The Genius Community’s 25 Best Songs of 2019 So Far

With references to poet Sylvia Plath, criminal and cult leader Charles Manson, and even a Morgan Freeman quote, “hope is a dangerous thing” is one of Lana Del Rey’s most lyrically dense songs ever. “I’ve been tearing around in my fucking nightgown / 24/7 Sylvia Plath,” Lana sings in reference to The Bell Jar, a novel about a mentally ill woman’s refusal to change her clothes for three weeks. On “hope is a dangerous thing,” Lana discusses misconceptions about being a celebrity, recklessness, stress, isolation, and her views on feminism, all while retaining her traditional vintage tone and vocal style in one of her most stripped back, emotional performances to date. —ninetyninedreams

Spanish Town’s Koffee took a risk when she released a slightly sharp COLORS version of her radiant reggae number “Rapture” just a day after the single dropped, but this strategy paid dividends. This authentic, rough-and-ready take was the version that propelled her to viral success. Serving as the spirited title track on her debut EP, “Rapture” finds the 19-year-old newcomer slinging rapid-fire Patois lyrics about self-empowerment and wooing audiences over reverb-drenched guitar licks, rolling hi-hats, and an audibly Caribbean synth melody. Its infectious chorus has already taken the UK by storm, where it’s spawned a number of club-ready reincarnations. —Luke Ballance

NF returned in 2019 with “The Search,” the title track and one of the lead singles for his upcoming fourth studio album. The introspective and hard-hitting song, which was produced by Tommee Profitt and NF himself, gives the listener a look at NF’s struggle with fame and anxiety. NF’s aggressive rapping conveys his raw emotions, and acts as another chapter in his approach to using music as therapy. The cinematic build-up of the track seems like it’s straight from the most anticipated part of a movie, an intentional move by NF which he directly addresses in the lyrics: “Man, I don’t know if I’m making movies or music videos.” NF focused approach to narrative is his greatest strength, and nowhere does it shine brighter than on “The Search.” —Caleb McKinion

“Con Altura” combines classic reggaeton, modern reggaeton, and flamenco. El Guincho, ROSALÍA’s long-time friend and frequent collaborator, produced the track with Frank Dukes. With a simple WhatsApp text, J Balvin agreed to jump on the song, and all of them together creates something greater than the sum of its parts. On “Con Altura,” ROSALÍA pays homage to salsa icon Héctor Lavoe and alludes to Héctor “El Father” with her “noche de travesura” verse. The song talks about living a free-spirited and luxurious life and is guaranteed to be played during all the summer perreos. —Stacy Aguilar

Giving us the first glimpse of her sophomore album, FKA twigs opens “Cellophane” with naked, vulnerable vocals backed by soft piano keys, a welcome departure from her previously heady output. With her voice in the spotlight, twigs delivers deceptively simple lyrics in a powerful, emotional tone, yet doesn’t abandon her weird aesthetic. Swelling, glitchy synths and ricocheting percussion compliment the Andrew Thomas Huang-directed music video, where twigs pole dances for an invisible audience and falls from the sky like a modern Icarus. Five years on from LP1, twigs proves she’s still the frontrunner of alternative pop music. —Anak

Prior to becoming the first Korean girl group to perform at Coachella, BLACKPINK released, “Kill This Love.” The song perfectly encapsulates BLACKPINK’s powerful aura, while also showcasing a more mature side by taking on the subject of ending a toxic relationship. These themes are also reflected in the song’s brass-heavy production. While being full of texture and charisma, BLACKPINK’s vocal tones are often underrated. Here, they’re delightfully on full display during the song’s verses. It’s no wonder the song’s music video became the fastest liked music video on YouTube, garnering a million likes in just 28 minutes. —Saquib Syed

