Nights” — with its midpoint beat switch — felt like the whole album in miniature. Mitski’s “Your Best American Girl” packed more emotional complexity into three and a half minutes than most artists manage in an entire record, and Angel Olsen’s “Shut Up Kiss Me” was a shot of pure guitar-rock energy from an artist who could do pretty much anything she turned her hand to. These songs didn’t dominate the charts, but they dominated year-end lists for good reason.
2016 was also a year when the world outside the speakers kept bleeding in. A Tribe Called Quest came out of a long hiatus to release We Got It from Here, and “We The People….” was an explicit, unambiguous political statement made by veterans who had earned the right to make it. YG and Nipsey Hussle’s “FDT” was rawer and angrier, a West Coast rap track that said plainly what a lot of people were thinking during a particularly ugly election season. ANOHNI’s “Drone Bomb Me,” from her album Hopelessness, took a different approach entirely — a beautiful, devastating song sung from the perspective of a bombing victim, using the form of a love song to make its critique land harder. And then there was Leonard Cohen’s “You Want It Darker,” released just weeks before his death, which felt less like a goodbye than a reckoning. David Bowie’s “Lazarus,” similarly, arrived as part of Blackstar and took on a different weight entirely after he died in January. Not every year loses two artists of that stature within months of each other.
What ties all of this together isn’t a single sound or theme, but a kind of seriousness of purpose — even in the party songs, even in the straightforwardly fun ones. Justin Timberlake’s “CAN’T STOP THE FEELING!” was designed to be a piece of pure joy, and it succeeded. “Broccoli” by D.R.A.M. featuring Lil Yachty was loose and goofy and charming in a way that didn’t need to be anything else. Car Seat Headrest’s “Drunk Drivers/Killer Whales” captured a specific kind of young-adult exhaustion with more precision than most rock music manages. Radiohead’s “Burn the Witch” was tightly wound and anxious. The xx’s “On Hold” was cool and minimal and aching. These songs don’t belong to the same world, and yet they all came from the same twelve months. That’s not a contradiction — that’s just what a genuinely good year in music looks like.
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Tunes Du Jour Presents 2018
What makes a year in music stick with you? Sometimes it’s a single, dominant sound, but more often, it’s the feeling of multiple, vibrant conversations happening all at once. Looking back at 2018 through a playlist of its key songs, it becomes clear it was a year defined less by a unified trend and more by the strength of its distinct, parallel movements. From event-level releases that captured the cultural zeitgeist to deeply personal songwriting that quietly demanded our attention, the year offered a compelling range of expressions.
It’s impossible to talk about 2018 without acknowledging the sheer creative and commercial force of hip-hop. The genre was the site of some of the year’s most ambitious projects. Childish Gambino’s “This Is America” and The Carters’ “APESHIT” used the music video as a powerful medium for commentary, creating moments that were analyzed far beyond music blogs. At the same time, the genre showcased its sonic breadth. You had the elaborate, multi-part production of Travis Scott’s “SICKO MODE,” the classic, sample-heavy precision of Pusha T’s “If You Know You Know,” and the New Orleans bounce of Drake’s “Nice For What.” With Kendrick Lamar lending his acclaimed lyricism to artists as different as Anderson .Paak, Lil Wayne, and SZA, his presence served as a throughline of quality, underscoring the genre’s central role.
While hip-hop drove many conversations, pop music was busy broadening its own definition. Artists delivered hits by looking outward for inspiration. Janelle Monáe’s “Make Me Feel” was a masterclass in taut, Prince-indebted funk, while Kacey Musgraves blended country sensibilities with a disco beat on the delightfully sly “High Horse.” This spirit of connection was also felt on a global scale. The massive success of Cardi B’s “I Like It” and Camila Cabello’s “Havana” cemented the power of Latin rhythms in the mainstream, and ROSALÍA’s “MALAMENTE” introduced her modern take on flamenco to a worldwide audience, proving that a compelling sound needs no translation.
Alongside these high-energy sounds, a potent strain of rock and indie music thrived on sharp, unflinching songwriting. This was the year of the specific, personal narrative. Artists like Mitski (“Nobody”), Lucy Dacus (“Night Shift”), Phoebe Bridgers (“Motion Sickness”), and Snail Mail (“Pristine”) earned devoted followings by writing with startling clarity about anxiety, heartbreak, and identity. Their work wasn’t about grand statements but about the power of a perfectly articulated observation. In a similar vein, Courtney Barnett’s “Nameless, Faceless” turned everyday frustrations into a pointed critique, showing that even the most direct rock song could carry a vital message.
