Year In ReView: Our 30 favorite songs of 2017

At several points throughout 2017, a simple question was asked: What are you listening to? Whether we were fielding it or asking it, the reply was often specific to a singular song. With all due respect to the time-honored album and EP -- and from Slowdive's self-titled to Kendrick's DAMN. to Quiet Giant's You're in Heaven, there were quite a few of note -- this year was all about the song. Songs of passion, songs of empowerment, songs of not giving a damn and songs of giving every last damn imaginable soundtracked a year that tested the will of the people. As Daniel Brockman notes in his intense Year in Pop essay for Vanyaland, pop music is headed down a dangerous path; but it's also merging into one giant streamable playlist, where the underground battles for clicks and listens with Top 40, and this year's Vanyaland year-end recap -- a mere selection of our staff's favorites, and by no means a silly declaration of the absolute "best" -- reflects that. Our staff was asked to come up with their faves, and these are the responses, presented alphabetically. The lead entry, via Toronto's Alvvays, feels like an appropriate jump-off, and the featured image of the up top was shot by the late, great Eddy Leiva, from their October show at The Paradise.

Prev21 of 30Next
Swipe or use your ← → (arrow) keys

Lorde, “Green Light”

If one were so inclined, one could credibly argue that the most compelling Lorde song of 2017 is actually “The Louvre.” But what Ella M.L. Yelich-O’Connor’s ode to nascent romance and a big famous museum offers in atmosphere, ingenuity, and clever wordplay, it lacks in the MF-ing bridge and explosive jubilance of “Green Light.” Melodrama’s opening track unfolds like a journal passage concerning sharks, rumors, a light-up dance floor, and some dude who may or may not enjoy the beach, all prologed by the half-cryptic declaration, “I do my makeup in someone else’s car.” Lyrically, it’s a sharp instance of a writer reaching into a swarm of pedantic trivialities and pulling out universal sentiment. Sonically, it’s a ludicrously fun jam. What’s weird is despite the track’s uplifting vibes, the “Green Light” music video depicts a low-grade nervous breakdown. Collaborator Jack Antonoff briefly appears playing a piano in a nightclub restroom, and I assume the viewer is meant to interpret him as Lorde’s in-story hallucination, ‘cos nightclub bathrooms are not supposed to have pianos or piano players in real life.

— Barry Thompson

Prev21 of 30Next
Swipe or use your ← → (arrow) keys