#240-#236

#240. Telenova - Bones (#91, 2021)

13th of 2021

It's very peculiar to have Telenova be part of this story. They feel especially modern even though they're not on the final year of this cut off. It is however their debut single that shows up here and it's the only time they've ever made the list. I have no idea how they wrangled this kind of support just this once and never again, and it's making this once-off just feel stranger by the year.

Telenova to me land squarely in that niche of extremely tasteful indie pop. It's basically my bread and butter and almost never amounts to anything. In fact, while "Bones" was getting the attention, I was more focused on some other Telenova songs that were meeting the usual quota. "Tranquilize" might still just be the quintessential Telenova song to me still. Something about the way Angeline delivers the title lyric is just hypnotic. I understand for many that "Bones" came in first and the two don't sound especially different, but that's the refined formula. The band has only gotten to be a tighter unit in the years since. The vocals are shining once again on songs like "Why Do I Keep You?" and "Temples", but it's that added instrumental punch that sends them over the edge. They've slowly turned into more of a rock band, which might not be as algorithm friendly, but it's worth keeping them around. A very solid grasp on catchy melodies.

If I had to guess what it is that got "Bones" over the line, it probably is that minimalist flair. There's a popular British band who will eventually appear on this list who probably set the stage for what popular indie pop was to sound like, and who asserted it when they were regularly pulling incredibly good stats for listener retention. "Bones" feels like a slight translation of that away from the more electronic elements. Also a little MS MR here just with a more light, feathery outlook. That and the way the chorus is just one unending hook with these big affirming statements that all look like they want to be the centre of attention. I always zoom in on 'run, baby run', because it's follows by a line that matches the exact syllable cadence of We The Kings' "Check Yes Juliet", and I'm here to make sure you never unhear that.

#239. The Preatures - Is This How You Feel? (#9, 2013)

41st of 2013

We've had The Preatures here before. I'm going to summon a magic link that roughly takes you to the post for "Somebody's Talking" (#397). This is the big one though, their crowning pop glory that took them to Platinum sales and a top 10 finish. Not bad for a fledgling band, but evidently something they had trouble navigating alongside a bunch of other things crumbling apart.

Something that might strike you if you listen to the first two Preatures EPs is how different the setup is. It's easy to forget if you never heard their initial breakthrough single "Take A Card" that Gideon was a main vocalist in the band, who sings half of the songs on those two EPs. In an interview with TheMusic back in 2013, Isabella Manfredi takes time to note the set up and how they both weighed up importance for those contributions. In any case, "Is This How You Feel?" turned out to be a big hit, and by the time the album rolls around, Isabella has become the face of the band. It's just her on the album cover and she sings on every song now. I don't know if this relates to Gideon's future departure from the band but it might factor in somewhere.

I had mistakenly believed Isabella and Gideon to be a couple, but it was actually Jack, the band's guitarist. They broke up in the late 2010s around the same time the band did, and from what I've heard from Isabella, it was the result of him taking advantage of her naïveté to control the relationship and also commit adultery. They were on good enough terms to briefly reunite in 2024 but it's gotta rattle the foundation. The band also cite an outdated record contract which brought everything to a halt. Everything points to The Preatures being a short-lived burst of excitement that could've been more, but at least they'll always have this song.

"Is This How You Feel?" is the sound of everything coming together. That undeniable hit that has everyone scratching their heads wishing they'd thought of it first. I always think about the Roxette songwriting process where they seemed to operate with a perfect understanding of how the listener took things in. A hook every 6 seconds, that sort of thing. I don't know if I'd say this song quite reaches those lofty standards, but as I listen to it, I never find it falling into the doldrums. The guitar and bass keep trying new things and the chorus keeps ascending to new highs. Not a moment wasted. Even the bridge, which feels more minimalist than the rest of the song, manages to land in that zone of intrigue, where the repetitive refrain just sounds so unique that it becomes one of the finest moments.

#238. One Day - Love Me Less (#92, 2014)

29th of 2014

Australian hip-hop lesson time. One Day is a supergroup. They might just be the biggest Australian hip-hop supergroup because there isn't a lot of competition and though short-lived, their credentials are pretty solid. They've got in them all the members of Horrorshow, Jackie Onassis, Spit Syndicate, and also Joyride. We've seen Horrorshow in this list before (#644), and Joyride also had a guest appearance as he loves to turn up on a Like A Version (#566). Spit Syndicate might be the most important segment for this entry because Jimmy Nice is singing the hook and first verse. I've got some familiarity with them because they were several albums deep at this point and have a handful of songs lodged in my head permanently. "Here Today, Gone Tomorrow" is a good one (and actually features Solo from Horrorshow), as is "Beauty in the Bricks", probably the one I heard the most. Jackie Onassis enter the scene a little later, and also have a Solo feature on one of their early releases. I want to say they're the "Crystal Balling" duo, a triumphant song it has to be said. One Day was formed out of mutual respect where they all basically grew up together and it seemed like a good idea to strengthen that bond.

If you need proof of concept for the supergroup concept, then here's what happens when you take some mostly less well known artists and put them all together: You get a #2 album. Well, in fairness Horrorshow did that on their own just a year before this one but it's impressive to pull the same weight like this. When P!nk & City and Colour made an album together, it got to #2 as well, so maybe the lesson is that unifying a tightly knit fanbase can work better than trying to lodge disparate ones together. At least that's in terms of album sales, the increased attention given to artists' top tracks on streaming services is certainly adding a bonus to ending up on as many of those lists as possible. It helped also that One Day has a bonafide hit with some minor chart presence, enough to get the word out and lend some credibility.

"Love Me Less" is that hit. I feel like it might have just gotten a little lost in the shuffle by the time voting opened because I was expecting it quite a bit higher than #92. It starts to look like the beginning of the end for this era of Australian hip-hop, where only Hilltop Hoods are able to carry the mantle going forwards. They're all usually on the fringe anyway, but the crossover hits very quickly became few, far between, and then nothing.

"Love Me Less" sounds like a crossover hit to me though. If not just because Urthboy flipped a similar sample just a year later on "Long Loud Hours" (#334), with the high pitch sounding like a crying child. I'm more convinced it actually is the sound of a crying child on this one though, and it's one of those funny samples that feels like a joke but then oddly just fits into place. Well, I listen to them rap about all these infidelities and it still pokes through at times and makes me laugh again.

It's a peculiar song from the jump that's asking us to make a moral judgement. Are we going to root for the anti-hero who is gleefully boasting about how unfaithful he is on the first line? Is it even the truth of what's going on though? Jump forward to the first verse and Jimmy is contradicting himself by saying he doesn't cheat on every girl. He's right that he's got my attention from that but I am left quite riddled by it. My best guess is that he's just presenting the dichotomy of how he might be perceived, or where the relationship might go. Engaging with a new person in your life is always going to be that question of whether or not you hit it off, and then whether or not you find out that they're just diametrically opposed to you on some key issue. Sometimes you've just got to decide if you're gonna take that risk. I'm also obliged to mention that later on in the song, Solo mentions a flat battery in his phone and then mentions receiving some flattery. It's been 12 years now and I still think of this song as the 'flattery' song, only that I'm reading it as a bizarre portmanteau. Haven't really added it to my lexicon but in fairness I tend to keep my phone charged.

#237. Spacey Jane - Weightless (#81, 2020)

15th of 2020

This is going to sound like a backhanded compliment but my favourite thing about this song is the pre-chorus, where everything calms down for a moment before ripping right into it. It'll be back-handed because for me, it's just emulating another song that'll be higher on this list. Not enough to call it a rip-off by any measure but I suspect my positive reaction to it is simply my brain being reminded of something I like a lot.

It's with this that I get highly critical of the way this band tend to be perceived. It sure sounds snappy to say that Spacey Jane, Ocean Alley & Lime Cordiale are all the same band (real comment I saw). The sentiment is so inherently uninformed on the outset but with all three bands occupying that mental slot of 'boring Australian band that inexplicably gets loads of Hottest 100 entries' for many, they become an outlet for the laziest of derision just because even within echo chambers that don't really ride for the bands, the affirmation of 'It can't just be me who doesn't get it' rings so loudly. You'll cling to any incoherent message that vaguely points in the direction you're facing. Relevant Simpsons clip. It's the kind of adversarial way of experiencing music that garners no sympathy. A mere sidestep away from inventing a person to get mad at them.

Don't deprive yourself of these moments. Sometimes all it takes is one song and suddenly everything clicks into place. You put it through the lens of them being able to make this, so the rest can't be so bad. This just feels like the pinnacle of it all. A similar build up to "Good for You" (#434), but added experience to make it really ascend.