Ultimately, 2018 wasn’t a year where everything blended together. Instead, it was a year of powerful, coexisting identities. The charts were filled with innovative pop and globally-influenced hits, hip-hop continued to be a space for both blockbuster production and sharp social critique, and a wave of songwriters made their mark with profoundly personal work. From the confident breakup anthem of Ariana Grande’s “thank u, next” to the cathartic release of Robyn’s “Honey,” the music of 2018 offered a rich and varied landscape, setting the stage for many of the sounds and artists we’re still listening to today.
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My Favorite Songs Of 2024
- Good Luck, Babe! – Chappell Roan
- HOT TO GO! – Chappell Roan
- TEXAS HOLD ‘EM – Beyoncé
- Houdini – Dua Lipa
- I KNOW ? – Travis Scott
- Espresso – Sabrina Carpenter
- girl, so confusing – Charli xcx & Lorde
- Not Like Us – Kendrick Lamar
- I Guess Time Just Makes Fools Of Us All – Father John Misty
- Like That – Future, Metro Boomin & Kendrick Lamar
- Training Season – Dua Lipa
- Jerkin’ – Amyl and The Sniffers
- Nothing Matters – The Last Dinner Party
- Water – Tyla
- Guess – Charli xcx feat. Billie Eilish
- Broken Man – St. Vincent
- Please Please Please – Sabrina Carpenter
- Pink Pony Club – Chappell Roan
- Starburster – Fontaines D.C.
- Abigail – Soccer Mommy
- Step Into Your Power – Ray LaMontagne
- What About the Children? – Gary Clark Jr. feat. Stevie Wonder
- LUNCH – Billie Eilish
- WILDFLOWER – Billie Eilish
- MY HOUSE – Beyoncé
- Mamushi – Megan Thee Stallion feat. Yuki Chiba
- Deeper Well – Kacey Musgraves
- yes, and? – Ariana Grande
- My Golden Years – The Lemon Twigs
- All In Good Time – Iron & Wine feat. Fiona Apple
- Taste – Sabrina Carpenter
- Lights Camera Action – Kylie Minogue
- The Architect – Kacey Musgraves
- That’s How I’m Feeling – Jack White
- Dancing in the Flames – The Weeknd
- BIRDS OF A FEATHER – Billie Eilish
- Femenine – Empress Of
- Saturn – SZA
- Once in a Lifetime – Joshua Idehen with the Social Singing Choir
- Capricorn – Vampire Weekend
- The Door – Teddy Swims
- Calling You Out – Charly Bliss
- Mess It Up – The Rolling Stones
- Eusexua – FKA twigs
- x-ray eyes – LCD Soundsystem
- Grace – IDLES
- Too Sweet – Hozier
- Young Lion – Sade Adu
- Baddy on the Floor – Jamie xx and Honey Dijon
- Euphoria – Kendrick Lamar
- Life – Jamie xx & Robyn
- Mother Nature – MGMT
- JOLENE – Beyoncé
- The Rest of Me – Michael Kiwanuka
- Worth It. – RAYE
- Dream Job – Yard Act
- Mood Swings – Little Simz
- All You Children – Jamie xx & The Avalanches
- The Light Nights – Camera Obscura
- J CHRIST – Lil Nas X
- Weightless – Romy
- 360 – Charli xcx featuring Robyn and Yung Lean
- LEVII’S JEANS – Beyoncé featuring Post Malone
- Sinner – The Last Dinner Party
- Sticky – Tyler, the Creator feat. GloRilla, Sexyy Red & Lil Wayne
- Too Much – girl in red
- Well, Alright – Johnny Cash
- Peaceful Place – Leon Bridges
- Clams Casino – Cassandra Jenkins
- Sympathy Is a Knife – Charli xcx feat. Ariana Grande
- Take Me Home, Country Roads – Lana Del Rey
- Racist Piece of Shit – Fishbone
- While My Guitar Gently Weeps – Lucinda Williams
- Classical – Vampire Weekend
- Bells and Whistles – Bright Eyes
- Alimony – Miranda Lambert
- Genesis. – RAYE
- Neva Play – Megan Thee Stallion feat. RM of BTS
- Disease – Lady Gaga
- BLACKBIIRD – Beyoncé with Brittney Spencer, Reyna Roberts, Tanner Adell and Tiera Kennedy
- Flea – St. Vincent
- Friend of a Friend – The Smile
- HIND’S HALL – Macklemore
- HISS – Megan Thee Stallion
- Timeless – The Weeknd with Playboi Carti
- 16 CARRIAGES – Beyoncé
- we can’t be friends (wait for your love) – Ariana Grande
- On My Mama – Victoria Monét
- Death Valley High – Orville Peck featuring Beck
- Tennessee Rise – The Tennessee Freedom Singers
- The Feminine Urge – The Last Dinner Party
- Surround Sound – JID feat. 21 Savage & Baby Tate
- Talk Talk – Charli xcx
- Cinderella – Remi Wolf
- Afterlife – Sharon Van Etten
- Real Good – Homeboy Sandman
- Sexy To Someone – Clairo
- Beaches – Beabadoobee
- Favourite – Fontaines D.C.
