The 50 best songs of 2022
If there has been one good thing about 2022, it’s that at least Covid-19 fears seem to have subsided. Aside from that cataclysm fading slightly from view, the absurdity of life on planet clown shoe has only intensified. Usually, art imitates life, but even Marcel Duchamp would struggle to reflect this berserk year. Thus, the music we have been presented with is somewhat strange—a delightful smorgasbord of oddities that ease us through these crushing times.
The frenzy has been so multifaceted that no single angle has risen to the fore. Sentimental folk remained a boon, the post-punk bubble continued to inflate in the UK, avant-garde amalgamations arose from the rubble as strange new hybrids, and throwback indie reminded us all of the good times when nights out didn’t impact the payment of bills. The world is a mixed-up place, and you’ll find that this playlist is suitably shuffled.
So, what of the songs we’re perusing below? Well, technology once again seems to have had a hand in shaping modern music. The importance of the single is back in vogue. There seemed to be a period in the vinyl resurgence when records were paramount, but now, before an album is released, we’ve usually heard half of it already. You see, labels have figured out that in order to seed a record release in the algorithms nice and early, then a track a month for four or five months running gives an artist pretty good footing.
Thus, if you want to shift some solid copies, then you best ensure that the singles you have released are enough to pique interest. This has seen a slightly hookier trend re-emerge in music of all varieties. In the previous years of this social slump, spiritualism reflection was the prominent musical zeitgeist. Now, that has morphed slightly towards a sense of catchy exultation with the times reflected in an acid edge.
While that might sound like the times are edging towards commercialism, the truth is the opposite. This year has seen a rise in originality and a new fearlessness among artists and labels. As Warmduscher recently told Far Out: “I think when things are shit, you find people making music because that’s just what they do. That’s what rises out of it. When there’s no reason to make music, that’s when you’re going to find the best stuff. You start finding people who are just doing it because they love it, and that creates genuine scenes.” As The Big Pink also ratified in an interview with us, when the cash is flowing, “lazy A&Ring” says, “Well, here’s just another band that sounds like this because that band is selling records,” but in these trying times, when there is little money about, originality seems to come through.
So, from the storytelling ways of Yard Act to the country-inclined revelry of Angel Olsen and even a surprise Gorillaz comeback, we’ve waded through the good, bad and ugly to bring you the very best. These are our 50 best tracks of 2022—no skips in sight. Enjoy.
The 50 best songs of 2022:
50. ‘Basketball Shoes’ – Black Country, New Road
At the beginning of February, Black Country, New Road released their second studio album, Ants From Up There, just a few days after lead vocalist Isaac Wood revealed he would leave the band. Despite this setback, the band persevered, honouring the album with a successful touring run. Ants From Up There was a satisfying continuation of the eclectic jazz-pun style pioneered in the band’s 2021 debut, For the First Time.
Offering a main course for dessert, Black Country, New Road brought their A-game to the album’s closer, ‘Basketball Shoes’. The 13-minute epic had been a fan favourite during live shows in the run-up to the album, and thankfully, the band did it justice in the studio. Songs north of ten minutes can sometimes present a challenge to the listener, but thanks to the disparate yet seamlessly blended phases, there’s not a single dry second. A pleasure for the repeat playlist.
49. ‘Love Will Get You There’ – Inhaler
In 2020, Inhaler announced themselves in style with their chart-topping debut album, It Won’t Always Be Like This, and if ‘Love Will Get You There’ is anything to go by, Cuts and Bruises will be even stronger than their anthemic debut. In recent years, there’s been a resurgence in traditional rock ‘n’ roll, and Inhaler are leading from the front. With seismic choruses, feelgood energy, and a knack for melody, the Irish four-piece look on course to be future festival headliners who can help propel guitar music back into mainstream consciousness.
On ‘Love Will You Get There’, Hewson optimistically sings: “You got to slow down, my friend, Love will get you there, Love will get you there.” There’s a beautiful simplicity to that hopeful chorus and their craft which gives their work an immediacy which is exactly what we need to hear during these testing times, and they look certain to reach the very top.
48. ‘Shit Talkin” – Alex Lahey
The second single from Alex Lahey’s upcoming third studio album, ‘Shit Talkin’’ arrived in November following the release of ‘Congratulations’ back in August. The Melbourne-based pop-rocker set the bar higher still with her 2019 second album, The Best of Luck Club, and has left fans in anxious anticipation as we inch closer to its follow-up. The first two singles are an early promise of great things to come.
‘Shit Talkin’’ is the perfect representation of Lahey’s affable personality and positive outlook on life. She faces her anxieties head-on, and the carefree tone seems to implore listeners to relax and enjoy their lives. All the while, Lahey’s simple progressions perfectly frame the punchy, infectious chorus: “Ohhh / Shit talkin’, all the way home.”
In a press statement issued at the time of the track’s release, Lahey explained that it is about the difficult combination of “people pleasing, social anxieties and irrational thinking”. She added: “We’ve all been there and I wrote this song in an attempt to shake it all off.”
47. ‘Bad Love’ – Dehd
Chicago-based indie three-piece Dehd broke the silence in February to release the single ‘Bad Love’, ahead of their fourth studio album, Blue Skies, which arrived in May. The single marked the group’s first release with Fat Possum records, and it certainly didn’t disappoint. While Blue Skies held other standout moments like ‘Window’, ‘Bop’, ‘Empty In My Mind’ and ‘Control’, they seem to have set the bar at the ceiling with ‘Bad Love’.
In Dehd’s trademark style, ‘Bad Love’ comes with atmospheric intensity as Emily Kempf’s provocative vocals read: “I was a bad love/ Now I can get some/ I got a heart full of redemption/ Yea now run baby run/ Run from the bad love.” The lyrics appear to warn of the changing perceptions of love, ultimately urging the listener to be cautious of relationships and “run” from the “bad love”.
Dehd have consolidated their vital position as a vital force in contemporary American indie music. While it shows limited style progression since the previous album, we’ve gained a few playlist mainstays and look toward the next few years with hungry ears.
46. ‘Tabula Rasa’ – Earl Sweatshirt
Thebe Neruda Kgositsile, better known by his stage name Earl Sweatshirt, has made quite the impression on the hip-hop world since he was taken under Tyler, the Creator’s wing in 2009 at the age of 15 as part of his collective Odd Future. Following the explosive maturity reached with his second record, 2015’s I Don’t Like Shit, I Don’t Go Outside, Sweatshirt has continuously found ways to keep his sound electrifying and thought-provoking.