#236. Baker Boy (feat JessB) - Meditjin (#98, 2019)

19th of 2019

Remember 9 months ago when I was talking about the "Lady Marmalade" Like a Version (#628), and how there was this cool rapper from Aotearoa on it that I couldn't mention. Here's the resolution to that and it's all because JessB snuck onto the list just prior to that. It was only a matter of months in fact, "Meditjin" was released quite late in 2019, and that cover was (unsurprisingly) very early in 2020. Just before this song came out, I heard of JessB through her song "So Low". That might have just been a vehicle for Paige singing the chorus, but they both show up well on it, she's absolutely got the Lil Kim flow on lock. JessB also used to be a professional netball player, gotta grab those multi-hyphenates when you get the chance.

"Meditjin" is absolutely a song I associate with sports now. It spent quite a while being used on TV commercials as a hype anthem, and more recently it's been part of the brutally small rotation of songs played after goals at Perth Stadium for Fremantle. I'm writing this just before the 2026 season starts and I'm just hoping they change it up this year (Update: they have). I'll grant that this is a good selection anyhow, but I've been to enough games to know that no one is feeling the "Viva la Vida" chant, where it seems to be an attempt to get everyone to say 'Freooooooo' over the bridge but it just isn't happening. That one game last year where it took 1.5 quarters and 8 behinds to get a goal might have just completely ruined it. "This Girl" by Kungs & Cookin' on 3 Burners though, goes pretty well for a song that I imagine most people do not know a scrap of metadata for, and wouldn't know how to look up either.

Also, "Meditjin" is the medicine. That's what the song means too. It's basically Baker Boy's mission statement boiled down to its simplest form. Baker Boy is once again proving he's a fanboy of Kendrick Lamar by referencing a song that I've not yet written about (or maybe I have by the time you're reading this, who knows). I don't think it's intentional, but I also get a bit of Sergio Mendes' "Mas Que Nada" in the wordless chanting, always a tick in my box. It's surprisingly intense for such a feel good song, but it's a level that Baker Boy and JessB are both capable of matching up to. Guest verses often run a little short so I'm fond of ones like this that give us enough time with the up and comer.

#245-#241

#245. Dune Rats - Scott Green (#34, 2016)

27th of 2016

There's a scene at the start of the mid-2000s comedy film "Eurotrip" where we're being introduced to all of the characters. The main character has just been dumped by his girlfriend and is at his high school graduation party. There's a rock band playing, and they bring his ex-girlfriend up on stage to perform a silly song where the singer gloats about all the times he was having sex with her while the main character was oblivious. One of those essential diegetic soundtrack moments that's instantly memorable and likely to get a whole wave of people quoting it from then on.

It's quite possible you know this song, it's "Scotty Doesn't Know" by Lustra, a song that has remained popular well beyond the shelf-life of the immature film it comes from, and it's brought about a whole wave of people being exposed to it without that context. I've seen so many people baffled by this song, otherwise standard pop punk but with disgusting lyrics, and it's fascinating that it causes such a different reaction like that. I can't imagine ever getting mad at it. A few months into his tenure as Australia's 30th prime minister, Scott Morrison's website wasn't renewed and lost the licence for the domain. A man from Melbourne quickly bought it for $50 and had the website just play the song "Scotty Doesn't Know" alongside a photo of Scott Morrison smiling. This isn't really relevant at all to "Scott Green" but when it came out, I think I thought of Scott Morrison as the most notable Scott at the time. I guess the title rhymes with Engadine.

If there's one important gimmick you need to know about Dune Rats, it's that they like smoking weed. It's actually not something that's come up very much with their Hottest 100 catalogue. They couldn't quite make the cut with "Dalai Lama, Big Banana, Marijuana". If there's ever been a good reason for that reputation to stick though, it's that "Scott Green" is probably their most famous song. This is the song where they take a similar line of thinking to "Ebeneezer Goode" by The Shamen, working with the fact that the phrase 'Who's got green?' sounds like 'Who's Scott Green?'. It might be a sign of how completely out of it they are that they don't even try to maintain it. I feel like if they had The Simpsons' writers here, they could get some serious mileage out of it, but they break the structure every other time they say it. Maybe that's just a further way to plant the message, commit to the idea that Scott Green is a real person.

To dabble in the world of Dune Rats, this is probably the most succinct way to do it. I wouldn't say they always knock it out of the park when they try to come up with memetic phrases for their songs, but this one passes with flying colours. To me, it's a very unlucky song to not be higher in the countdown. It landed right underneath "Bullshit" (#756) which gives off the impression that it was just collective voting for the band, but in reality this is a song that was released in the middle of November and just didn't have enough time to catch on. You'd think this means it was a late bolter but from what I saw in the vote counting, it wasn't. It just stabilised behind "Bullshit" at a relatively consistent rate but never started catching up to it. The win would only come a few years later when it landed at #139 in the Hottest 100 of the Decade as the sole Dune Rats representative. I suppose that's something else it has in common with "Scotty Doesn't Know", being a one-note joke that satisfies the sound it's going for so well that it far outlives the short buzz of a novelty.

#244. DMA'S - Do I Need You Now? (#97, 2018)

27th of 2018

I think sometimes we can get unnecessarily caught up in image when drawing comparisons and contrasts. It can be particularly interesting I think when you can find something that connects two seemingly otherwise completely irrelevant parties. A lot of it is all marketing anyway. Very easy to find pop music that sounds like electronic music, rap music that sounds like rock music, what have you.

I'm doing the Oasis bit again, but just once more to put it all to bed. It's extremely easy to make the comparison, and "Do I Need You Now?" isn't particularly subtle about it, with the trudging drums and big power chorus. But no, what this song takes me back to is actually Robbie Williams. The dressing is a little different, but at its core, we're working with the same playbook. I hear a song like "Supreme". It's in the way both songs seem to emphasize the melancholy through the verses, laying on moment after moment of frustration. The choruses lift immensely, but also don't resolve that prior issue. I enjoy both of these songs a lot, and I feel in hindsight that they're occupying the same space.

It's a peculiar situation that makes me want to re-assess the whole thing with DMA'S. I think I've said before that it's not necessarily Oasis that they make me think of, but just that general era, through certain production and songwriting choices. Locking it onto an artist that's contemporary of that era but not playing by the same rules makes complete sense to me. Whenever we unsuccessfully draw a memory, we're likely pulling back multiple parts of the same chapter, forgetting what goes where, and just running with it. You wouldn't necessarily think of this one because it feels like it's the muddled up version of the story, but then when reality makes less sense, we're just bound to tidy up to the most convenient narrative. I'm totally in on the idea of DMA'S being a turn of the century pop star, it doesn't need to make sense.

"Do I Need You Now?" pretty strongly encapsulates the whole idea though. A song that totally snuck up on me in the years that followed its release. Because I list and rank music so often, I basically have a recorded history of watching this song grow on me, to the point of being a genuine contender near the top rung. It won't go any further than this, but then who knows. Ask me again in a few years.

#243. The Smith Street Band - I Still Dream About You (#41, 2020)

16th of 2020

I apologise for the lengthy interruption, welcome back to The Smith Street Blog, where I pretend to have a deep and meaningful understanding of the inner workings and feelings of Melbourne suburbs I've never set foot in. I still dream about you Wil, it's a natural consequence of burning the midnight oil writing at length about your band. It's pretty much a ritual for me at this point.

My grand revelation about this song is that I think it sounds a little bit like "Notion" by Kings of Leon. I had it in my head that it was one of the two albums they put out in quick succession but I thought it was more likely to be the first. Let that be a point against anyone who suggests they radically shifted course between those albums, as I could readily imagine "Notion" being on "Because Of The Times". Swap it out with "Fans" and tell me something's out of place. Incidentally this could also be seen as The Smith Street Band's big level up moment because this comes from "Don't Waste Your Anger", their only ever #1 album. They've only had one other studio album even make the top 10, so it's a bit of an isolated moment, pun not intended.

If you're after The Smith Street Band at their best, then this is a pretty good place to look. A lot of the lyrics could easily scan as wanting to reignite a relationship from a long time ago despite all the time that's passed, or perhaps because of it, realising there are logistic issues but not truly being able to let go of what once was. Doesn't THAT sound like a Smith Street lyric? Anyway this is actually a song about giving up on smoking. It makes for some amusing anthropomorphising, and leads to the great lyric 'Lucy [Wilson] said I was a dickhead, Lucy knows me too well'. This is the second time here we've encountered a namedrop from someone who's no longer in the band, after "Passiona" (#366) mentioned 'Just me and Chris'. Otherwise, a lot of big cathartic releases, so you can probably get something out of it even if you've never smoked, I know I do.