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Tunes Du Jour Presents Jay-Z
Jay-Z’s musical journey is a testament to artistic evolution, entrepreneurial spirit, and the power of reinvention. Born Shawn Corey Carter in Brooklyn’s Marcy Projects, he transformed the challenges of his early life into a narrative of remarkable success that extends far beyond music. His discography reflects not just his lyrical prowess, but a strategic approach to storytelling that captures the complexities of urban experience, ambition, and personal growth.
From early tracks like “Can’t Knock the Hustle” to later, more reflective works like “The Story of O.J.,” Jay-Z has consistently demonstrated an ability to narrate his life’s trajectory with remarkable honesty and insight. His collaborations reveal another dimension of his artistry – whether trading verses with Kanye West, creating anthems with Rihanna, or exploring complex themes with artists like Justin Timberlake, he has always been more than just a solo performer. These partnerships showcase his versatility and his skill in creating music that resonates across different genres and audiences.
Beyond music, Jay-Z emerged as a cultural entrepreneur who redefined what success could look like for a hip-hop artist. His business ventures – from Roc-A-Fella Records to Tidal, and partnerships with brands like Armand de Brignac champagne – illustrate a vision that extends well beyond creating hit tracks. He transformed the traditional narrative of a rapper’s career, positioning himself not just as an artist, but as a mogul who could navigate both creative and corporate landscapes with equal finesse.
His personal life, particularly his relationship with Beyoncé, has also been a significant part of his public persona. Together, they’ve created a power couple narrative that transcends music, touching on themes of love, family, and shared ambition. Albums like EVERYTHING IS LOVE demonstrate their ability to collaborate not just as romantic partners, but as artistic collaborators who can create groundbreaking work together.
What makes Jay-Z’s journey particularly compelling is how he has continually evolved. From street narratives to introspective explorations of success, race, and personal growth, he has never allowed himself to be confined by early expectations. His music has become a form of cultural commentary, addressing systemic issues while celebrating individual achievement. Whether through tracks that become New York anthems like “Empire State of Mind” or provocative statements like “D.O.A. (Death of Auto-Tune),” he has consistently pushed musical and cultural boundaries, cementing his status as not just a hip-hop artist, but a true cultural icon.
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Tunes Du Jour Presents Eminem
Eminem, born Marshall Mathers, has been a dominant force in hip-hop for over two decades. Rising to fame in the late 1990s with his major-label debut The Slim Shady LP, Eminem quickly became known for his rapid-fire delivery, complex rhyme schemes, and controversial lyrics. His subsequent albums, including The Marshall Mathers LP and The Eminem Show, solidified his status as one of the best-selling artists of the 21st century.
Throughout his career, Eminem has produced numerous chart-topping hits. Tracks like “Lose Yourself,” “The Real Slim Shady,” and “Without Me” showcased his ability to blend catchy hooks with sharp lyricism. His storytelling abilities, evident in songs like “Stan” and “Mockingbird,” have set a high bar for narrative rap. Eminem’s impact on the genre extends beyond his solo work. His collaborations have often resulted in memorable tracks, from “Forgot About Dre” with Dr. Dre to “Forever” alongside Drake, Kanye West, and Lil Wayne. His work with D12 on songs like “Purple Pills” and “My Band” demonstrates his ability to work within a group dynamic.
Despite his undeniable success and influence, Eminem’s career has been marked by persistent controversy and criticism. Many critics point to the misogynistic and homophobic content in some of his lyrics. Songs such as “Guilty Conscience” and “97′ Bonnie & Clyde” have been criticized for their graphic depictions of violence against women.
The problematic aspects of Eminem’s work extend beyond specific themes. Some listeners find his humor juvenile and distasteful, citing songs like “Just Lose It” as examples. Critics argue that despite his technical prowess, Eminem’s core themes and style have remained largely unchanged over the years, suggesting a lack of artistic growth.
These ongoing debates around Eminem’s content raise important questions about artistic expression, social responsibility, and the expectations placed on artists as they progress in their careers. Despite the criticisms, Eminem maintains a significant fanbase and continues to be a prominent figure in hip-hop. Whether Eminem can continue to evolve and remain relevant in a rapidly changing music industry remains a topic of discussion among fans and critics alike.
Tunes Du Jour Presents 1999
As we look back on the musical landscape of 1999, it’s hard not to be struck by the sheer diversity and quality of singles that dominated the charts and airwaves. Straddling the end of one millennium and the dawn of another, this year produced an extraordinary array of hits that continue to resonate with listeners today.