With an assist from Bronx rapper Lil Tjay and a boost from an unforgettable performance on Genius’ Open Mic series, Chicago newcomer Polo G scored an unexpected hit with “Pop Out.” Polo—who cites G Herbo as an influence—deftly carries the torch for Chicago drill with a melodic flair that sometimes alluded the genre’s stalwarts. Not unlike Lil Baby and Gunna’s 2018 smash “Drip Too Hard,” the song’s indelible hook does the heavy lifting here. There’s some flexing on the track, but the duo’s deep wounds add weight to their words. Tjay mourns the loss of his brother, who died shortly after he graduated, while Polo laments, “We come from poverty, man, we ain’t have a thing.” —Insanul Ahmed

James Blake has served as rappers’ go-to “weirdo” collaborator for years, but on “Mile High” he truly embraces the role. Working hand-in-hand with Metro Boomin, Blake melds his crisp vocals with Travis Scott’s auto-tune croons, mixing sexual and religious imagery in the lyrics. “Lasting like Duracell / 40 days, 40 nights / Feels like a holy night,” Scott sings over a beat with the quiet, hollow space of an old church. It’s a standout moment on Assume Form, offering breadth to the project and showing Blake’s continued ability to meld his unconventional style with some of music’s biggest names. —Chris Mench

Lil Uzi Vert might have been struggling with his label Atlantic Records, but he still released “Sanguine Paradise” through the label, causing some of the controversy surrounding his label situation to boil down. The Oogie Mane and Brandon Finessin-produced track samples Do It’s “Do It,” creating a triumphant sound that was well worth the sample clearance issues. Above all, “Sanguine Paradise” is a refreshing return to form for Uzi as he characteristically boasts about his wealth, bling and cars, proving that the drama can’t defeat him with one simple turn of phrase: “Money keep coming in, I can’t lose.” —@Jetski_Wavez

Coming off a six-year hiatus between albums, indie rock band Vampire Weekend returned with the release of “Harmony Hall” as a single for their new record Father of the Bride. The track, centered around a light, acoustic instrumental with a peppy, piano-driven chorus, delves into changed impressions of an initially pristine place. The track most likely alludes to the band members’ alma mater, Columbia University, which recently has experienced incidents of anti-Semitism on campus. Ezra Koenig, the lead singer and writer of the band, and a member of the Jewish faith, manages to discuss these atrocious events in a creative manner, not allowing them to take over this infectiously upbeat track. —@ibmac26

“Racks In The Middle,” Nipsey Hussle’s final solo record before his untimely murder in March, is a musical representation of enjoying the fruits of your labor. It arrived hours ahead of the one-year anniversary of Nip’s long-awaited major label debut album, Victory Lap. The Hit-Boy-produced track sees Nipsey and Compton rapper Roddy Ricch reflecting on their financial rise and stardom over a nostalgic beat full of punctuating hi-hats and heaving bass. Between Roddy Ricch’s humming and Nipsey’s bars infused with messages of diligence, “Racks In The Middle” makes for a flawless hit record. Additionally, the luxurious music video garnered more views than any of his previous releases. The marathon continues. —Malcolm Trapp

BTS has secured an unprecedented spot in the international pop music stage thanks to the success of songs like, “Boy With Luv.” The colorful, tightly-choreographed video for the song garnered over 74 million views within the first 24 hours, and with the way the song sounds, it’s no surprise. This radio friendly summer song takes on a more upbeat dance route with a lighter mood compared to their previous releases. While the song isn’t rap-heavy, it expertly blends together the groups seven distinct voices with a very special feature by American singer-songwriter, Halsey. —Saquib Syed

After a three-year hiatus coming off the release of his critically-acclaimed album Gang Signs & Prayer, Stormzy returned to solidify his place in the global mainstream with “Vossi Bop.” Over the song’s heavy trap beat, the British rapper flexes his versatility and boasts about his swagger, even casually insulting the UK government and Boris Johnson. He also shouts out to actor Idris Elba, who makes a cameo in the music video. The song’s title is a reference to Courvoisier cognac, but it was actually inspired by the viral Vossi Dance from 2015. Stormzy has explained in interviews that the song is actually three years old, meaning fans in 2019 are only catching up to his flows now. —@Jetski_Wavez