#242. Lil Nas X - MONTERO (Call Me By Your Name) (#10, 2021)

14th of 2021

Vertical Horizon, Plain White T's, Soulja Boy, Jay Sean, Taio Cruz, fun., Iggy Azalea, Desiigner, Luis Fonsi, Lewis Capaldi, just a handful of artists. What do they all have in common? They all very quickly took the American public by storm and scored a #1 hit. They didn't completely disappear after that, scoring a second or third hit that might have been notable in its own right (Taio Cruz might be cheating here, his US #1 hit is not "Dynamite"), but the moment was a brief flicker and they very soon never troubled the Hot 100 again (maybe Lewis Capaldi could still do it but I'm getting doubtful). It's an incredibly common career arc. You can't entirely call them a one hit wonder, but they never fully escape the shadow of it, there's just enough interest in the moment to keep the lights on for a little longer. For a while, it looked like Lil Nas X might join the club.

Despite the implied omnipresence, I think it's very possible for many to be out of the loop for big hit songs. Often times they're engineered to perform well in exactly the fields that the charts are measuring, so if you're not clued into those specifics, it's gonna feel especially like there's a whole detached world out there. I'm writing this as "Ordinary" by Alex Warren is #3 on the charts, having hit #1 almost a year ago, I'm not cognizant of who's keeping the wheel spinning. "Old Town Road" by Lil Nas X is not one of these songs. It demonstrably became the biggest song of 2019, managed to spark debate about genre inclusivity and remix politics while trolling its way to being the longest running #1 hit of all time in America. By all accounts, Lil Nas X had the world at his palm, and that can go a long way. Sometimes the sheer fluke of it all can draw so many eyes to find out what happens next. It's a bit like when PSY had to follow up "Gangnam Style", and you might be surprised at just how well "Gentleman" ended up performing.

Lil Nas X had a second hit, "Panini". It's considerably less novelty than "Old Town Road", with the most gimmicky thing about it being an interpolation of the band Nirvana's song "In Bloom". By his own admission, this was accidental and he'd not listened to the band before, but I'm not entirely sure I can believe it. The song was a pretty big hit too. It might have been riding on some pretty lofty coattails, but it did more than enough to prove itself even if you'd have a hard time imagining him breaking out with it. The same could be said of just how big "Black Widow" was for Iggy Azalea immediately after "Fancy". Usually though, you only get one, so Lil Nas X put out another single a year later called "HOLIDAY" and it didn't make a massive impression. The career arc is understood. Our GOAT might just have been washed, doomed to say funny things on social media and eventually hit the nostalgia circuit. He clearly didn't have another hit in him.

This is my way of saying that he clearly did have another hit in him. The kind of hit that completely stood on its own and set the stage for Lil Nas X being one of the biggest hitmakers of 2021. No longer was he living in the shadow of his monster hit, but instead stepping forward with a new persona. Everything had changed, but he was still causing a stir to gatekeepers, just a different kind this time.

Most of this all has to go through the lens of the music video. I can imagine someone just listening to the song and being completely oblivious to any controversy. The meta-text is all there, but a lot of the confirmation comes through easily missable pronouns and statements. Even the name, "Call Me By Your Name". It's obviously a reference to the book & film of the same name, close to the default answer for 'Name a homosexual piece of media'. Lil Nas X came out during the reign of "Old Town Road" but this was him putting himself out there like he hadn't before. He's just completely embracing the moment. He also uses a bunch of religious iconographies in the music video, riding a stripper pole into Hell, giving a lap dance to Satan before killing him, just very normal stuff. I'm just now learning that he was inspired by a notable music video from 2019, the artist for which I won't name yet, but didn't I do it for you? I just want to feel you're getting the references I'm putting down. In any case, Lil Nas X rode the moral panic to the bank. Perhaps in that sense he might have been inspired by a certain 2020 hit song.

I think what can be taken away from all this is that you do need a worthwhile tune if this is your business model. Lil Nas X has continued to court controversy lately but doesn't seem to have a free ride to success. It can be nice for some headlines, but I think the important thing in all of it is that "MONTERO (Call Me By Your Name)" thrives on the fact that it's an incredibly catchy piece of music. The whole thing lends a lot of credibility to the idea of Lil Nas X as a popstar because he's so committed to the performance. The stickiest parts of this song come from all his different inflections and how the whole mood is warped around them. He comes in for the hook sounding gruff, but contrasts it by singing the same line in high notes moments later. He's working in tandem with the guitar which adds some nice flavour, but it's so minimalist. It's appropriate that he named the song after himself because he's selling himself as the package in this case, and evidently, succeeding with winged colours.

#241. Sticky Fingers - Just For You (#86, 2014)

30th of 2014

I apologise but I actually do have to bring up Oasis again. When you think of them, is there any particular word that you most immediately think of next? Just something you imagine Liam or Noel singing. For me it's a no brainer, it's 'shine'. I'm not the only one who's noticed this, and Oasis fans have been very diligent in documenting its extensive appearances in their catalogue. It feels like it's something that might have gotten exaggerated over time but even from the very beginning, Liam was absolutely making a meal of it. The one in particular that always sticks out to me (maybe because I've listened to it far more than the average person) is the one in "All Around The World". Complete and utter hubris. Noel can be just as guilty sometimes, but maybe a bit more self-aware, as there's a song on the first High Flying Birds album that says 'I don't care for the sunshine' over and over again.

It's this kind of rough exterior, poking their tongue out to good sense and taste, that I suspect has endeared the band to many over the years. I would be very surprised if Sticky Fingers do not find themselves around that circle. Mainly because Paddy admitted it in an interview with Tone Deaf. I'm specifically referring to the section on the song "If You Go", which has all the DNA of Britpop in it, and a chorus that sounds more than a little like "Some Might Say". They don't extend the same observation to "Just For You". Mainly because I don't think Britpop is the right fit for it. I just think of Oasis because that snarl is back. Also it's there, it's there, the chorus says 'sun is always shining' with the subtlety of the monster guitar riff behind it.

I get a lot of different ideas flowing through in this one. The piano anchors it in something closer to Madchester, but Dylan's faster pace takes it somewhere more modern. In reality though I think I'm mostly drawn to something contemporaneous to all that but completely different. Hear me out, "Just For You" sounds like The Prodigy. If you want to say that the piano sounds a bit like Cold Chisel then I won't stop you, but you might make Regurgitator fans upset. In all seriousness though, this song to me is all about the huge arrival of the guitar plummeting to earth in the chorus, and you can't convince me it doesn't do the same thing as "Voodoo People" or literally any single from "The Fat of the Land". I'm onto you 'Freddy Crabs'. I'm definitely charging them with the crime of illegal time travel, or just reminding me how much I love The Prodigy.

#250-#246

#250. Steve Lacy - Bad Habit (#4, 2022)

16th of 2022

In 2018, Kali Uchis released the song "Just a Stranger" which features Steve Lacy. It's a song I loved instantly and I think could one day find a bigger audience, the way many songs by both artists have in the years since it was released. It's the first time I really took notice of Steve Lacy as a solo artist and not just the guy who plays guitar for The Internet, though I'm not sure how much he contributed to the production of the song outside of a catchy hook. Both artists have certainly gotten more popular since then. Kali Uchis has a song that's closing in on 3 billion Spotify streams, and Steve Lacy has gotten a Billboard #1 hit, wait a minute, this is that Billboard #1 hit!

It's often hard to discern where you can draw or blur the line between a hit that seems accidental and one that seems planned. When a completely random band from years ago does it and then makes no notable headway from it (like Surf Curse or Richy Mitch & The Coal Miners), it's probably an accident. When it's a big artist on a major label, probably not. A somewhat big artist on a major label? That's where it gets blurry.

Steve Lacy prefaced this with his song "Dark Red". It's a very Dominic Fike type situation, in that it was chucked out years ago as part of a disorganised collection of demos that he recorded, with an average length of about 2 minutes. "Dark Red" is the kind of hit that just needs to be uncovered though. Just an incredibly sticky song that's dripping in catchy hooks and chill tones. If you're ever compelled to consider Steve Lacy a one hit wonder, it's worth considering that though "Dark Red" didn't chart quite as obviously well, it's managed to stave off "Bad Habit" and remains his most streamed song on Spotify, with a lead that is presently growing as I write this.