In January this year, Sweatshirt released his fourth album, Sick!, which served as the long-awaited follow-up to 2018’s Some Rap Songs and 2019’s teaser EP Feet of Clay. In Sick!, Sweatshirt has released his most well-rounded and deftly constructed release to date. ‘Tabula Rasa’ sits comfortably at the top of the pile as the best on the album, thanks to its poetic and imaginative lyricism and a welcomed contribution from Armand Hammer.
45. ‘Daydreaming’ – The Big Moon
It can be easy to get lost in the doom and gloom of the modern world. Such is the precipice of extinction that we constantly find ourselves peering over that we sometimes forget to enjoy the love, joy and hope that we do have. Thankfully, The Big Moon is here to remind us of the good times that can be had, and ‘Daydreaming’ is just one more reason to smile.
As light and ethereal as the titular act, the band incorporate the sliding scales of pop music to enlighten their indie sound. Slinkier instrumentation allows the vocals of Juliet Jackson to reach their desired heights while the track slowly builds to its charming crescendo. It makes for a perfect car sing-a-long number for any future road trip.
44. ‘Anything’ – Sharon Van Etten
Weirdly, modern times have proved so gargantuan that a lot of music has avoided facing it in a direct sense. Sharon Van Etten cognitively mingles personal corroboration with a nod to the wider concept of the peace and war that wages outside a cigarette-smoke-filled bedroom. And she does so in a booming unapologetic style. The song is bravely simple. The lyrics are few, and the driving crescendo is constructed with a couple of chords, but owing to the pointedness of that production, it seems to encapsulate a lot.
And then, as ever, there is her voice. The vocal take is a towering exorcism. There is a sense in it that this is a song that needed to be sung. With authority and authenticity, Van Etten gets a few things off her chest and wallops you with the realism of them. The theme might be apathy, but this cuts through with an assegai of escaped emotion. It might not be a daring venture from one of our favourite modern artists, but it is a consummate triumph of self-aware songwriting.
43. ‘New Gold’ – Gorillaz, Tame Impala and Bootsy Brown
You see Gorillaz, Tame Impala and Bootsy Brown on the same bill, and a sense of excitement instantly fills the air. Anything more than a disappointment at that stage would be a triumph, and ‘New Gold’ far surpasses that.
Filled with energy and a sense of perfectly honed studio perfection for which all the performers involved are known, you can rest assured that these are master crafters at work. “There is no such thing as simple,” Martin Scorsese once said, “simple is hard”. Somehow, this trio of experts deliver exactly what you’d want from them without a single misstep. It is a fully-formed gem.
Joyously contemporary, Twitter references are thrown into the mix; there’s a dose of humour and a splash of absurdity in the lyrics. All of this creates something that simultaneously harks back to that old Tame Impala sound but remains very fresh and exacting in its approach to modern music.
42. ‘Diet Coke’ – Pusha T
When the word coke was laid next t the name of Pusha T, a sizable sense of excitement could be felt across the music world. Known for his affiliation with the white powder, Pusha T’s song was always likely to be charged with a sense of adrenaline that only the narcotic could match. He didn’t disappoint, either.
There’s a good reason that the song has such a vintage polish, and that’s because 88-Keys came up with a rough version of the beat almost 18 years ago as part of an interlude for his tape ‘The Makings of Crack Cocaine’.
“Imaginary players ain’t been coached right / Master recipes under stove lights,” Push raps with help from Kanye West, who is cited as a co-writer. “The number on this jersey is the quote price/ You ordered Diet Coke, that’s a joke, right?” It’s a reference Push has made for, once rapping during his time with Clipse on ‘Hello New World’: “Baggin’ up grams at the Hyatt, though / The news called it crack, I called it Diet Coke.” All in all, the song pounds like you’d hope with a vintage beat and timeless delivery
41. ‘Tonight’ – Phoenix featuring Ezra Koenig
Phoenix and Ezra Koenig are indie stalwarts that take us back to our youth. Without sounding like a throwback, the match-up brilliantly tosses a fitting dose of nostalgia into ‘Tonight’. Bopping along on a buoyant bassline, there is an upbeat simplicity that only the most cynical humbug could begrudge.
That bass continues to pound its way through the glimmer of glistening synths that add, as the lyrics proclaim, a “little splendour”. Perhaps it might be a bit cheesy in certain moments, but its heart is slap-bang in the right place. It’s an anthem that makes you want to go back to the bars of your youth to “roll with” it.
Joy is an underrated virtue in music, and this harmless track looks to offer it up in every note. Times are tough, we need more exuberant ditties like ‘Tonight’ to illuminate the spirit of a good old knees-up–it does that with perfectly engineered tones.
40. ‘I Love You’ – Fontaines D.C.
Dublin rockers Fontaines D.C. returned with their third album, Skinty Fia, in April. Their most complete record yet, it sees them get darker and more atmospheric than ever before. Brimming with tracks that became instant fan favourites, some of these cuts are likely to be features of their setlists for years to come.
To many, the pinnacle of the quintet’s new record is the gothic love song ‘I Love You’. Frontman Grian Chatten wears his heart on his sleeve, singing at the opening: “I love you, I love you, I told you I do / It’s all I’ve ever felt, I’ve never felt so well / And if you don’t know it, I wrote you this tune”.
Augmenting his maudlin lyrics are the chorus-drenched guitars of Conor Curley and Carlos O’Connell, which heighten the atmosphere of this crisply produced banger. It’s a strange song in the sense that the lyrics are so heartfelt, but there’s an intensely anthemic edge juxtaposing it. It works, though, largely thanks to Chatten’s coarse vocal delivery, where his honest intentions are unmistakable, and the raw power a real treat.
39. ‘My Babe’ – Spoon
The return of Britt Daniel and Spoon this year was a welcome one. Delivering their first album in five years, Lucifer on the Sofa is a resounding success, as the band shook things up thanks to a change in recording location and the trio of producers, Mark Rankin, Justin Raisen and past collaborator Dave Fridmann.
The final single from the record, ‘My Babe’, is an uplifting piece of heartland rock that features a catchy piano line, swaggering riff, and one of the band’s best choruses. The music is presented with meaning and a passion that is underpinned by assertive creativity.
