The Genius Community’s 50 Best Songs Of 2021

Highlighted on Drake’s newest album Certified Lover Boy, the three rap musketeers—consisting of Young Thug, Future, and Drake himself—flaunt their “sexiness” in a grandiose, trap-infused rendition of “I’m Too Sexy” by Right Said Fred. After female-empowerment proclamations like “WAP” by Cardi B and Megan Thee Stallion received much commendation in 2020, “Way 2 Sexy” serves as a pushback of male sexual dominance in hip-hop. With lines about drugs (“Too sexy for this syrup / Too sexy for these pills, I’m too sexy for this”) and sexual prowess (“And I’m way too sexy to go unprotected”), the connoisseurs further fabricate their lifestyles and indirect narcissism. Not only was this track a remarkable score for up-and-comers like producer Too Dope, “Way 2 Sexy” is one of the most popular Drake songs to date alongside the other collaborators. —Charity Spicer

Arriving on the heels of their blistering SURVIVAL HORROR EP, Bring Me the Horizon’s “DiE4u” shattered all expectations. Ever the forward-thinkers, the band drew influence from emo, metalcore, pop-punk, hyper-pop and electronic for the song’s sound while frontman Oli Sykes sings (and screams!) about addiction through the lens of an unhealthy relationship. BMTH’s lyrical ingenuity is as cutting as ever too, with Sykes delivering angsty lines like, “The truth of it is you could slit my wrists/ And I’d write your name in a heart with the hemorrhage.” —Lucas Trow

“Rainforest” sounds like one of the year’s warmest songs. On her only release this year, Noname flows from bar to bar over smooth bossa nova funk instrumentation. It’s also one of the Chicago rapper’s most brilliant songs lyrically: “Rainforest” repudiates consumerism, settler colonialism, resource extraction, and anti-Blackness all in quick order. Against muted claps and a jangling triangle arranged in syncopation, the artist-turned-community-activist is unflinching. There’s no room for all this violence in her vision of the future. There is just the slowness of death, the desire to dance, and the revolution, ringing smooth and clear. —Max Zhang

It’s been a great year for TXT. The group took the pop-rock music scene by storm, and they showed that it suits them exceptionally well. “0X1=LOVESONG (I Know I Love You),” the lead single off their second studio album The Chaos Chapter : FREEZE, is the best example of such. The emo-rock song examines the struggles of love on the verge of becoming young adults when the world is dissolving into chaos. “0X1=LOVESONG (I Know I Love You)” boasts a guest appearance from South Korean R&B singer, Seori, one of this year’s hottest names in music. The emotional lyrics were penned some of the most renowned lyricists, including Max Lynedoch Graham and Matt Thomson of Arcades, danke studio, MOD SUN, and RM of BTS. Heavy instrumentation, accompanied by the group’s impressive vocal range and Seori’s soft voice, blends into a powerful anthem. —@siannve

Camila Cabello brought some Latin rhythm to our summer vacations this year with “Don’t Go Yet,” a song honoring her Cuban-Mexican roots. Accompanied by flamenco guitar strings, maracas, drums, trumpets, and overlapping hand claps, Cabello exudes glamour and charisma when asking her lover, “What you leavin' for when my night is yours?”

In the colorful accompanying music video, Cabello invites fans to a large and festive dinner at home with her relatives. The clip is fitting, given her upcoming album, titled Familia, is inspired by two things: family and food. —Layla

No stranger to superstar collaborations, James Blake served up one of the best songs of his career with his collaboration alongside the always-on-point SZA, “Coming Back,” off his fifth album Friends That Break Your Heart. Opening with a grand piano interpolating “Lake Shore Drive,” the song unspools into a timeless tale of two separated lovers, one crawling his way back and the other cautious in her response. Totally in character, SZA is absolutely hypnotic as the unforgettable ex, her every vocal line delivered and mixed perfectly. The complementing production is signature Blake—at times ethereal, at times dancefloor-ready, and always addictive. “I’ll never let you forget me,” SZA sings on the hook. Indeed. —Max Zhang