If it turned out that "Bad Habit" was written to try and capitalise on this success, I'd be willing to believe it. I don't think of it as a commercial sellout or anything like this, but the absolute density of hooks is not something you just accidentally stumble upon. One of those moments where a hip and cool artist writes an undeniable smash and nearly everyone's rooting for it to climb the charts. I wasn't obsessively in love with it, but it was clearly my favourite thing going on in the charts at the time. It feels appropriate to mention that I've dusted off the entire top 10 for 2022 on this list now. Somewhat ironic given that it was nearly the last one to open the pack (#688).

"Bad Habit" getting to #1 on the Billboard Hot 100 feels like a fairy tale ending. I will break this illusion, because while it was absolutely a monster hit in its own right, it had a little helping hand. Its ascent was pushed up with the release of an official sped up version of the song. There's no magic to it; they literally just sped it up by about 21.47%. I know because I just mocked it up in Audacity and it sounds exactly the same as the official version. It's incredibly easy to re-create it. At present, this version has roughly 7.5% as many Spotify streams as the original version, which doesn't sound like much, but on its first and third weeks at the top, it was doing so with a razor-thin margin. The second week was probably fine either way, but it's a reminder that even those seemingly hip and cool artists (or rather their labels) are often times employing all the dodgy techniques that don't get associated with them.

The TikTok machine also revealed another wrinkle in the situation. Steve Lacy would go out on tour, and the obvious direction this would take is that it reveals a huge portion of the crowd that were only there to hear his big hit song. It's a familiar story, especially with one notable British band for a while. In Steve Lacy's case it was even worse. You can find a video of him performing the song in early October 2022, at the peak of the song's popularity to a crowd that immediately clams up after he gets past the 'I wish I knew' part of the song. They occasionally come back because the song has a few viral parts, 'I bite my tongue, it's a bad habit' and 'you can't surprise a Gemini', but it's an oddly fractured experience. He's performing to people who seemingly have only heard parts of the song. I'm not sure the crowd has clocked that he actually flips the title lyric on the second chorus into a question ('Can I bite your tongue like my bad habit?'). I remember the same thing happening not long later with Lizzy McAlpine, who'd perform "ceilings" to a roaring crowd that's screaming every word in 2022, but then a year later (after some viral success) has a whole bunch of people who try to sing the final chorus where the first one's supposed to go. You can tell in both cases that they're extremely irritated by this, and it's one of those things that can take some shine off the illusion of a beloved hit song.

Fortunately, it's not on me to judge a song on the merits of how it gets popular, and for those who are willing to engage fully with the conversation, it can be a means to put great music in the spotlight whether it truly is fulfilling the impression. "Bad Habit" remains a song that I have no beef with. It still sounds great, and we can always do with more songs about being socially awkward. I mean, who knows where I could be if I ever felt comfortable shooting my shot? How can anyone have the confidence to not feel like everyone's too good for them? Steve's speaking to my soul here.

#249. Duke Dumont - Ocean Drive (#13, 2015)

32nd of 2015

For a while, "Ocean Drive" was Australia's little secret. A hit song by an international artist that got incredibly popular, bigger than any song he'd put out before or since, while going mostly under the radar elsewhere. At this point Duke Dumont had two #1 hits in the UK in the past 2 years, but this one couldn't even crack the top 40. The system just worked here and the song caught on like wildfire, becoming one of the absolute biggest radio hits ever. The rest of the world has eventually caught up. It's firmly his biggest hit nowadays, very successfully carving itself a niche as a bouncy dance pop single that's fresh and original, no distracting elements at all.

There's a side of the story that's a little less fun, but I'm having trouble finding sources for it. My only assumption is that the hatchet has been long buried. I just have this strange recollection of the vocalist on this song (Boy Matthews) getting particularly peeved about the way Duke Dumont was acting once the song started to blow up. Taking the full auteur route of paying no credit to someone who was a big part of both performing and writing the record. There's nothing I can find from the immediate time, but from Boy Matthews' Twitter feed, he occasionally gets a bit (understandably) bothered about the way songwriters are often treated in the equation.

The reason I say the hatchet has been buried is because Boy Matthews has retweeted Duke Dumont many years later, suggesting better terms, while in his 2018 Under The Influence interview on triple j talking about the making of "Ocean Drive", Duke Dumont does take the time to absolutely spotlight Boy Matthews' contribution. He also mentions that the song was shopped around to potentially be sung by The Weeknd or a certain other R&B singer, as well as being very proud of the record, and very candid about Industry Rule #4080.

That's a happy ending I think. Except then in 2021, Duke Dumont got into an argument on Instagram with Kelli-Leigh over minimising her contribution for the song "Melt", which in a sign of either terrible misunderstanding or bad faith, had him instead citing her just singing a Whitney Houston top line on their previous collaboration "I Got U" (#441). This controversy was new to me but it looks exactly how I imagined it did for "Ocean Drive", so I guess some people never truly change. "Melt" actually comes from the same EP as "Ocean Drive" so it's one of three songs on there with uncredited vocals (the other one is "Won't Look Back").

Often times it feels like women get the worst shake of it, which is why I'm not sure I feel much better if Boy Matthews is just an exception in hindsight. At one point he quote tweets Bebe Rexha talking about unbalanced producer royalties. Bebe Rexha was a very public victim of these situations. When she sung the hook to David Guetta's song "Hey Mama", she was initially left off the credits under the belief that there were too many names on the song which becomes bad for business (it was credited as David Guetta featuring Afrojack & Nicki Minaj). A few months later she did get her name on it, but I often fear that not enough credit is given. Bebe Rexha unfairly became a massive punching bag for pop music fans as a permanent C-lister (even if she did eventually score an enormous hit for herself) that it's easy to dismiss her concerns, or worse, discredit her as a songwriter because of the way the industry treats her. I can certainly think of another artist who will eventually appear on this list with something to say about it all.

As for the song itself, yeah, it's delightful. One of those neat little packages that feels like opening a present every time. Nothing too flashy either, just a really solid groove, good vocals, and an insanely catchy hook. Duke Dumont says it himself that the phrase 'dance with the devil' works so well because the alliteration sticks it in your head, though he doesn't think he was smart enough at the time to make the same leap with his stage name. For me, that phrase always makes me think of the 1970 box office smash "Love Story". Can't imagine why. Poor Andy Williams, lived long enough to hear "Gangnam Style", but not quite long enough to also experience the joy of "Ocean Drive", and like, all those December royalties that really ramped up in the past decade.

#248. Kendrick Lamar - N95 (#41, 2022)

15th of 2022

It's been a few years so in case you've forgotten, this is the 'you out of pocket' song. You might have also forgotten that N95 refers to a specific kind of mask that was ideal for preventing spreading germs. It's also certainly a double-entendre in this sense given that he spends most of the song telling people to take off all kinds of metaphorical masks. I suspect Kendrick had some opinions about the geopolitical state of the world at the time, but surprisingly, it's a story for another entry. We're about to get introspective here.

"N95" is the sole representation here for "Mr. Morale and the Big Steppers". It's probably his most challenging album, because if you think it might be that other one, I think you should stack the two up together. I think you'll find this is the one that's considerably lacking in potential crossover singles. It says a lot that all you've got on the album is "Die Hard" (which just missed this list) and this song. Maybe it can be enjoyed as a mindless banger, but it feels far too confronting for that to actually stick.

When I think about "Mr. Morale and the Big Steppers", those aren't really the songs that come to mind. I'm thinking of those confronting moments. There's the lamenting of parental issues on "Father Time" (even if Sampha is steering it with a nice hook). There's the absolutely confronting experience of "We Cry Together", a scarily accurate depiction of a domestic dispute where everyone is in the wrong but too focused on getting the moral high ground to acknowledge it. Sure, you might have messed up, but that's nothing compared to what they did! You've got "Auntie Diaries", a song where I witnessed the global arrival in real time, where seemingly in the name of performative politics, the album's reputation took a total nosedive because Kendrick wrote a song about a family member transitioning but didn't follow the internet's guideline to saying the right thing because he's not online enough. The nuance did get through eventually, but it was an eye-opening experience. Towards the end of the album, you've got the album's crowning moment, the beautiful, evocative "Mother I Sober". Kendrick waxes on systemic sexual abuse and slavery with a hopeful turn to breaking the cycle, while Portishead's Beth Gibbons proves she's still got it with a harrowing performance. If you studied all the supplementary material in 2024, you might also recall it as the song that Drake mis-interpreted on one of his diss tracks. His final power play to land on his arse and embarrass himself, the way you could only wish could be the standard for genuinely awful takes that float around. I don't want to tap dance around the issue, but it is in fact the album with all the tap dancing.