Slowly building to a crescendo, ‘My Babe’ reaffirmed what we always knew: Spoon are a great band. It’s a point that often gets overlooked due to their ostensible status as a cult outfit and the fact that they always stay true to themselves, despite what the rest of the world wants.
38. ‘Runner’ – Alex G
American indie master Alex G has been around for well over a decade now, and after releasing nine albums, he still can’t claim to have produced a misfire. Whilst most are fairly similar in style, his latest outing, God Save the Animals, saw the Pennsylvania native branch into a new area. Of course, the catchy, slightly off-kilter indie that his fans love remains, but he refined his sound with more piercing lyrics and an expansive musical palette.
The second single, ‘Runner’, is a stand-out moment on the record. In it, he discusses enjoying being in the company of people he can open up to without feeling judged, a sentiment everyone can understand. With elements of greater experimentation with studio effects and varied dynamics, these new aspects all point to the 29-year-old entering a new chapter in his career.
Perhaps inspired by the pandemic and the fact that he’s nearly 30, ‘Runner’ represents the very finest elements of Alex G’s songwriting, with it boding very well for the future. The song and album are essential at any time of year.
37. ‘Part Of The Band’ – The 1975
Since they first broke onto the scene a decade ago, The 1975 have been written off by many as a group of narcissistic wannabes whose style is particularly annoying – with much of this rage directed at frontman Matt Healy. However, with their latest opus, Being Funny in a Foreign Language, the Cheshire band sent a forceful volley back to their critics, ending them for good.
The record is their most complete yet, and the song that embodies their new direction and cultivated sound is the lead single, ‘Part of the Band’. As the album was produced by Healy and drummer George Daniel in tandem with the producer a la mode Jack Antonoff, there’s no surprise that ‘Part of the Band’ is such a masterclass in sophistic-pop.
Composed of an array of different textures and dynamics, with an emotive string section carrying it all, as the piece nears its end, it gets truly affecting, with the sprinkling of the acoustic guitars glorious. The climax is the highlight, where the strings are joined by brass, and other strange reverb-drenched sounds lodged deep in the mix, creating a resonant sound that does more for the emotions than any of their other work.
36. ‘June’ – Destroyer
Dan Bejar’s Destroyer have never been away for an extended period of time, with this year’s Labyrinthitis their thirteenth album to date. A gorgeous record brimming with Bejar’s trademark brand of danceable indie, the single ‘June’ is the best of the bunch. It is the perfect soundtrack for an MDMA-fuelled jig at sunrise or an after-party where the comedown is kicking in. Arriving with a video directed by Bejar and David Galloway that heightens the aural intensity, the song makes a strong claim to be one of Destroyer’s finest.
Bejar’s politicised, postmodern lyrics are suspended above a funky bassline and some exquisite-sounding synths, initially creating a jarring listening experience. However, it soon becomes impossible not to give in to the rousing essence of the music.
Every listen makes it more impressive how much of an intense reaction the music garners. The sonic embodiment of nostalgia, ‘June’ leaves us pining for the heady summer days when anything seems possible. The only criticism would be that the song needs to be longer – and with it clocking in at over seven minutes, it’s evident how alluring it is.
35. ‘Back To The Radio’ – Porridge Radio
Brighton’s Porridge Radio are another group that have enjoyed a stellar 12 months, thanks to the quality of their work increasing a few levels on their third album, Waterslide, Diving Board, Ladder To The Sky.
In February, they released ‘Back To The Radio’ to precede the record’s release. Underpinned by a sadcore sensibility, this is an indisputable anthem. At the inception, the intrigue slowly intensifies thanks to the incessant strumming of Dana Margolin’s guitar and a heavy dose of feedback panning in and out. At this point, listeners would be forgiven for thinking this a 1990s alt-rock piece by the likes of Veruca Salt. Quickly though, any preconceptions dissipate as it launches into something wholly unique.
As soon as the band’s creative director, Dana Margolin’s vocals cut through the mix, you’re drawn into their complex and reflective world, which is something they’ve been honing since arriving on the scene six years ago. A truly beautiful cut, lifted by the warm sounds of the synth, ‘Back To The Radio’ is the perfect song for the bluer moments we all have in autumn.
34. ‘Bad Habit’ – Steve Lacy
American musician Steve Lacy has been a favourite of Far Out since he released his debut album, Apollo XXI, back in 2019. This year, he built on the brilliance of his debut with his hotly anticipated sophomore album, Gemini Rights. A stellar mix of R&B, pop, jazz, rock and hip-hop, Lacy’s distinctly alternative style is one of the most exciting out there, and with him only 24, he’s got a long road ahead.
His musical palette is broad, and nowhere else is this better typified than his first US number one, ‘Bad Habit’. A story of romantic regrets, the narrative Lacy spins is one we’re all familiar with. It kicks off with the chorus, “I wish I knew, I wish I knew you wanted me”, a painful inner thought where his disappointment is palpable.
One thing is made mighty clear when listening to the excellence of ‘Bad Habit’; Lacy has the potential to be our generation’s answer to Prince. From his wonky style to his clear grasp of a variety of genres, topped off by the power of his soulful vocals, ‘Bad Habits’ might well mark the start of an all-time great’s rise to the top.
33. ‘The Old Style Raiders’ – Jamie T
Indie heads of all generations were elated when Jamie T announced that he would be returning after six years away. His first single from The Theory of Whatever was ‘The Old Style Raiders’, and it was the positive anthem we’ve greatly needed in the years since he first slinked into the shadows.
Featuring a rousing chorus and some of Jamie’s best lyrics, including the line, “Hard times in the promised land”, it set the scene for his full return in emphatic fashion. The song immediately entered his best category, sending us all into a nostalgic daze, with the chorus of “Toe the line, hard to find/ Told to fight for something you loved in life” instantly becoming an earworm.
At the time of release, the man himself explained: “It’s fighting to find something that means enough to you that you love. The fight to find that, and carry on striving, to find something you love enough to hold on to. Rather than kid love or movie love or gushy love or lust love, whatever you have when you’re younger—it’s actually trying to fight for something that means more than that. It’s the struggle to find that.”
32. ‘Fire Escape’ – Beach Bunny
The second single from Emotional Creature, ‘Fire Escape’ arrived on March 29th, prophecising the warmth of an imminent summer. Beach Bunny’s sophomore effort followed their 2020 debut, Honeymoon, and featured no shortage of well-honed pop-punk gems. We could easily have picked ‘Oxygen’, ‘Entropy’ or one of the countless other anthems from this euphoric 2022 offering, but something about ‘Fire Escape’ stood out.