Pop music was in full force, with young stars like Britney Spears and the Backstreet Boys delivering earworms that would define the era. Spears’ debut “…Baby One More Time” and the Boys’ “I Want It That Way” became instant classics, their catchy hooks and polished productions setting a new standard for pop perfection. Meanwhile, Latin pop exploded onto the mainstream scene with Ricky Martin’s irresistible “Livin’ la Vida Loca,” a song that seemed to capture the exuberant spirit of the times.
But 1999 wasn’t just about glossy pop. Hip-hop continued its ascent, with Jay-Z’s “Hard Knock Life (Ghetto Anthem)” showcasing the genre’s growing crossover appeal. Eminem burst onto the scene with “My Name Is,” his irreverent wordplay and controversial persona signaling a new direction for rap. R&B, too, had a strong showing, with TLC’s “No Scrubs” becoming an anthem of female empowerment and Lauryn Hill’s “Ex-Factor” demonstrating the genre’s capacity for emotional depth.
Rock music, far from being overshadowed, produced some of the year’s most enduring tracks. The Red Hot Chili Peppers’ “Scar Tissue” showcased their evolving sound, while The Offspring’s “Pretty Fly (For a White Guy)” brought punk-pop humor to the masses. Alternative and indie acts like The Flaming Lips and Mercury Rev pushed boundaries with “Race for the Prize” and “Goddess on a Highway” respectively, proving that innovative songwriting could still find a place in the mainstream.
Electronic music also made significant inroads in 1999. Fatboy Slim’s “Praise You” and The Chemical Brothers’ “Hey Boy Hey Girl” brought big beat to the forefront, while Moby’s “Why Does My Heart Feel So Bad?” hinted at electronic music’s potential for emotional resonance. From the dancefloor-filling “Sing It Back” by Moloko to the avant-garde “Windowlicker” by Aphex Twin, electronic artists were expanding the sonic possibilities of popular music in exciting ways.
The singles of 1999 paint a picture of a music industry in flux, embracing new sounds and technologies while still celebrating the timeless art of the perfectly crafted pop song. It was a year that laid the groundwork for the musical landscape of the 21st century, producing hits that continue to inspire and entertain listeners a quarter-century later.
Tunes Du Jour Presents Kendrick Lamar
Kendrick Lamar, the Compton-bred rapper, has cemented his place as one of the most influential and acclaimed artists of his generation. With a discography that spans multiple critically acclaimed albums and a slew of awards, Lamar’s impact on popular music is undeniable.
From his breakthrough album good kid, m.A.A.d city to his Pulitzer Prize-winning masterpiece DAMN., Lamar’s music has consistently tackled complex themes of race, identity, and social injustice with raw honesty and lyrical prowess. His signature blend of West Coast hip-hop, jazz, and funk influences has earned him widespread recognition for pushing the boundaries of the genre.
Lamar’s accolades speak volumes about his artistic achievements. In addition to his 17 Grammy Awards, including Best Rap Album for DAMN., To Pimp A Butterfly and Mr. Morale & The Big Steppers, he has received numerous other accolades and honors throughout his career, further solidifying his status as one of the most celebrated rappers of his generation.
One of his most significant achievements was receiving the Pulitzer Prize for Music in 2018, becoming the first non-classical or jazz artist to be awarded this prestigious honor. The Pulitzer board praised his album DAMN. for its “virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African American life.”
Lamar has also won several BET Awards, including Album of the Year and Best Male Hip Hop Artist multiple times. He has been recognized by the American Music Awards, Billboard Music Awards, and MTV Video Music Awards, among others.
In 2016, Lamar received the prestigious Generational Icon Award from the California State Senate and the State’s Celebratory Commendation, honoring his artistic achievements and positive influence on the community.
Additionally, Lamar has been celebrated by various publications and organizations for his contributions to music and culture. He has been named one of Time Magazine’s 100 Most Influential People, and his album To Pimp a Butterfly was ranked by Rolling Stone as the greatest album of the 2010s.
Beyond his musical triumphs, Lamar has also been celebrated for his philanthropic efforts. Through his foundation, he has supported various initiatives aimed at improving the lives of youth in his hometown of Compton, including funding for academic programs and community development projects.
With his thought-provoking lyrics, innovative sound, and commitment to using his platform for positive change, Kendrick Lamar has solidified his position as a cultural icon and one of the most important voices in modern music. His impact transcends the boundaries of hip-hop, inspiring generations of artists and listeners to embrace authenticity, creativity, and social consciousness.
As Lamar continues to push the envelope and redefine what it means to be a rapper in the 21st century, his influence on popular music and culture will undoubtedly resonate for years to come.
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