On the whole though, it's a very introspective album, and I love it for that. I think a lot of people want Kendrick to use his platform to speak about all the injustices of the world again and again, and if you listen to "Mirror" at the end of the album, Kendrick probably feels some of that on himself. I don't know where he stands on it 5 years later, if the feeling of shame is still there, but I think there's something to be said about how many problems in the world could be alleviated if we took more time to better ourselves. Put on our masks before we help those around us. Just take off the superficial one before you do that as well.

In that regard, maybe "N95" resonated because it is the closest to something that does address the world at large. It's one that certainly feels more purpose built to be latched onto. Get a stopwatch out as you listen out for hooks and I guarantee you'll be hitting reset on the regular. And of course, if you're just listening out to hear Kendrick rap his head off with constantly shifting flows, well there's a lot to like here. I don't know what the general reception is on his high pitched voice he often does, but for me it always reminds me of Emperor Pilaf from Dragonball so I just get immensely amused by it. You can't rule the world with one Hottest 100 entry though, but I'd be lying if I said I thought it was supposed to rule the world. Kendrick just seems to have developed a holding pattern where he'll pivot between reaching for the stars and doing something completely different. I'm glad we get the best of both worlds. It makes me feel like there isn't a stone being left unturned.

#247. Bring Me The Horizon with YUNGBLUD - Obey (#71, 2020)

17th of 2020

The enjoyment of music isn't really a science you can pin down. Maybe on a grand scale there are sweeping gestures that can be made. Back in the early 2000s, a company named Polyphonic HMI developed a program named Hit Song Science. It would analyse music to spot similarities to hit songs of years gone by, and claimed to predict the hit potential of new releases, on the basis of familiarity. I don't know how much credit they get for it, but the claim that tends to get thrown around a lot is that it anticipated the monster success of Norah Jones' "Come Away With Me" album. There's another more interesting one where a certain song was scoring exceptionally high in all the important metrics, which gave the record label confidence to push it on the radio. Radio listeners hated it and would change the station very readily. That song was "Hey Ya!" by OutKast. You can claim they had the last laugh, but given their claims of familiar rhythms and patterns making a song more instantly stick immediately, it doesn't feel like it should count.

Even so, we're only looking at broad strokes. The notion that a lot of people will like something, whether or not you, the person reading this, or I, the one writing it are part of that circle. You can excavate a big pile of sand but some will inevitably fall out the side in the process. Sometimes we're just subject to whims that may or may not be quantified. Did we all think that "Keith" by Playlunch was certainly one of the best songs of 2025? Maybe, maybe not, but it was operating on a different playing field. One where the intangible fun of yelling 'don't f**k with my trailer, c**t', or otherwise imagining an exaggerated version of ex-Western Bulldogs star Barry Hall doing it instead can outweigh the hard science behind it all.

Why am I saying all of this? Well let's be honest, tangents are the only way I'm getting any meat out of my 12th entry on Bring Me The Horizon. But it is relevant in this case. However it is that you receive "Obey", it's probably different to me. Personally, it's one of my favourite Bring Me The Horizon songs on a purely stupid level. At the time I tweeted out something along the lines of 'Oh, bae, I hope you have a lovely day :)' and I've never been able to hear the song any other way since. This is a deeply political song that's taking aim at authoritarian regimes that pacify their constituents. I choose to ignore all of this and instead sing along a little goddamn louder to a happy song (#309).

This is absolutely the right song for this kind of juxtaposition. It feels like part of the metatext when it's one of their loudest and most chaotic songs in recent memory, but it's just waiting to give you a big hook to sing along with. YUNGBLUD doesn't really detract from the experience. I like to imagine someone who doesn't know his music is hearing the start of his verse and imagining that he's a trap rapper who demands a trap beat under his performance. When he mimics Oli on the pre-chorus, he's pretty impressive though. But yeah, wake up sheeple and all that.

#246. Hayden James (feat GRAACE) - NUMB (#32, 2017)

27th of 2017

I'm not sure how well known or remembered this is, but GRAACE was actually a contestant on Season 4 of The Voice Australia. She didn't get especially far, but as this list may continue to prove, that isn't always a hindrance to future successes. She chose an interesting time to emerge mononymously though. A couple of years prior to this, Australia housed two distinctly different singer-songwriters who went by Grace. Not a big deal, but one of those Graces happened their way onto a #1 hit, and suddenly the other Grace was getting a lot of mistaken messages. The less famous Grace is now R.W. Grace, but then later on, the more famous Grace also changed her name to SAYGRACE. Now we're left with GRAACE as the closest proxy who has steadfastly kept the name for nearly a decade now.

I suppose as a follow up to the Duke Dumont situation, I'm finding it hard to draw the right conclusion with Hayden James. Nothing but the nicest exchanges between him and Boy Matthews, not just about the song he sings on and receives a feature credit for (#401), but also one that he just co-wrote (#624). It's just that if you look at DSPs, you won't find those writing credits there. I don't think it's under dispute or anything, so I don't know why it ended up like this. GRAACE on the other hand has her writing credit locked in, which if anything makes it stand out as more unusual. Good for her. I wouldn't think she ever imagined she'd ever pen a 3xPlatinum hit, so it's important to lock down those royalties.

For me, "NUMB" feels like the natural culmination of Hayden James' sound. It achieves a certain mysterious darkness to it through what sound like conventional tricks initially. Like that rising tension before the chorus, it's just bringing up the background synth to waft a little closer to the surface, while adding and then promptly removing some handclaps. You've likely heard this exact same trick in Flume's remix of "HyperParadise". When the chorus does hit, it feels like the sinister energy has just been displaced onto GRAACE, with her vocals being pitched down. She also starts singing faster and it reminds me a bit of what Kygo tended to do around this time where he'd chop up vocal snippets and create new hooks from them to pretty good effect. GRAACE is pretty clearly speaking full sentences, trying to bargain with the man causing her pain. Just a really strong single that paved the way to his greatest success.

#255-#251

#255. Tame Impala - 'Cause I'm a Man (#61, 2015)

33rd for 2015

Maybe to you, it's been half a week, but for me, I just wrote about one footy mad singer, and here's another one. I wonder if they've ever hung out and lamented differing fortunes, the way two fans of one of the most successful and least successful teams respectively might do so. They've had some great duels of late (jury's out on last weekend but it was suspenseful at least), and now I badly need to know if Kevin Parker has ever hung out with Mason Cox. Niche fact here, but Tame Impala released the song "Loser" in 2025 just a few days before Fremantle became the first team to ever lose a final to Gold Coast. You'd hope he wields his powers more responsibly this year. I'm sorry I talk about this all the time, it's just one of my hyperfixations, 'cause I'm a man, and all that comes with it.

I remember the initial response to this song being a little patchy. "Currents" has gone on to become a very beloved album for many, but when you haven't reached that point (or all the big selling points haven't yet arrived), you're gonna see something a little more mixed. See also the initial response to "Von dutch" by Charli xcx (and heck, even the album cover). Once you're locked down as iconic, even the most awkward of building blocks can be redeemed. I begin to wonder if 'It might make more sense in the context of the album' is more about whether or not that sweeping quality grade can flatten it out, rather than being improved because of good sequencing or a throughline. It's the same thing I said last time about "Currents" actually (#886); I'm just looking at it from the opposite angle.

Of course, attached to all of this is that strange feeling of pop appeal and how that will actually affect the parameters. "'Cause I'm A Man" was the second single released from "Currents". The first one will appear later on this list of course. That song has very much earnt its stripes in the last decade but it is worth noting that this one that came after did manage to chart a little bit better at first. It could perhaps be noted that the first single was also initially released as a free download, but I've often had trouble determining how much that can affect sales. I'd be surprised if it offset the potential as much as the sheer nature of being a second single affected "'Cause I'm A Man", and so we have to be reminded of the curious workings of popularity. There absolutely will exist songs that are not made for the pop charts because they're too long, cerebral, what have you, but they'll find their audience in the long run. Often times when it comes to tracking the new releases, you just find more success putting out a "'Cause I'm A Man" than well, that other song.

I don't know if I would call this a full on pop pivot, especially now in the 2020s when we actually have an idea of what that could sound like in a Tame Impala context. It's definitely more bite-sized though, with an easy layer of instant gratification. I'm once again putting my hand up to say that I was one of those people who bought into this song pretty easily but don't go back to it as much anymore. Judging how far this fell behind the other singles in the Hottest 100, it looks like it was a quick discard for many of us. Is it bad though? I don't think so. Maybe a bit straightforward with a cheesy hook, but it sits itself in a nice slow groove that's among the best sounds on "Currents". Just be glad that we got through it all just before culture wars took a grip on anything tangentially related to gender politics that'd make this song no doubt the subject of the worst conversations imaginable. I'd jokingly say they only do this 'cause they're men but I think we all have the agency to do better.