Maybe it’s those undertones of small-town pride enmeshed with big-city disillusionment. Maybe it’s the single’s dynamic range or Lilli Triffillio’s nightingale vocals. Then again, maybe it’s just that ‘Fire Escape’ captures the feeling of being young and in love without irony. Perhaps earnestness will always be the greatest form of musical rebellion.
31. ‘Shake the Feeling’ – Iceage
Evoking the rough-shod guitar pop of Teenage Fanclub, ‘Shake The Feeling’ dropped in August alongside news of Iceage’s new compilation album, Shake The Feeling: Outtakes & Rarities 2015-2021. “We thought this one to be a little too ‘nice’ and well-behaved at the time,” singer Elias Bender Rønnenfelt said of the single. “I didnʼt want to learn the song, so I ended up improvising on the final take we did before abandoning it. In hindsight, I find the song to be completely sprawling with an impulsiveness difficult to capture on purpose.”
‘Shake That Feeling’s’ half-formed beauty is its greatest strength. Iceage garnered their reputation with a pioneering blend of warped chamber rock. Their best-loved tracks are expansive and feature horn sections, piano lines and delicate flute pads, but this particular oddity reveals a less guarded group of musicians, one we only wish we’d had the chance to hear more of.
30. ‘King of Sweden’ – Future Islands
Since unveiling their 2008 debut Wave Like Home, Future Islands have been gradually honing their signature brand of retro-tinged synth pop. Released in February, ‘King Of Sweden’ plays out like a manifesto. It is a document of the Baltimore group’s quest to forge the perfect modern synth-wave song, and it certainly gets close to achieving that goal.
‘King Of Sweden’ was released as a stand-alone track shortly after ‘Peach’, Future Islands’ first original offering since they unveiled their sixth studio album, As Long As You Are. A testament to the strength of the group’s vision, the single predicts a rebirth for the indie veterans.
Doing such a thing is always tricky business; luckily, the band are blessed with one crucial advantage when faced with the slow march of time: inventiveness. On ‘King of Sweden’, they showed they may well be prepared for the war that’s coming.
29. ‘A Little Tune’ – Bret McKenzie
The Flight of The Concords’ songs were always suspiciously well-crafted, and now we know why. As it turns out, Bret McKenzie is a bit of a genius. Taken from the actor/musician’s debut solo album, ‘A Little Song’ arrived at the start of May alongside news of Songs Without Jokes.
Dripping with the joyful exuberance of the roaring ‘20s, ‘A Little Tune’ succeeded where many of the other tracks on Songs Without Jokes failed, managing to be at once playful, self-deprecating and yet completely authentic.
Though surrounded by blossoming brass arrangements and striding piano, McKenzie doesn’t once try to hide behind grandeur or – that perennial favourite of the solo artist – melancholy. Instead, he offers up something affable, infectious and incessantly enchanting.
28. ‘Goodbye Mr Blue’ – Father John Misty
Featured on Chloë and the Next 20th Century, ‘Goodbye Mr Blue’ was a refreshingly frills-free development of Father John’s decade-defining blend of existential folk. Utterly timeless and knowingly referential, the track arrived in March and remains the album’s most glimmering pearl.
One of the countless genre pastiches littered throughout Chloë and the Next 20th Century, and, indeed, Misty’s career as a whole, ‘Goodbye Mr Blue’ echoes Harry Nillson’s version of ‘Everybody’s Talkin’ from Midnight Cowboy while simultaneously bringing something raw and innovative to the table. It is, in that sense, a microcosm of the entire album: one that appears to be hiding behind once-celebrated genres but which frequently reveals itself to be unflinchingly poignant.
With this track, it is clear that Father John Misty still has the capabilities to complete an inch-perfect baroque pop sermon.
27. ‘Money is Mine’ – Working Men’s Club
Glitchy, inventive and deliciously maudlin, ‘Money is Mine’ possesses the same manic energy that made Working Men’s Club’s debut album so refreshing. It dropped in July at the height of summer, at which point the UK was in the midst of an unprecedented heatwave. Listening to ‘Money Is Mine’ at the time felt like taking a glug of cool water, only to discover the wells had run dry.
Now, in the depths of winter, the Fear Fear sounds just as frenzied and anarchical, perhaps even a touch more monstrous. There’s a grotesque charm about Working Men’s Club, and this track captures the group in all their cadaverous splendour.
It’s easy to wipe clean the muck of the post-punk tag that almost every band of the last five years were blemished with, but what remains after this dusting down is crucial. Luckily for Working Men’s Club, there is a sense of sonic security and artistic growth.
26. ‘Love Me More’ – Mitski
The modern-day Hell of everyday life was something that we all had to face during the pandemic. Without any outlets, isolation and repetition became the norm. It’s hard to believe anyone could pull any kind of genuinely good art out of something so blasé, but then again, not all of us can be indie Goddess Mitski.
The idea of days simply repeating themselves over and over without any creative outlet was all over Laurel Hell, her sixth studio album. ‘Love Me More’ can seem like a light and breezy electropop love song on the surface, but the deeper you get sucked in, the more powerful the emptiness at the heart of the track gets.
It was yet another way Mitski could make us feel good about all the bad things in life. Thanks to ‘Love Me More’, we are all now in a much better place.
25. ‘I Was Neon’ – Julia Jacklin
It was time for Julia Jacklin to go supernova. After two albums of top-shelf indie rock, the Australian singer-songwriter made the leap into classic territory with her third album, Pre Pleasure. Stacked with her best lyric writing to date, Jacklin fused cleverness with gut-level excitement on ‘I Was Neon’.
Filled to the brim with uncertainty and confusion, ‘I Was Neon’ nevertheless became the quintessential celebratory track on Pre Pleasure. With swirling basslines and fuzzy melodies, ‘I Was Neon’ was the easiest track to tune out the rest of the world with. Nobody knows how to elevate anxiety quite like Jacklin, and ‘I Was Neon’ proved that she hasn’t lost her touch.
If the credible songwriting of Jacklin was ever in doubt, then on ‘I Was Neon,’ she put that theory to the sword. Several times over.
24. ‘Shotgun’ – Soccer Mommy
Sometimes, it doesn’t take much to make a great song. Sophia Allison, better known to you and me as Soccer Mommy, knows exactly what it takes and has been showing off her song skills for the better part of half a decade.