Created as a tribute to the energy of live shows that’s been lost to the pandemic, Trippie Redd’s “Miss the Rage” delivers nothing but pure trap fan service. Backed by an unmistakable booming synth, Trippie and Carti’s chemistry makes us nostalgic for trap hits of the late 2010s, when both artists were just bursting onto the scene. When it was released, “Miss the Rage” was nothing short of the moshpit anthem we hoped for and it will, without a doubt, define this decade’s trap hits in years to come. —Joseph Haske

Portland rapper Yeat’s “Gët Busy” became the topic of conversation this summer for rage and meme enthusiasts alike when a snippet featuring the lyric, “This song was already turnt, but here’s a bell”, followed by a chorus of infectious tubular bells (That Yeat added to the Flansie and Skimayne-produced beat), trended on TikTok. But the song is much more than just a meme — it’s an excellent showcase of Yeat’s lyricism with captivating references to pharmaceuticals, loyalty and Dr. Seuss books, as well as his mind-boggling ability to bend word pronunciations to create slant rhymes. —Stephen Niday

With the widespread globalization of music, this year saw pop music continue to redefine itself, thanks to a slew of captivating fusion hits. Korean boy group ONEUS released one such track, “월하미인 (月下美人: LUNA).” A traditional Korean song infused with nu disco and city-pop beats, “월하미인 (月下美人: LUNA” combines many different cultures, making for an infectious pop hit unlike any you’ve heard before. Written by the group’s members, “월하미인 (月下美人: LUNA)” makes reference to the Queen of the Night, a rare species of cactus that blooms only at night and wilts before dawn. The Chinese phrase in the title can be translated to “beauty under the moon.” Together, the two titles exemplify the powerful sentiment explored throughout the song. —Saquib Syed

“Amoeba” is one of very few uptempo tracks on Clairo’s sophomore album Sling. Cooked up by Jack Antanoff, the beat pairs funky synth, flute, and guitar riffs that waft in and out to create one mesmerizing sound. These qualities make “Amoeba” quite catchy, despite the song’s darker message. Clairo has described the lyrics as a self-inflicted “scolding” for mismanaging her personal time during her early years in the music industry. The titular single-celled organism is meant to represent herself as she recounts shutting out friends and family until becoming fully isolated from her network of support. For Clairo and others grappling with the drawbacks of independence, “Amoeba” is a sobering and cathartic anthem. —@wizard

On the most heartfelt track off his 2021 sophomore album, Young Thug explores love like never before. Remarkably, pairing YSL’s own Gunna, award-winning producer Jeff Bhasker and fun. lead singer Nate Ruess with a Metro Boomin-assisted instrumental made for an experimental marvel. “Love You More” expertly manages to bring out the softer side in all of us, thanks to Ruess’ impressively catchy hook, which drives home the song’s themes of loyalty and selflessness. In the end, it’s poetic that Young Thug’s most meaningful subject matter to date is one of the most faithful to his fanbase. —Joseph Haske

The centerpiece of her breakthrough album Vulture Prince, “Mohabbat” is an entrancing introduction to Pakistani-American singer-songwriter Arooj Aftab. This meditative slow burn borrows lyrics from an Arabic ghazal, a traditional poetic form expressing both grief and love. Aftab dedicated the album to her recently deceased younger brother, and you can hear these bittersweet emotions brewing in her performance. She gradually adds layers of instrumentation—first, gentle acoustic guitar chords strum, then delightful harp flourishes over a warm undercurrent of flugelhorn and spine-tingling chimes. Inspired by Sufi mystics, Aftab impressively weaves and contorts her soothingly resonant vocals like wisps of smoke. —Ethan Rubenstein

“Leave the Door Open” was our first glimpse into the world of Silk Sonic and it did not disappoint. Few superstar collabs make more sense than Bruno Mars and Anderson .Paak, whose timeless bravadoes blend effortlessly against the backdrop of smooth ‘70s soul. Mars shines over the chorus while .Paak matches his 24-karat glitz in the verses, filling out the scene with visions of mansions, robes, and expensive steaks. At its best, “Leave the Door Open” sounds like two friends having so much fun singing about heartbreak that they’ve forgotten the people they’re heartbroken over. The joy is in the camaraderie. “I look too good to be alone” proves itself in more ways than one. —Chris Ritter