#254. Cub Sport - Come On Mess Me Up (#24, 2016)

28th of 2016

I have mentioned previously that Cub Sport are a very outwardly queer band and I never really expanded on that because I was waiting for the main event. There's no way to sugar-coat it. Tim and Sam from Cub Sport are partners, and this song to me feels like a cathartic anthem of release for it. Tim didn't actually come out publicly until 2017 though, so in early interviews about this song, he has to play dumb and pretend that it's all just about his experiences with the music industry. You listen to it now and it's like 'duh, what else could this song really be about'.

It was a long time coming though. I'm taking most of it from an interview he did in 2018 with Linda Marigliano. Basically, he'd been very close with Sam since they finished high school together but in a way that caused confusion mostly because it was a new experience to feel that way about anyone, regardless of gender. I'm not entirely sure when "Come On Mess Me Up" was written, but he seems to imply it was quite a while before it was released. He was inspired by the open, detailed songwriting of Leonard Cohen, and found that it unlocked something in his own writing that helped him discover who he was, both as a songwriter and a person. He even says that even though they'd been making music together for about 6 years at that point, this song was the proper arrival of Cub Sport.

It's still very surprising to see it knocking about like this. I say this as someone who was mildly following the band at this time and there was just nothing to suggest that they were priming for the big time. "Come On Mess Me Up" was actually the 3rd single released from the album, and it wasn't even initially planned for that. I suppose it must have been well received on tour and got a good run with word of mouth. They performed it for their Like A Version segment which probably got the biggest signal boost. If we're to believe in proximity rules for promotion, then getting in around the same time DMA'S put out the most popular Like A Version ever (#987) has to be a boon. They covered a fairly recent song that will eventually appear in this list. If you look at the YouTube comments for their performance, you can actually find someone who clocked the real meaning of the song but dismisses it because of what Tim says in the interview.

So I guess what you can say about this song is that if you were ever under the impression that the important meaning of the song is what made it big, then know that the real timeline is that everyone just clicked onto a very likeable song without any particular meaning behind it. I don't know how often that actually happens nowadays. I definitely feel stronger about it now. I don't always clock songs in this way, but I hear this one and I appreciate that it's here. These kinds of wholesome messages are most effective in the form of a popular, catchy song.

#253. The Smith Street Band - Birthdays (#21, 2017)

28th of 2017

A vital connection here as eagle-eared listeners will note that "Come On Mess Me Up" mentions walking on Smith Street. Cub Sport are from Brisbane but they also partially recorded that album in Melbourne, which is me admitting once again I have no idea which Smith Street could possibly matter. Maybe it is the Melbourne one because as far as I can tell, there isn't one in Brisbane, as impossible as that seems. But then you tell me what you'd prefer, the hustle and bustle of the big city in the commercial zone of Smith Street, Melbourne, or the quiet residential zone of nearby Smith Street in the Redlands? I guess I'm always a small town boy at heart. The love that you need can be found at home.

The Smith Street Band manage to win this battle, not by just 1 position, but $200, because they mention Elizabeth Street on this song. I'm going to confidently assume they're talking about the one in Melbourne and not Sydney, in which case, that's a $260 property in the 1996 Australian edition of Monopoly, and in a bizarre coincidence, sits directly across from the $60 Smith Street, which as I'll remind you, is actually the one in Alice Springs. If I can say one more thing about this extremely niche piece of pop culture, it's that they unintentionally allow the Melbourne/Sydney war to settle. They give Sydney the higher property values which seems good, except they're on those garbage green properties that nobody wants and nobody ever lands on, who's the real winner here? I'll tell you it's Adelaide, because the orange properties conveniently spaced 6-9 spaces away from jail are the most important real estate in that game.

Okay I'll talk about the actual Smith Street Band song. "Birthdays" is one of their biggest hits too, and is their equal highest placer here. I think it stands out a bit from the rest for being a little quieter. I'd say it's more contemplative but then that's been their whole deal no matter how loud they get. From what I can see, the origin of the song is Wil hearing someone lament being nothing but a future housewife, and him not agreeing with the grim outlook. It doesn't necessarily match up with it generally being a love song, or having a music video where a little girl grows up with a robot companion. I suspect though, the future housewives lyric is the one that's gonna stick with you the most.

"Birthdays" is also an early appearance for Jess Locke who provides some backing vocals. She'd become a touring member with the band shortly after, and since 2021, she's been a full member of the band. I mainly know her for her solo career that has run alongside it. I think she's great! Very moody and occasionally drudging rock, but with some of the most pleasant tones and rewarding melodies. She first starts getting writing credits on a couple of songs from their 2022 album (including "I Don't Wanna Do Nothing Forever" (#256)).

This is a song that I probably wasn't completely on board with on immediate release, but absolutely bought into the hype after the fact. I think it strikes a great sonic balance when it shifts between completely gentle and completely raucous like a light switch. A great bunch of lyrics also in the first verse, drawing up the contradictory feelings of mental health where you 'Wanna be alone, wanna be surrounded', but having all that confusion go away when in the presence of that special someone. They do all this and flip the script with the last line of the song and I don't know what to say about it anyway but I hope you enjoyed reading about it.

#252. Mark Ronson (feat Bruno Mars) - Uptown Funk (#6, 2014)

31st of 2014

I feel like a staple of old music biopics is the gruelling story of the album, or the song. Just the idea of a band or musician who is so fully locked in because they know they're in the process of creating history. From what I saw of the Beatles' "Get Back" documentary, that's the realistic picture of it. Frustration over small parts not working, arguing about whose idea should get the go ahead, and stress over the unreasonable hours spent toiling away with little to show for it. I don't know how often this still happens. Possibly a big switch to digital has mitigated some parts of it, while you also just don't really get hits of the same stature by actual bands very often. Not all is lost, it's just a little different for the most part, with the occasional exception.

"Uptown Funk" is one of those exceptions. When I hear this song, I hear an immaculately crafted pop hit. A song that's been carefully considered to within an inch of its life to sound effortless and ready to be enjoyed by everyone. I also picture Mark Ronson in the studio, losing both his mind and sleep to make this happen. This is one of those songs with a story. It starts with Mark Ronson, Jeff Bhasker & Bruno Mars working in the studio after hitting it off well during the recording of Bruno's 2nd album and wanting to go around again. Some of the initial ideas were promising, which made them strive to see it through, a process that took many months. The song took on many forms because Mark Ronson was so determined to put it together in the right way. I think deep down he knew he had a hit, and it was a matter of removing any possible reservations that might keep it off the radio. All that effort paid off though, because we're looking at one of the biggest hit songs of all time.

There are a few ways this is made clear. The song is 22xPlatinum in Australia for instance. If not for people being sad about a car movie, it would've pushed its way to being the longest running #1 hit of all time in America, with such a drawn out chart run that Billboard seemingly added tighter restrictions on chart endurance just to end its stay. I think my favourite stat piece is that it became the first song ever in Australia to make 3 consecutive End Of Year lists, just sneaking in for 2016 after being the runaway #1 of 2015. The most jarring thing about this is seeing a song released in the middle of November making it to be the 29th biggest hit of 2014. By comparison, future Hottest 100 entrant Gracie Abrams released "That's So True" a few weeks earlier in the UK, it quickly vaulted to #1 and initially spent 5 weeks there in November/December. It did not even crack the top 100 over there that year.

I need to also point out the funny situation that came up when the song was released. It just so happened to coincide with the week ARIA added streaming to the charts, which for the most part didn't cause a drastic shift because the numbers weren't big enough yet, but they tended to shuffle some things around a little. One such example is that the hot new download hit "Uptown Funk" hadn't fully found its streaming footing quite as fast, so it actually missed out on debuting in the top 10 as a result. It jumped up to #2 the next week so it's not so bad, it just adds to the surprisingly common pattern of Bruno Mars songs climbing in their second week. Just in the past few months, Bruno Mars has once again debuted at #11 and climbed into the top 10 the week after. No matter how established and famous he is, he just keeps doing it. Of the 19 top 10 hits he has now, only two of them started in the top 10, and they were his very recent collaborations with Lady Gaga & Rosé.

I might have been implying that "Uptown Funk" is a completely sanitised record, and maybe it is, but an odd quirk of this is that the song was largely built around an interpolation of "All Gold Everything" by Trinidad James. If you don't know that song, it's where 'don't believe me, just watch' comes from. Bruno Mars leaves out the copious number of times Trinidad James says the n-word after that hook. I always like to think of it as Mark Ronson being a good friend. Thanks to this decision, Trinidad James gets a free writing credit on a song that is making millions upon millions of dollars. Must be a nice royalty check to get to cash in every now and then. There's a Trinidad James remix of "Uptown Funk" where he's all on his own for the first minute of the song, and gets to finish his contribution by saying his lyric in its original form.