Sometimes, Forever was the sharpest and most direct album of her career, and Allison finally scored an all-time classic with the single ‘Shotgun’. It’s a piece of contemporary pop that shines brightly among a sometimes-dull genre.
With what is probably the catchiest chorus she’s ever written, ‘Shotgun’ blasts out of the speakers with palpable energy. Allison’s laconic drawl is the perfect counter to the song’s punchy power chords, while the song’s bassline is probably the best one we’ve heard all year. Too many artists are scared of being pop adjacent; Soccer Mommy are at their best when they lean into those instincts.
23. ‘Talk Over Town’ – Katy J Pearson
If you were just looking at the surface, you might think that Katy J Pearson was working in some darker circles. She’s recieved the post-punk stamp of approval from members of Fontaines D.C. and recently worked with Yard Act producer Ali Chant to bring her second LP, Sound of the Morning, to life. But there’s no post-punk to be found in Pearson’s music. Instead, it’s radiant indie-pop working at the highest possible level.
For the sake of pure infectious energy, Pearson reached her peak with ‘Talk Over Town’. With driving rhythms and swirling effects creating a dreamy soundscape behind her, Pearson hints at the underlying sadness that comes with empty streets and lonely nights.
But nothing can cover up the radiant joy that bursts through every time Pearson hits that infectious chorus. It’s the perfect balance of light and shade, spearheaded by a truly singular artist.
22. ‘100% Endurance’ – Yard Act
Who could have predicted the monumental year that Yard Act have enjoyed? After mulling around Leeds for a number of years, the indie rockers suddenly had a massive debut album, a Mercury Prize nomination, and a collaboration with Elton John before 2022 was out. Proving that there were still new strings to be pulled in the post-punk canon, Yard Act made some of the most consistently invigorating music of the last 12 months.
Bringing this year’s best album, The Overload, to a fittingly potent end, ‘100% Endurance’ celebrates the pointlessness of life and how freeing that idea can be. James Smith hasn’t lost a bit of wit or storytelling ability throughout the band’s debut, and just when you think it’s over, a slap in the face like “It brings me peace of mind to know that this will all just carry on with someone else” reminds you how fleeting it all is. That might be true, but we’re still clinging to Yard Act at the moment.
21. ‘The Medium’ – Toro y Moi
Toro y Moi was your favourite indie artist’s favourite indie artist for nearly a decade and a half. A pioneer in mixing ambient sounds, multicultural influences, radical guitar rock, electronic buzz, and infectious pop music together, Chaz Bear is a one-man kaleidoscope who never seemed to get the recognition he deserved. The solution: streamline the sound by the thinnest of margins so not even an idiot can ignore him.
Mahal is just accessible enough to bring everybody out of the loop inside. Once you get in, however, the unstoppable waves of pop hooks and wild instrumental flourishes that make up the classic Toro y Moi sound are there in spades. For the album’s opener, Bear brought in Unknown Mortal Orchestra to kick off the proceedings in a joyously wonky fashion.
This may be the only instrumental number on this list, but there’s more story and plot in ‘The Medium’ than most Bob Dylan songs, even without any words to guide you.
20. ‘Talk Shows’ – Low Hummer
It doesn’t really feel right to call Low Hummer shoegaze. Since they also incorporate equal elements of synth-pop, alternative rock, and dance, the Hull six-piece can’t be pigeonholed into just one genre. But if you’re looking for the proper amount of fuzz and swirl that can only be fulfilled by an arsenal full of guitar pedals, Low Hummer is a band that can scratch that itch perfectly. Even better, they come equipped with a real bounce, something that doesn’t always get translated with most shoegaze bands.
The dry wit of ‘Talk Shows’ is the first thing that pops out of the track. If you’ve ever worried about how boring you are without the aid of alcoholic beverages, then maybe ‘Talk Shows’ will hit a little too close to home. But in less than three minutes, ‘Talk Shows’ dresses down the lowliest of all chumps, kicking that particular kind of exhausting personality to the curb with major prejudice.
19. ‘Fever’ – Aldous Harding
Sometimes it’s easy to have people go over your head when they do nothing but put out consistently great music. For the last ten years, Aldous Harding has done nothing but release wonderfully baroque-tinged folk music. Despite (or maybe because) of that consistency, it’s easy to overlook her whenever it comes time to rank the best of the year.
From her stellar self-titled 2014 debut to 2017’s Party and 2019’s Designer, Harding has done nothing but release gems for us all. And how do we repay her? Hopefully, some of us are, you know, seeing her live and buying her merch. But she’s been conspicuously absent from most “best-of” lists, even though Warm Chris was yet another phenomenal record. Shame on the collective us.
Quite possibly the most interesting musical arrangement in a song this year, ‘Fever’ has jaunty pianos, blasting horns, buzzy keyboards, and an instantly memorable melody. Equal parts exploratory indie rock and experimental lounge jazz, ‘Fever’ is a custom-made rainy day playlist in one song. It’s just one of the many sides that Harding has shown us over the years, and when she inevitably shows us more, we better be ready to appreciate her.
18. ‘You Know I Know’ – Elizabeth Moen
Since making her arrival with her eponymous debut album in 2016, Elizabeth Moen has been working at a prolific rate. While her latest full-length release, Wherever You Aren’t, marks Moen’s first LP in four years, she’s still shared a steady stream of records that have maintained her relevancy over this time.
The stand-out release from the stunning record is ‘You Know I Know’, which allows Moen’s enchanting voice to sink into the listener’s skin and finds her hitting her stride as a songwriter. It’s a heartbreaking tale of Moen catching up with a lover, the unspoken secrets they are afraid to say out loud, and their inevitable break-up.
There’s a festive feel to ‘You Know I Know’, albeit in an unconventional way. If you want an alternative Christmas anthem bereft of a happy ending and will leave you reaching for the Kleenex, then ‘You Know I Know’ needs to be in your life. Although the track hasn’t recieved as much attention as most songs on this list, Moen deserves to be on your radar, and there’s no better place to start than here.
17. ‘World of Pots and Pans’ – Horsegirl
Three teenagers, a lifetime supply of old Fugazi records, and a dedication to lo-fi guitar rock. Any bozo can proclaim the idea that young people don’t enjoy rock music anymore, but the reality is that rock is only getting younger every year.