Despite being met with mixed reactions upon its release, experimental track “Next Level” by rookie group aespa went on to become one of the most popular Korean releases of the year. The song began as a remix of A$ton Wyld’s song of the same name, but the group took it to the next level, adding multiple beat and flow switches throughout. “Next Level” matches the energy and dynamic of genre-bending K-Pop hit “I Got A Boy” by Girls’ Generation expanding its company’s repertoire to push the envelope with every release. —Saquib Syed

If you haven’t had the pleasure of listening to “BUZZCUT” blaring over a car stereo, stop what you’re doing and take a road trip. The song’s industrial production and booming bass perfectly complement Danny Brown and Kevin Abstract’s brutal bars before the track transitions into an ethereal outro by Merlyn Wood and Joba. By the end, it’ll have you feeling like the top is rolled down, wind is whipping through your hair, and you’re speeding down a vacant highway. If you must listen while stationary, pairing the song with its psychedelic music video will feel like its own trip all together. —@wizard

“All Too Well” went from a fan-favorite non-single to the longest-running song to ever top the Billboard Hot 100 after Taylor Swift released an extended 10-minute rendition on the rerecording of her 2012 fourth album Red. The original “All Too Well” boasts some of Swift’s best songwriting to date, but the new version takes it to a whole new level, adding details like a “fuck the patriarchy” keychain and glaring references to the age difference between herself and the song’s much older subject. Even further, she brought the story to life with a short film starring Sadie Sink and Dylan O’Brien. “All Too Well” is a celebration of Swift’s powerful relationship with her fans, as well as a poignant look at a young woman taking control of her narrative. —Madison Murray

On Christmas Day of last year, SZA released “Good Days” as a reminder to hold onto hope even in our darkest days. Over a swirl of synths and guitars, SZA finds fresh air and fights away a storm of worries. As she glides over some lines and scampers over others, SZA sounds relatably uncertain—she loses a bright outlook as quick as she finds one in the song’s first verse, only to find it back by the chorus. “All the while, I’ll await my armored fate with a smile,” she sings. SZA teaches us that self-care is more than a tagline; it’s a daily battle worth fighting, a war in the mind worth winning. “Good Days” is an invitation to look for hope in that battle and to await our fate with a smile, no matter how bleak that fate may seem. In 2021—and always—it’s an invitation worth accepting. —Chris Ritter

On “Gone,” Rosé of BLACKPINK picks up the guitar and returns to singing love songs on what was originally meant to be a B-side to the singer’s debut album. Co-written by the singer herself, “Gone” is a simple acoustic pop song that far from lacks depth, thanks to Rosé’s shimmering vocal delivery and witty lyrics that almost feel like a noir comedy movie. “Gone” is a heartfelt anthem about picking yourself up after a breakup. The track portrays a unique kind of vulnerability, not only in terms of its lyrics but also in its focus on Rosé’s stellar vocals. —Saquib Syed

“family ties” is quite literally a family affair: apart from Keem and K-Dot releases both being highly anticipated, they are cousins, and the song was announced with a family picture. This is hardly surprising given the synergy both artists show on the song. Through three different beats and two different tempos, they alternate dropping unforgettable lines, from Keem’s “the girl of your dreams to me is a fan” to Kendrick’s “smokin’ on your top five tonight.” While it may have been their first official collab, its greatness seems wholly natural – and given their actual family ties, maybe it is. —Babu Chatterjee

“Happier Than Ever” is the flawless combination of Billie Eilish’s common two-sided musical persona. Starting out with delicate acoustic guitar strumming—familiar to her previous 2021 single “Your Power”—Billie croons her cathartic lyricism, questioning a relationship with someone she isn’t truly “happy” with. After a grunge-sounding buildup, the vulnerable lines like “'Cause that shit’s embarrassing, you were my everything,” peruse the climaxing third verse. Though it is distinctly dissimilar to her previous, more one-sided tracks, “Happier Than Ever” epitomizes the rapid growth that Billie experienced as a teenager while navigating toxic relationships coupled with fame — a pair that isn’t common among 19-year-olds. —Charity Spicer