When a song gets this astronomically popular, you can lose a little connection to it. I've always felt like "Uptown Funk" does a good job at avoiding all of this because it's just such a well-oiled machine. You look at past instances of 'what an unfathomably popular song', at the time the most recent example was Pharrell's "Happy", and they might feel more than a little sanded down. "Uptown Funk" just feels so dense by comparison. It's like it's managed to avoid those trappings by giving you so many things to focus on instead. What a cool little bass riff, horns that sound massive, Bruno Mars, what a star, etc, etc. It's a song that's so outwardly confident that when Bruno Mars tells me that 'Uptown funk gon' give it to ya', I can't help but read it as a proper noun. This song is a meta-text about how awesome the song is, and I find myself ready to buy into it.

#251. Disclosure (feat AlunaGeorge) - White Noise (#69, 2013)

42nd of 2013

I personally verified this list multiple times while it was being created. Important to make sure it has exactly 1,000 songs, with no erroneous inclusions, no double ups, no omissions. You'd think it'd sort itself out, but projects of this scale have a habit of making something pop up. Then once you're done, you fast forward a couple of years and start to cast doubt on the whole thing. How thorough could I have possibly been? Is there a chance I still let something slip? I've been experiencing this list in a gradual fashion as I'm doing it. I write this entry with the next two and a half weeks of entries in front of me as well, which helps in case I need to do extra preparation for something. Until two and a half weeks ago, something was getting increasingly strange. Where are Disclosure? I know they have a bunch of entries here, but we're getting really deep into it and I still don't see them. Could I have just scrolled ahead and found them? Absolutely, but that's less fun. I wanted to have the same experience of shock as they continue to suppress all comers. They came within an inch of having their entire set within the top 250. Incredible innings for a band I never saw myself as a massive fan of, and for whom my favourite songs aren't even on this list. I guess everyone who thought they were ahead of their time was right, and I'm only just catching up.

Disclosure were first put on my radar with their song "Control" in mid-2012. It didn't make a big impression on me but I remembered the name because they were getting a lot of buzz. Around this time, I was habitually recording weekly Spotify charts in Australia, something that was particularly to my taste at the time because it was so heavily dictated by triple j's playlist. A bunch of bands I can't mention yet were running rampant. I remember being a little surprised to see Disclosure's next single make a pretty solid impression, implying they might be rising up faster than I expected. It sounds a little silly in hindsight when I point out that the song in question was "Latch". It was a respectable hit in the UK, but when it came to going global, it was one of the biggest sleeper hits of the decade, not peaking in America until the middle of 2014. It was probably helped by the significantly increased profile of the guest vocalist, whom I can't name yet, another sign that Disclosure were ahead of the curve.

"Latch" peaked at #11 in the UK, but they'd cash their cheque on the next single, "White Noise". This very quickly became their highest ever charter when it climbed to #2 in its second week on the chart, kept off the top by the UK's late arrival to Macklemore's "Thrift Shop" moment, a song that had hit #1 in Australia two months prior. An incredible showing though for a duo who'd just popped onto most people's radar a few months ago. They'd notch up more hits as they released their debut album, but the version of that story I'll tell through the Hottest 100 looks a little different to the charts.

Realising just how much I actually like Disclosure has been a big discovery while making this list, and apparently again while making these entries. "White Noise" is probably the most evident because I never had strong feelings about it at the time. One of those tidy songs that felt like it did nothing wrong but still didn't rise above the pack for it. It was merely a source of amusement for me making light of Aluna's British-ism pronunciation, pronouncing 'automatic' as if there's only one 't' in it. A true 'bottle of water' moment. The whole thing is sublime though. You've got the bouncy synth that feels like Disclosure's trademark at this point, but it's going over an atmospheric instrumental that feels like floating in space. Maybe the best decision is to really hold off the last chorus, providing a complete fake out with the pre-chorus and going on a wonderful journey instead. There are good bridges on their own, but there are also good bridges that fit perfectly into the context of the song and enhance the whole experience. Apparently sometimes you don't even need words to do it.

#260-#256

#260. Angie McMahon - Slow Mover (#33, 2017)

29th of 2017

I have a certain fascination with the way many artists seem to reach their greatest career peaks at the very start, even when it doesn't feel like it lines up accurately with the arc of their career and infamy. I've mentioned before with artists like Nickelback, how it can potentially be a product of being 'figured out' by the audience, in terms of where they stand and what they represent. More potential in buying into something speculative. Other times it just feels strangely out of place. You can blame different chart eras but it's odd to think that Troye Sivan's only ever top 10 single in Australia was achieved within a month of his first ever chart appearance. Chris Brown debuted at #1 in Australia and outside of his collaboration on "No Air", he's never been back at #1 since then. It might feel like Angie McMahon's only gotten more famous over the years, but she still got her biggest Hottest 100 hit straight away.

This still feels strange to me but it does line up with another happening at the same time. In 2017, Wolf Alice had a decent showing in the top 200 with two of their songs. One of those 'what could have been' moments that could've been rectified if the voting was more unified behind one song. I think if anything they just needed more time, because they won the Mercury Prize later on in 2018, which has made "Don't Delete The Kisses" into a bigger deal. It's something that'd be rectified in the future...right? Well, two albums later and they're now charting better in terms of music charts, but they are a complete absence from being even close to the Hottest 100. When people lament their lack of success, or likewise for Angie McMahon who was last seen at the #101 & #103 positions, it just seems like both artists had a bunch of people who eagerly voted for them then, but then mysteriously disappeared. Just whistling inconspicuously while witnessing the outrage. I voted for Wolf Alice multiple times so don't get your pitchforks out at me, but I suppose then I am a passive supporter of Angie McMahon who's never given her the dues.

Perhaps it all comes down to that intangible feeling of a hit song that connects, and we have to wonder what "Slow Mover" does to put itself there. It's a big, sweeping gesture song that's thinking about the future in the way that I don't always expect to resonate with the youth audience. It's like a Family Guy joke I saw recently poking fun at How I Met Your Mother, how Ted at his age seems strangely fixated on the idea of marriage rather than just dating. Maybe this generation (then) are just willing to support someone who's contemplating bigger things, awarding the confidence in it all. I think it's a conviction that Angie can definitely sell in this song, even though she's making a declaration of the opposite, and maybe once you put all your chips in for a song like this, it's just incredibly difficult to ever meet the same heights, no matter what you do. Everything's just a permutation on our first impression of what the artist is, and what they should be. Maybe you'll buy her album, maybe you'll buy the next one, you're just waiting it out to see if it's all as good as this song promises it to be.

#259. Cold War Kids - First (#89, 2014)

32nd of 2014

I wonder if in 2007, you just had to be there. I was, so you can trust me on it, but I imagine otherwise if you look at the pointy end of the Hottest 100, there are a handful of songs that don't really have the popular credentials to justify themselves. The one that probably sticks out the most is "Hang Me Up to Dry" by Cold War Kids, a song that had been doing the rounds since the start of the year but wasn't a hit by any measure. Cold War Kids weren't an essential 'everyone's talking about them' kind of band either. They're not even Australian. Yet here they are inserting themselves into the pointy end of the countdown.

To me, it makes perfect sense, but then the whole "Robbers & Cowards" album is a core memory for me. I was mostly into the singles near the front of it, but they fill a niche that cannot be replaced with anything else. A combination of stress, anguish, and inserting odd instruments into the mix. I can't decide if it sounded genuinely modern at the time because I don't really have a point of comparison. It's just that when the riffs to "We Used to Vacation" or "Hang Me Up to Dry" start, I'm instantly teleported back to 2007, and everything is good.

This early success was probably enough on its own to justify keeping the band around for a while yet. I'm proof positive as someone who kept digging into random new singles of theirs as late as 2017. They notched up a couple more Hottest 100 entries after 2007, but it felt like a last hurrah when they couldn't quite make it in 2013. I feel like after that we get a completely different story that's unrelated to everything going before it.

Or maybe not initially. Cold War Kids snuck into the Hottest 100 again with "First" in 2014. A quirky rebound that was probably mostly on the back of their previous momentum but they had a more well liked single this time around. In the time since this has happened, "First" has gone from that fluke of a last gasp to absolutely the band's signature song. A song that's become so big that the band might retroactively be considered one hit wonders for it. There's talk of a lot of alternative rock songs sounding like car commercial music, and this might be the guilty party in that stereotype because it literally was used in one.