Without a single member even graduating from college, Horsegirl proved to be wise beyond their years on their stunning debut LP, Versions of Modern Performance. Without a second of wasted space, the album twists and turns with equal parts righteous fury and surprising melodicism. Any of the album’s cuts could have appeared on this list, but ‘World of Pots and Pans’ just might be the perfect track to convert naysayers and non-believers.
In less than three minutes, the bastard offspring of Sonic Youth and Veruca Salt pays homage to the Jesus & Mary Chain while making a name for themselves as the newest band to proudly carry the noise rock torch. If you haven’t left your fuzz-rock cave since the early 1990s, Horsegirl are here to show you that some great sounds are in good hands.
16. ‘Big Time’ – Angel Olsen
Over the last decade, Angel Olsen has built up a robust catalogue of material which has established her as one of the stand-out modern singer-songwriters. While on ‘Big Time’, Olsen isn’t reinventing the wheel, but she proudly shows off a previously hidden strength in her arsenal.
Throughout her career, Olsen has been open to change and unafraid of reinvention. At the start of her recording life, the Chicagoan crafted in-your-face indie rock, but with her latest album, Big Time, Olsen exhibited her mellowest side yet, and it’s a sound that suits.
When ‘Big Time’ was written, Olsen was going through a seismic change in her personal life after coming out in 2021 and tasting the fruits of queer love for the first time. Furthermore, when the song was recorded, Olsen was in a state of immense grief following the loss of her mother, which created a cocktail of juxtaposed feelings.
The face of country music is changing, and it’s becoming more inclusive to those from all backgrounds, such as Olsen. ‘Big Time’ marked a move into uncharted territory for Olsen, but it’s an arena that fits her skillset beautifully and allows her songwriting to breathe. While the future is uncertain, as she tends to evolve with each release, this area has entitled Olsen to gain access to her nadir.
15. ‘Softly’ – Arlo Parks
Nobody can deny 2021 was Arlo Parks’ year as she announced herself in epic style with her Mercury-winning debut album, Collapsed In Sunbeams. Rather than leave fans agonisingly waiting too long, Parks offered up a sonic update with the spirited ‘Softly’ the following year.
According to Parks: “‘Softly’ is a song about yearning, about how fragile you feel in the dying days of a relationship when you’re still desperately in love. The song is about how it feels to brace yourself before the blow of a break-up and reminisce about the days where it all felt luminous”.
While Parks’ immense reputation isn’t built upon her ability to craft a dancefloor filler, it’s a task she rises to with aplomb on the R&B tinged ‘Softly’. Unfortunately, it doesn’t look to be the beginning of a second album cycle from the uber-talented singer-songwriter, who is yet to release a follow-up single to the release. However, ‘Softly’ potentially provides a glimpse into where she plans to take her sound next.
14. ‘Coyotes’ – Bill Callahan
If you ever need to escape the noise, Bill Callahan is on hand to drift you into his enchanting universe, which exists in its individual ether. The veteran performer, formerly known as Smog, expertly uses imagery on ‘Coyotes’ such as the line “a peanut of a child”, which Callahan seamlessly drops into the track.
The sprawling six-minute track, elected as the lead single from Callahan’s recent album Ytilaer, was inspired by the coyotes who occupy his neighbourhood and set his mind racing. Over time, Callahan began to observe their movements, who moved their way into his life. Musically, he adds a sprinkling of jazz to the vast creation, providing a beautiful surface upon which his lyrical delivery floats. Despite being a recording artist for over 30 years, Callahan is still producing intoxicating music like ‘Coyotes’ which is a capsule to another world.
“We lived for a while in a house in the hills,” Callahan said of the song’s origins. “Coyote hills. The coyotes would start their song at dawn. Dawn and dusk were their main appearance times. Our dog would sleep outside sometimes in the morning and our boy was still bite-size. The coyotes would come take notes, edging closer each day.”
Continuing, he adds: “Mornings on the kingsize outdoor daybed. Like a righteous floating tide, the coyotes would drift into our world. Predator and prey, blurred. Past and present, blurred. The young, the aged are to be snatched and devoured. Past lives edge in closer to try to speak to us. Current lives eye the past ones like sleeping dogs. And love spans all, that is why the feeling is so deep—deeper than one lifetime.”
13. ‘Best Life’ – Alex Cameron
Alex Cameron’s Oxy Music was one of the highlights of the past musical calendar, with ‘Best Life’ standing out as the album’s finest moment as it encapsulates the uplifting ethos that Cameron’s music exists to emit. At the time of the release, he said: “Let’s face it, we’ll never make content good enough for the Gods above/ Let’s leave that to the disciples/ The rest of us can just stay out here, living our best lives.”
In a world more obsessed with content than ever, ‘Best Life’ is a reminder to live our lives freely with no regard for online metrics. Fittingly, despite being one of the strongest songs to be released in 2022, ‘Best Life’ has (as of writing) less than 100k views on YouTube, which is far less than the track deserves. However, as Cameron attests to in the single, none truly matters, and the only thing that does is having a riotous time.
On the uplifting number, reminiscent of electro-pop from the golden age, Cameron masterfully gets his point across and offers listeners a crucial reminder about the true sanctity of life. In the final verse, Cameron hammers his message home with the killer verse: “Am I really just not for some people? I’m sick of followin’ these rules, baby, And wonderin’, ‘Why? Yeah, when they ask you how you’re doin’, Baby, don’t think twice/ You say, ‘I’m out here livin’ my best life’.”
With every release, the Australian is becoming a more complete artist, and ‘Best Life’ epitomises the hopeful mindset of Cameron, which has helped his ascent to his unique position in the musical landscape.
12. ‘Hold the Line’ – Bartees Strange
On ‘Hold The Line’, Bartees Strange shows that, occasionally, simplicity is key. Refreshingly, there are no gimmicks to the track; instead, the song is carried by the heart-rending songwriting and the timeless voice of Bartees, which makes everything seem OK in the world.
The summer of 2020 had a transformative effect on the world, leading to the birth of ‘Hold The Line’, inspired by a speech by George Floyd’s daughter Gianna. Despite only being seven years old, she showed immense courage, and it gave Strange the confidence to believe people hold the key to making the world a better place.
Bartees packs ‘Hold The Line’ full of belief, and the optimism instilled on the track is contagious. During a tough time, Strange found the grain of positivity amid all the bloodshed and used it to fuel his sanguine message. ‘Hold The Line’ is a track that contains a common feeling from a historical moment. In years to come, it’ll be seen as a political track for the ages, and future generations will reflect upon ‘Hold The Line’ to gauge the consensus about the summer of 2020.