If there’s anyone who knows how to make a quality comeback, it’s Adele. “Easy On Me” begins with a soothing piano variation played by producer and songwriter, Greg Kurstin. Adele then gently sings the heartwrenching lyrics which analogically describe her painful divorce. Into the chorus, she proceeds to belt the yearning to her critics to “go easy” on her younger self’s past mistakes. Though Adele admits to her errors in her relationship, the main theme presented is that she was unaware and limited through circumstances. Divorce and heartbreak is never an “easy” process to experience but nevertheless, Adele provides hope and reason to her situation to possibly soothe others who are in the same shoes. This smash hit set the precedent for her fourth album entitled 30 which further explored and penned Adele’s struggle with love and its mishaps. —Charity Spicer

It’s intriguing to imagine a world where Kanye West’s original diss verse was canned and Drake never leaked “Life Of The Party”. The response from collaborator André 3000 would’ve stayed private, and no one would know they missed out on a musical treat. Luckily, that’s not what happened and everyone was blessed with “Life Of The Party” when it was officially released with an updated verse from Ye on Donda (Deluxe). André 3000’s feature, which focuses on his mother who passed away in 2013, is devastatingly honest, revealing regret and loss of faith. Emotionally vulnerable bars about his family and early life leave listeners wondering how Kanye sees himself compared to his mother, Donda West. A tear-jerking sample of the late DMX caps off the track, eulogizing parents—like André’s and Ye’s—lost too soon. Despite promising to no longer make “secular music,” Kanye’s contender for song of the year questions religion, making for a raw, beautiful tribute all while dexterously navigating the pain of loss. —@wizard

It’s hard to believe that it took less than a year for Olivia Rodrigo to solidify herself as a household name, but listen to her pop-punk banger “good 4 u” and you’ll surely understand why. The song is a scathing post-breakup anthem that showed off Rodrigo’s versatility and detailed, relatable lyricism, and it also declared her the only artist to date to debut two songs from a first album atop the Billboard Hot 100. With the help of a viral TikTok mash-up, a Video Music Awards performance, and a flashy music video nodding to cult-classic films like Jennifer’s Body, “good 4 u” quickly became one of the biggest songs of the year, appealing to Gen Z and Millennial audiences everywhere. —Madison Murray

“I’m not fazed, only here to sin,” purrs a newly confident Lil Nas X as he sweet-talks the man of his dreams on the spicy lead single to his eponymous debut album. “Montero” is a slickly produced, sugary pop bop, with fiery flamenco flourishes that push the Scoville scale to its limits. The track’s thumping bass and snaking croons are mixed so claustrophobically, they almost cave in to the pressure of being forced to hide one’s truest self. Instead, Lil Nas X breaks down the closet doors fireman-style, crying out for the love he’s so desperate for, he’ll go to hell for it. And if he truly is damned, why not have fun with that fate? “Montero” sees Lil Nas X dance with the devil in the most defiantly queer pop statement of the year. —@Anak

The revival of pop-punk this year (see “good 4 u” above) was likely not on most people’s 2021 bingo cards—but perhaps it was inevitable given the uncertain, bleak year so many experienced. WILLOW’s headbanging “t r a n s p a r e n t s o u l” is the capstone to a move towards more cathartic music. Against monster drums from pop-punk royalty Travis Barker (of blink-182 fame), WILLOW swears off artificial friendships with a set of blistering vocals, showcasing the versatility of an artist known to be a chameleon. More than just being in the business of misery, “t r a n s p a r e n t s o u l” is an ode to self-reflection, its narrator introspecting in order to attain a monk-like spiritual clarity.

When we ranked “t r a n s p a r e n t s o u l” third in our mid-year list, we knew it was a brilliant track that swore off the most corrosive elements of the attention economy. And indeed it is: This song is a manifesto of self-awareness, neatly packaged in an undeniably catchy musical shell. But as the year has gotten stranger—and darker—it’s apparent that “t r a n s p a r e n t s o u l” is also an antidote to the times. When all is opaque, to be seen through is a welcome medicine. —Max Zhang