Hitting the airwaves as an early summer vibe-setter, “The London” sees frequent collaborators Young Thug and Travis Scott (“pick up the phone”, “Maria I’m Drunk”) tap lyrical mastermind J. Cole for this slow but banging single off of Thug’s upcoming album GØŁDMØÜFDÖG. It features signature flows from Cole and Thug, with Cole’s cool demeanor balances perfectly off of Thugger’s passionate cries, while Travis rides the chorus oh-so smoothly in what is sure to be another memorable performance from these three generationally talented rappers. —Zachary Mahabir

As the third of four singles for MadGibbs’ follow-up album, Bandana, “Crime Pays” marks the duo’s return to the lush, urban sound that capitalized their debut LP, Pinata, five years ago. Gibbs utilizes playful but sarcastic lyricism as he satirizes HIV, drug-dealing, and consumerism, and even sneaks in a sly diss against previous labelmate, Jeezy. His exuberant energy compliments Madlib’s jazzy vocal sample of Walt Barr’s “Free Spirits” which also emphasizes the catchy chorus. Coupled with a comical, zebra-themed music video, “Crime Pays” is an audacious yet chilled jam that is undoubtedly one of the most stellar cuts from Bandana. —Mathhew Huynh

Injury Reserve’s “Jailbreak the Tesla” is one of the most clever tracks in the trio’s discography—and possibly the most uncompromising rap song of the year. Drowned in bouncing 808s, finger piano, and tire-screeching, Ritchie with a T’s “Fuck it, jailbreak the Tesla” starts off the joyride. There’s offhand references to programs like Redsn0w and Cydia which likely go over the heads of any listener who thinks jailbreaking has anything to do with prison. Aminé, who previously collabed with the trio on “Campfire,” adds a verse about how his Telsa will have Elon Musk’s girlfriend Grimes as his GPS voice. As Ritchie mentions during his verse, this song is for kids who were “raised by the internet.” —Bismvth

“bad guy” creeps into the soundscape, minimalist and eerie. A simple kick drum and bass guitar provide the backbone of Billie Eilish’s fifth single off her mammoth debut album. Delivered syllable-by-syllable, her lyrics paint a darkly seductive self-portrait of the teenage Eilish, one where she is deviant, dominant, and totally capable of handling any “tough guy” out there. When the trap-influenced bridge hits, it is clear that a whispering Eilish has fully subverted the “bad boy, good girl” stereotype. In doing so, she establishes herself as a new type of popstar: one that jumps into their own strange darkness and finds power in doing so. —@sereinik

“RICKY” serves as the lead single and centerpiece of the fast-paced, earth-shaking tribute to Denzel Curry’s Miami roots that is ZUU. The track brings us the best of what we love about Denzel—punchy, charismatic flows over a heavy, infectious instrumental—while staying true to the life and times of Carol City. With lyrical tributes to Curry’s mother and father, the latter of whom is the song’s namesake, as well as his musical influences, his neighborhood and his late brother, “RICKY” is not only a bonafide show-stopper, but a thoughtful look inside the origins of Denzel Curry. —Zachary Mahabir

“Old Town Road” is undeniable. It may have been propelled by controversy and TikTok-fueled virality, but beyond all that, it’s actually a great song. That’s why it’s still sitting at No. 1 on the Billboard Hot 100 after 13 weeks of dominance. Lil Nas X seamlessly blends genres by combining hip-hop flows and country verbiage, while wrapping it all in a guitar-laden Nine Inch Nails bow. The remix sweetens the pot. Billy Ray Cyrus adding a verse on a song cut from the country charts because it wasn’t country enough is a hilarious slap in the face to the industry’s double standards, and one more reason why this country trap phenomenon has ridden its horse straight into our hearts and minds. —@Pessoa