11. ‘The Leader Of The Pack’ – Wunderhorse
2022 has been a memorable year for Jacob Slater, the mastermind behind Wunderhorse. Not only did he star in Danny Boyle’s Sex Pistols series, Pistol, but Slater also announced himself in epic style with his debut album under his musical moniker, Cub.
The grunge-tinged ‘Leader Of The Pack’ may buck current trends, but it’s one of this year’s defining tracks, thanks to the anger Slater uses to propel the anthem. The track is Slater’s forceful response to a traumatic event. Instead of feeling sorry for himself, he’s turned the issue on its head to create a stirring song which sticks two fingers up at the person who wronged him.
There’s a gloominess to ‘Leader Of The Pack’, which suits Slater’s vocals and allows him to funnel his rage into the track. Additionally, the riff is an absolute earworm which will be impossible to get out of your mind after hearing the song. If anybody is under the utterly ridiculous belief there’s no place for rock music in 2022, they need to wrap their ears around this gem immediately.
10. ‘It’s Not Just Me It’s Everybody’ – Weyes Blood
Sometimes, it doesn’t matter where you are or what you are doing, a song can arrest your soul and confirm its spot in your heart forevermore. That is exactly what happened when we first heard the simply majestic ‘It’s Not Just Me It’s Everybody’ from Weyes Blood. Found on her celebrated LP And in the Darkness, Hearts Aglow, the record is a serene and succinct reminder that while instrumental vibrations will always rattle our beings, it is the human voice we connect most deeply with, and that is where Weyes Blood shines.
While on the surface, the track is a simple reflection on the loneliness we can all feel in the midst of an apparently social function, in truth, the song is a depiction of Weyes Blood’s journey into the music industry at large. There can be no doubt that this was the record that allowed Natalie Mearing, the musician behind the moniker, to realise herself as the artist she had always wanted to be. ‘It’s Not Just Me It’s Everybody Else’ simply confirms that.
Gorgeous production allows the backing to be full and glossy without ever feeling too shiny. This works best of all because the shiniest thing in the studio is Mearing’s simply astounding vocal.
9. ‘Hate’ – Loyle Carner
There’s a feeling around the music industry that Loyle Carner’s 2022 album Hugo may be the most overlooked record of the year. The LP is chock-full of rip-roaring songs that cut through the skin of society and peel away the flesh of its people to expose the bare bones of our fragile lives as a community. If there’s one song that typifies the album and Carner as an artist, it is ‘Hate’.
There’s been a wealth of change in Loyle Carner’s world since his second album, 2019’s Not Waving But Drowning. Over the last three years, he’s not only become a father and reconnected with his biological father, as well as his Guyanese roots, but he’s managed to put all these complex emotions into a fearsome set of songs on Hugo. It’s transposed effortlessly into ‘Hate’ which takes a look back at the issues Carner holds with the pathways laid out for him as a child.
All of which is perfectly rapped over a clashing beat from the go-to musical guru Kwes who has, in no uncertain terms, changed Carner’s musicality and elevated him into another plane of brilliance.
8. ‘This is a Photograph’ – Kevin Morby
With an artist like Kevin Morby, it is easy to forget just how great they are. Not because his songs ever truly dip below the watermark of their output but because his sound is so neatly identifiable as his own that he can sometimes be forgotten. On the new album, This Is A Photograph, the singer expertly displayed his unique vision while incorporating the Texan twang of his surroundings.
The title track ‘This Is A Photograph’ is the epitome of this collaboration. While Morby’s charming drawl takes centre stage, he also allows room for a cracking piece of banjo work while his lyrics unfurl to tell the story of history repeating itself.
Morby explained how he and Cohen went about putting the album’s title track, ‘This Is A Photograph’, together. “Sam Cohen and I wanted to throw everything at the wall with this one,” the musician began. “It’s about the battle every family faces, that of chasing the clock, to live our lives and hold onto one another for as long as possible. That, and, the dreams that come with being a young family in America and where those dreams eventually end up.”
7. ‘Spitting Off The Edge of the World’ – Yeah Yeah Yeahs
All hail the return of Yeah Yeah Yeahs. The band may have started off the indie revolution almost two decades ago, but this year they returned with a new record and a reminder that they still sat neatly at the head of the indie table. Their returning fanfare was the mind-bogglingly brilliant ‘Spitting Off The Edge of the World’
Featuring the wonderfully gifted Perfume Genius, the song was an electric jolt of danceable brilliance. The band’s empirical lead singer, Karen O, is once more sustaining notes that wrap around your finger and then break it in three places; the band remain proficient in using near-silence to build a tidal wave of atmosphere, and their mule-kicking choruses have returned to give your head a spin like a sudden cranial waltzer.
The power of electric indie is as statically refreshing as ever, and Yeah Yeah Yeahs seem intent on making those moments as iconic as their history as indie’s chief innovators.
6. ‘Jackie Down The Line’ – Fontaines DC
Diving headfirst into an emotion can sometimes be the best way to get yourself through it. And, when the January blues began swirling around the Far Out offices, we were lucky enough to be treated to the brooding brilliance of Fontaines D.C.’s epic return ‘Jackie Down The line’, a song which promised that their then-upcoming record Skinty Fia would be unforgettable.
The band aptly delivered on both counts. But, really, what else should we have expected? The Dublin group have been regularly delivering a cocktail of post-punk poetry for some years now and seems to only grow into themselves as artists with every new release. ‘Jackie Down The Line’ was another extension of this ethos.
Of course, if you love the album, there is a good chance that this won’t be your favourite song from it. So textured and nuanced is the LP that there is a multitude of reasons to fall in love with other songs, but there is a brutal reality to this track, in particular, that not only neatly summarised life in the modern world but showcased why Fontaines are considered some of the best orators on the subject.
The title is a play on the word ‘Jackeen’, a derogatory term used against people from their hometown, which they have now swapped for London, and Grian Chatten enjoyed writing the song from a different perspective than his own, telling Rolling Stone of the song: “I think it’s interesting in this world where it’s incredibly important to be good, it just makes it very, very alluring to write from the perspective of somebody who doesn’t want to be good or doesn’t feel the need to pretend to be good. I think the song would be summed up with the word ‘doom’.”
