Six new songs are being added to 2020’s rolling playlist this week, which seems to have become The Usual Amount lately. As ever, you can follow it on Spotify here.
Rina Sawayama – XS (Bree Runway Remix): I wouldn’t normally stick a new version of an existing single in, but for some reason – FOR SHAME!! – I did not give XS the love it deserved first time around, so here it is. It’s a well-known fact to anyone with taste that Rina has provided one of the best albums of 2020, and this is obviously one of the jewels in its crown.
Zara Larsson – Love Me Land: The fact that Ruin My Life was as exceptional as it was and only just managed to scrape into the UK Top 10 should have been a sign of the fuckery to come: follow-ups Don’t Worry Bout Me and All The Time, both 10/10, fared quite disappointingly – and now, presumably, the aim of Love Me Land is to relight the fire under the new album campaign’s arse. It’s rrrrreally good; quite surprising in tone and structure, I think, and I’m really interested to see how much commercial potential it actually has. God, I just think Zara’s great.
RAYE – Natalie Don’t: Someone else who should have had way more success over the last year, RAYE has been consistently great (Please Don’t Touch? UGH!) – and now Natalie Don’t is another gem that deserves big things. It’s been correctly compared to Jolene by approx everyone, and I hope it does huge ~numbers over the summer.
Wrabel feat. Kesha – Since I Was Young: Kesha is great addition to this song: her harmonies on the chorus are properly lifting, and Wrabel delivers an engaging, poignant look back at his journey to just, well, still being alive. Queer trauma does, if nothing else, inspire good music!
Deacon feat. Nina Nesbitt – Long Run: Reese Witherspoon’s teenage son makes a music debut with reliable Nina on vocals. And it’s pretty good!!!
Lights – Dead End: I feel like Lights has been in my peripheral vision for a decade; I remember posting about one of her songs when I had a little music blog back in 2009/10ish (what’s changed?!?!). And now, in big old 2020, she’s still doing very well: Dead End is a decent little synthbop with some nifty production.