At some point you have to stop and wonder 'Why this song?'. It would be fair to wonder why this of all things has become one of the biggest hits of all time on alternative radio. It's a completely isolated incident too. It didn't remotely stop the band from dipping into obscurity. My only best guess here is that it's a song that finds the sweet spot of sounding a little different and interesting, but not too weird and off-putting. Sometimes it can be hard to tell how much of it comes down to the song as opposed to just being in the right place at the right time, because what I just said could describe a lot of Cold War Kids songs. I guess people just really like that one drum fill and the bit about flying like a cannonball. If we've learnt anything recently it's that the people crave Oasis.

#258. FISHER - Losing It (#2, 2018)

28th of 2018

It's insane to think that we're still on a generational FISHER run right now. The 2025 Hottest 100 has wrapped up and there he is again, two entries at #32 & #89. I'm just a touch early to seeing how his new song is faring but he's got plenty of time to sort something out and keep the streak going. For now, he's made the list 8 years in a row and it all started with this bolter in 2018. You'd think maintaining this would require a career with steadily paced out peaks but aside from a couple of recent songs that vaguely could be called crossover hits, he's mostly been coasting off a strong start. Then again, The Living End also introduced themselves to the world with their defining hit song, and they're the benchmark with 10 consecutive appearances. As far as I'm concerned, I'm gonna get through this entry and my burden of writing about so many FISHER songs will finally be over.

I don't know if there is a general consensus on the strengths of Hottest 100 years. The funny thing is that I of course saw someone say that the Hottest 100 died in 2025, only to get chimed in with a bunch of people who were seemingly united in saying that the answer was a different time period prior to that. You might agree that it's passed it with someone, but if they're saying it happened 10 years before, surely that's gotta be fighting words as they're disparaging a decade of key memories for you.

2018 looks tailor made to push people to Double J though. I'm not done dissecting the whole top end so I won't jump ahead on it, but I see a whole lot of songs that are poised to infuriate for some combination of being an absolute irritant, a boring pop crossover, or an Ocean Alley song that manages to do both at the same time (#521). When you get to a song like "Losing It", I've gotta be out of my mind if I think a bunch of people introduced to it in that very moment are gonna say 'Oh yeah, the kids are alright!' and not 'Is this what they call music nowadays?'. For the rockist perspective, "Losing It" does so little to placate the reservations. It only has 24 words in it, or if you don't count repeats, it only has 3 words in it. The closest comparison point I can make to it is probably The Bloody Beetroots' "Warp 1.9". I think though even fans of that song might find the minimalism of "Losing It" to provide nowhere near the same payoff. It's the kind of thing that's gonna make you paradoxically question if the new generation has any spice in their interests, before lamenting a week later that they seem shockingly desensitized given the filth that passes as entertainment now. God, I wish any of the people who voted "Wings" as the first ever Best Picture winner in the 1920s could be brought back just to watch "Anora" or "Everything, Everywhere, All At Once".

I think the gut reaction is important because it lays the groundwork for how willing you're going to be to concede to the new canon of music history being written without your input. Over time, it's how I've tried to make sense of it, and it's a more fun way to experience things, I can tell you that. "Losing It" might just be the pinnacle of tension and release. From the very first second you're introduced to a buzzing alarm, and the whole song builds up to drops that don't even really give you a chance to calm down after. I have to imagine it's pretty incredible in a live setting. All the constant build up and the catharsis afterwards. It almost feels cruel, the way the first two drops come in after about 15 seconds of percussion hits, but then the next one doubles it to around 30 seconds. Just the ultimate drum roll. Maybe in my ideal world, "Losing It" would have a bit more meat in the drops, but I think the simplicity is where it finds its niche. Don't make us think too hard about it.

#257. Dune Rats - Too Tough Terry (#85, 2020)

18th of 2020

There's a band from Oxfordshire called Young Knives. I will readily assume most don't really know them very well because in the leagues of landfill indie, they don't even have that one crossover song that people still listen to. They'd long for even a taste of the success that run off singles by The Fratellis get. Anyway, I bring them up because I hated them. If you were ever going to sell me on the idea that Kaiser Chiefs and associated bands maybe weren't actually worth the time of day, then reminding me of bands like this could have been what did it. Maybe I was wrong for thinking this, but I'd hear "She's Attracted To" and get bogged down by every decision made that seems laser focused to irritate. I think it's pretty harmless nowadays, but then every throwback tends to seem better divorced from its initial context. Can't imagine the discourse if the song came out now though.

A funny thing happened years later. I heard a new song on triple j quite a few years later and I really liked it. The Strokes were about to drop their big comeback single, and I'd be pretty obsessed by it. They were beaten to the punch by another song with raucous, sticky riffs. You know I'm talking about "Love My Name" by Young Knives. It's always my nomination for one of the most unexplainably transcendent songs ever made. The closest thing I can think of for what works is that the song's chorus includes these funny 'pew, pew, pew' sounds that remind me of some similar sounds in "Mario Land 3: Wario Land", which is nostalgic as heck. In general though it's just so tightly packed without a moment wasted. Between them and Silversun Pickups, I just had an incredible track record of tricking artists into making some of my all-time favourite songs just by declaring to myself that I hate them. Maybe there's something in that. You're so invested in the storyline that you pay closer attention, just close enough for the surprise sucker punch of glory.

It's funny for two other reasons too. The first is that for whatever reason, the song and album just never made it to Australia. It's 2026 and you still won't find it on Apple or Spotify. I haven't the faintest idea why, and the fact that it was obviously sent to radio here in some capacity just adds to the confusion. Maybe there was some stumbling at the time because the band were currently rebranding (they used to be *The* Young Knives), but I wonder if there's just not enough demand and no one noticed it. The other funny thing is that over a decade later, Dune Rats found some success by making the song "Too Tough Terry", which feels like it has to be a deliberate Young Knives pastiche. They're so completely memory holed that I don't see anyone else point it out.

Of course, we're talking about Dune Rats here, so they're still going to be playing to their own devices. While the confrontational energy is all there, I just don't remember Young Knives saying 'c**t' quite as many times. Nah, I'm just joking, we all know Dune Rats are singing 'Terry is a tough, can't see straight Terry'. All up though, it's an important evolution of the form. When you're singing about the most absolutely abrasive person imaginable, you have to meet him in form. Terry wouldn't stand for his theme song being weaksauce. I'm ready to be convinced that this is the prototype for Playlunch's "Keith", setting the stage for the most niche Epic Rap Battles of History...of history. Just imagine how many parking spots Terry could hog with his 18 wheeler.

#256. The Smith Street Band - I Don't Wanna Do Nothing Forever (#90, 2022)

17th of 2022

I learnt some pretty difficult news about Wil Wagner while I was researching one of the previous entries. I can't actually find him talking about it very much because it's a very taboo topic, the kind of thing that's difficult to go out and say in public. Maybe the clues were always there given the location of Smith Street in Melbourne. I'm afraid to say that Wil Wagner is a massive Collingwood fan. The album that this song comes from is called "Life After Football", which is of course ironic as that's a foreign concept for that team. Pendlebury and Sidebottom have been playing together longer than The Smith Street Band have. Maybe this song getting into the list is compensation to make up for just how unbelievably stressed he must have been in 2022, watching his team win 9 close finishes in 12 weeks, only to finally have the tables turn as they fell short of making the Grand Final by 1 point. I think about this whole spectacle and wonder if I even hate Collingwood anymore. There's an alternate history where they don't lock in a year later and my team wins that year instead, but then subsequently doesn't for the next two years.

In all seriousness though, it'd be wrong not to at least acknowledge some of the allegations put towards Wil Wagner. Some of them involve an artist who will appear in this list later on! I don't think it's really my place to comment on it as it's one of those hard to decipher situations where there could be some culpability on both sides that isn't even necessarily catastrophic (because we're humans and sometimes we don't make the best decisions, and sometimes we feel the need for karmic retribution to make up for being wronged in a non-malicious way). I'd like to hope at least everyone's learnt from the experience.

It did feel a little strange to see The Smith Street Band still showing up here after all that time though. This looks like it will be the last time (though not for this ranking) and it's not a bad way to go out in any case. If you're after songs that are equally anthemic and existential, then I've got the song for you. Sometimes they'll wrap it up in packages that we're familiar with, but I love that the big kicker phrase is something as banal as being stuck at work on respective birthdays. A simple creed to illustrate how the things we do to maintain our life get in the way of the very life we're trying to maintain. On the other hand, we're looking at a well-worn path set by New Radicals, because the lyric that always sticks with me the most is the one about the sexy Germans. Feels like I don't wanna do nothing at all, nothing at all, nothing at all. Stupid sexy Germans.