5. ‘Fatso’ – Warmduscher
One of the first songs to showcase their upcoming 2022 album At The Hotspot, ‘Fatso’, rides a bar-hopping wave of untroubled fun—almost too untroubled, for that matter, to the extent that at some point you wonder whether the band have some problems that they really should address. However, for now, their unfettered urban ways prove the perfect boon to break up the malaise and impart The Dude’s central tenet to life: “I can’t be worried about that shit, man.”
For At The Hotspot, they teamed up with Hot Chip’s Joe Goddard and Al Doyle and, with it, brought dance to their uniquely positioned place in the sonic spectrum. The collaboration has brought a bit more of a 1980s funk frisson to their oeuvre, but the fine-tuning has more so been in the tech specs than the ferocious originality of the band’s bumbling braggadocious style.
That doesn’t mean the group have relinquished their expressive way of looking at the world, but simply provided a soundtrack for those late-night musings that spawned it in the first place. In short, ‘Fatso’ is the sort of track that opens your beer for you and has already replied affirmatively to texts saying, ‘up to much this weekend?’ before you’ve even checked your phone. Thus, it is with no hint of irony that we urge you to enjoy it responsibly below.
4. ‘N95’ – Kendrick Lamar
When a Kendrick Lamar song begins with a ditty akin to a nursery rhyme, you know things are about to go hard. Quickly, K-Dot makes good on that promise and starts shooting at the targets of society: police brutality, commercialism, religion, the music industry and everything in between. What makes ‘N95’ so great, however, is that it is one of the moments on his widely celebrated album Mr Morale and The Big Steppers where we feel the full force of Kendrick the rapper.
Much of the album is centred around Lamar’s disposition for musical evolution. Such as his adoption of jazz on To Pimp A Butterfly, the new album saw Kendrick fly into new genres of soul, afrobeat and beyond. While ‘N95’ certainly bears witness to these influences, it also houses some of K-Dot’s most fearsome lyrics in the LP.
When he powers through, “I’m done with the sensitive takin’ it personal/ Done with the black and the white/ The wrong and the right/ You hopin’ for change and clericals/ I know the feelings that came with burial’s cries,” the entire calendar shook.
All of those words are delivered with a particular ferocity that shines brightly amid the electrified bassline. In truth, it’s a song that only Kendrick Lamar could pull off, and he does so with consummate ease.
3. ‘Angelica’ – Wet Leg
Let’s be clear, Wet Leg are a vitally important band. The group have a habit of ruffling feathers with their sardonic wit and acerbic pop songs but put simply if this group of uniquely visioned musicians upset you, then it’s you who has the problem.
Every now and then, you need an artist to come along and make waves, and few recent acts have caused as much of a seismic stir as the duo from the Isle of Wight. Their thrashing, vibrant attitude has set noses out of joint and attracted a swathe of instant fans.
However, the pair have been around for a while, and the knowledge of their craft shines through with ‘Angelica’. Above all, that understanding means that the song isn’t confined to the sense of being trapped in a studio that has suffocated a lot of new acts. The freak-out element to this otherwise quite mellow ditty is primed for the spotlight of a live show. It is performative music, joyfully expressive, and it searingly cut through the post-pandemic malaise when it was released earlier this year.
Built around a simple riff, the song stacks instruments on top of one another to create a toe-tapping beast that kicks a bit of life into the beginnings of any party. In short, the whole thing is a lot of fun with a healthy dose of “sex appeal”, making it one of the best songs of the year without so much as a poorly puckered lip.
2. ‘Tall Poppies’ – Yard Act
There’s a strong case for Yard Act being considered the band of the year. If such an accolade existed, there would be three main areas of assessment: songs, performances, and doing the right things for the culture. There can be no doubt that Yard Act, the Leeds-raised sardonic pop masters, have achieved excellence in all three fields. The group have routinely campaigned against the increasingly abhorrent music industry standards while still providing live shows that leave people utterly sockless. And, on top of that, they have some show-stopping songs too.
We’ve already spoken about one of those songs, ‘100% Endurance’ (the song that also saw the band work with Elton John), which announced the band as indie heavyweights. However, there is another track from their brilliant album, The Overload, that we consider being even richer in its socially wry commentary and unique delivery. ‘Tall Poppies’ is the kind of song that every fan gladly points to when trying to get their best friend to like the band they’ve fallen in love with. It’s not only expertly crafted, but it distils everything that makes Yard Act such a vital part of music in 2022.
An unstoppably catchy lead line welcomes us to the fray before that Cockerian delivery from lead singer James Smith confirms that this little story is worth listening to. What transpires is a tale that sees a man live his entire life in three minutes of multitudes and the little world he had left behind. It’s all performed with a deadpan expression that belies the emotional content at hand, but it is this matter-of-fact brilliance that places Yard Act as voices of their generation.
The final words on the song could well be the final word on the year itself: “We cry because children are dying across the sea and there is nothing we can do about it/ Whilst we benefit from the bombs dropped which we had no part in building /We are sorry, truly we are sorry, we are just trying to get by too”.
1. ‘There’d Better Be A Mirrorball’ – Arctic Monkeys
When news of the Arctic Monkeys returning to the airwaves hit the internet, the buzz was almost impossible to avoid. The main question on everybody’s lips seemed to be: in which sonic direction will the Sheffield boys head?
It’s been a good few years since they were the down-and-out youth, rollicking riffs at us like ASBO junkies pelting fries at pensioners. It, too, has been a good while since the band adopted the desert-rock rhapsody of Josh Homme et al. Even the group’s foray into intergalactic lounge music feels like a long time ago. But what the band delivered with ‘There’d Better Be A Mirrorball’ and the rest of The Car was a confirmation that they can now be regarded as rock and roll legends. Through a mix of cultured guitars and expertly placed orchestral orgasms, the band showcased that they were far more important to modern music than we had ever thought before.
The track came with a meditative tone reminiscent of 1960s pop rock. “Don’t get emotional, that ain’t like you / Yesterday’s still leaking through the roof / That’s nothing new,” Turner sings in the first verse. “I know I promised this is what I wouldn’t do / Somehow giving it the old romantic fool / Seems to better suit the mood”.
Delicately playing themselves between their indie rock roots and the launchpad of Tranquility Base Hotel and Casino, the Arctic Monkeys delivered the song of the year while completing two impossible feats at the same time. Not only are they now nearing the same epic proportion of influence as The Beatles, but they are doing it with their own unique evolution at the heart of proceedings. Add in Turner’s croon and the group’s impeccable instrumentation, and you have yourself a winner.