“MIDDLE CHILD” finds J. Cole in the center of the old and new generations of hip-hop. On the track, Cole delves into his relationship with younger rappers like Kodak Black and 21 Savage, while paying homage to the OGs such as JAY-Z. The beat, produced by T-Minus, tastefully flips the 1973 song “Wake Up to Me” by First Choice. The record proved to be another accomplishment for T-Minus and J. Cole—who previously worked on 2018’s “Kevin’s Heart”—as it became the first song to go multi-Platinum this year. Cole reaffirms his status as a hip-hop legend while driving his Bentley through the mud, talking about the watch Drake gifted him, and subtly dissing his competitors. Cole may have plenty of siblings, but he has no rivals, as he confidently declares: “I studied the greats, I’m the greatest right now.” —Malcolm Trapp

There’s something almost religious about “Almeda.” The ninth track on Solange’s stellar When I Get Home pulses with spiritualism, its lyrics defiant and mantra-like. Referential of ‘90s Houston hip-hop with its chopped-and-screwed backbone, “Almeda” is an ode to the richness of Black identity. Assisted by Pharrell’s production and writing from The-Dream, Solange submerges her audience in a microcosm of blackness. “Almeda” gracefully asserts the presence of the black body and the black lifestyle. When Carti delivers his verse at the end of the track, there’s a moment where “Almeda” transports the listener into transcendent sensation. “Diamonds shine in the dark now,” he demands. “Almeda” shines always. —@sereinik

DaBaby has had an undeniably successful year following the release of his debut album, Baby on Baby, and “Suge” is its crown jewel. It’s also the North Carolina rapper’s first, but not last, certified Platinum record, and a reference to the notorious former CEO of Death Row Records, Suge Knight. The beat, created by Jetson Madeade and Pooh Beatz was meant to be a “simple banger,” and that’s exactly what it is. Whether it be DaBaby’s comedic Reel Goats-accompanied video or his energetic bars, this record has a wozzy bounce and a hook that became one of the year’s biggest earworms. —Malcolm Trapp

According to Lizzo, “Juice” is a “banger, obviously,” and we couldn’t agree more. Mirroring her bubbly personality, the upbeat instrumental paves the way for Lizzo as she sings about her “juice”—a euphemism for inner power and sexuality, with the underlying meaning of loving oneself shining through. Throughout the track, Lizzo makes coy references to Chardonnay, Snow White, and even David Copperfield, and pairs her infectious personality in the foreground with a chorus of her real-life friends egging her on in the back. “No, I’m not a snack at all / Look, baby, I’m the whole damn meal.” —@Jetski_Wavez

“a lot” is the brooding opener to i am > i was. 21 Savage’s first two verses focus on the difficult life challenges he tolerates daily. J. Cole enters the song with a cool, complementing flow, tackling different topics like inflating steaming numbers, giving advice to 6ix9ine, and being the greatest rapper of all-time. Produced by DJ Dahi, the track contains a mesmerizing, looped sample of East of Underground’s 1971 track, “I Love You.” “a lot” satiates fans who were eagerly anticipating the unorthodox pairing of J. Cole and 21 Savage. —Chase Williams

It’s hard to imagine that when Tyler, The Creator burst into the collective consciousness in 2011 by eating a cockroach in the video for “Yonkers,” any of us could have guessed he’d one day make a song as jarring and unconventional as “EARFQUAKE.” The song appears on his 2019 album, IGOR, and eclectically combines neo-soul with alternative R&B. In his highest charting single to date, the California native reflects on a harrowing heartbreak over lighthearted piano chords.

Intended for by Justin Bieber and Rihanna, who both declined, Tyler had clear pop ambitions for the song. His version taps one of 2019’s hottest guests, Playboi Carti, whose indecipherable verse not only compliments the song but spawned an array of memes. Alongside the sentimental track is an accompanying self-directed music video that plays well with Tyler’s colorful persona, as he sports an iconic blonde wig resembling pop-art artist, Andy Warhol. IGOR cemented Tyler, The Creator as one of the most dynamic artists of this decade, and “EARFQUAKE” is the best breakup song of 2019. —MERL⅄N