#61

#61. Milky Chance - Stolen Dance (#4, 2014)

9th of 2014

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A big regret of mine is misplacing a February 2008 edition of JMag, triple j's on and off print edition. I liked getting the Hottest 100 editions because they'd go extra deep into the countdown I worshipped, and maybe you'd get some tidbits you wouldn't otherwise know about. Mainly I wish I had it because there was a comment from Richard Kingsmill that I'd love to confirm, where he said that "Knights of Cydonia" is the longest song to ever win the Hottest 100, but the length he cited was not the song's 6:06 length, but that of the shorter radio edit that triple j would exclusively play. This is an important distinction, I believe, because it's key to the song's legitimate eligibility. This radio edit didn't arrive until right around December 2006 making it squarely fair game despite having arrived on an album in the middle of 2006. Of course it doesn't really matter given that triple j were never tending to clamp down on it that much back then (Silversun Pickups' "Lazy Eye" also wouldn't be eligible that year, among others), but it's the boring, rational response to the controversy that even holds up by today's rules. We will later deal with a notable radio edit situation, but before that, let's deal with one that's even more obscure.

The case of "Stolen Dance" is one that I suspect I wouldn't be able to tell if I weren't extremely fortunate to have come across the song when I did. I believe it was either a direct or indirect recommendation at the time that put me across to the song and I very quickly grew attached. It was something of an in-thing for me and about two other friends who also saw the light. No one else seemed particularly interested in it but we were all-in and having a good time as a result. The catch is that I'm talking about November 2013. That's when I downloaded this song on iTunes and I still have the metadata to prove it. Milky Chance's album "Sadnecessary" was just all there though I don't think I listened to anything else from it at the time. I don't think they necessarily intended to promote it in Australia at the time, it was just a quirk of iTunes, which was often region-locked with its available material, but tended to just release things in every country for a period of time before clamping down. A lot of Australian albums would be available in the US for a day or a week, or something like that. "Sadnecessary" was released in May 2013, so it was there for a long time, but at some point after I downloaded "Stolen Dance", it was gone.

They had a good reason for this as it turns out, because "Stolen Dance" had started becoming a hit. It was a real shock to the system for me to see it on the iTunes chart, and to hear the song on triple j, the only catch is that it was not my beautiful wife, nor my beautiful "Stolen Dance", but a radio edit. The original song is a bit over 5 minutes long, while the edit cuts nearly two minutes off of it, as well as generally tinkering with the mixing. The edit feels a little faster, a little lighter, and very different all up. The way the guitar comes back in on the song's second chorus and the extra guitar bit at the end of the song are wildly unexpected portions to me, but maybe to someone who came up with this one are just regular pieces of the puzzle. I actually feel uniquely unqualified to judge this radio edit because the original version was just burned into me from months and months of repeat listens. "Stolen Dance" is a song that receives sometimes very strong reactions and I just can't really confide or disparage any of those because they almost always came from a different place than I did. I find myself wondering if I would have the same feelings I do now for this song if I hadn't heard the album version first, and also spent a very long time accustomed to it being forever just an obscure song on my playlists. As I've said before, new artists just emerging with a hit tends to breed cynicism, and I'm not entirely immune to it either, so who's to say I'd welcome Milky Chance into my life. More than that though, I just feel like the album version hits harder for me in general. It feels warmer, and most importantly, gives everything space to breathe. Rarely does a radio edit feel more like it's rushing to get things done than in this case.

The irony in all of this is that in the long run it just has not mattered. As has often happened in the age of streaming, the album version finds its ease of access winning over the lazier parts of the public and their memory before it just becomes the default. It's a bit like how more people listen to the original version of "Missing" by Everything But The Girl, rather than the Todd Terry remix that made it a hit in the '90s. If it sounds enough like what you vaguely remember, before you know it, it'll just supplant those previous memories. Actually, the radio edit that was big in Australia is a little hard to come by now, because it's not on Spotify. I can't find it on YouTube or iTunes anymore. I only have a copy via a friend who bought it on iTunes back in early 2014, so now I can't help but wonder if anyone who heard the song a lot in 2014 has noticed that the song never feels quite right anymore. The 'new' radio edit that's available feels more like the original version production-wise. I'd be very surprised if someone who felt strongly about the song back in 2014 and suddenly changed their tune via the added prominence of the album version, which is so popular that it's actually been spotted in the Spotify chart of late. I guess in the long term I've gotten my wish, so now I'll go back to reminding everyone that the version of "We No Speak Americano" that triple j played is probably not the one you remember. In any case, "Stolen Dance" is another "Knights of Cydonia" case, where the song was only eligible because triple j played a newer version of the song, but admittedly I'd have never known any of this if I hadn't come across the song 6 months early.

Sometimes I think what made the song work most for me is that I never felt inclined to put it in a box. The song just didn't really fit in with anything and I bought into it on the melody that drew me in. It's a folktronica song so it straddles the line, but it seems to often get derisively dismissed for being some variety of an acoustic guitar guy song, or just another one in the line of tropical house influenced songs that the charts were going crazy for at the time. I feel like it always reduces the song to less than it is. I hear people talking about whether or not the chorus is good and for me I'm just grooving to the intricate guitar picking. Milky Chance just weren't remotely close to being a mainstream entity to me at the time so I never had to consider what would happen if suddenly the whole country had to forcibly be put onto the song. It was an enormous success, nonetheless, even getting to #2 in Australia despite lagging behind considerably in most English speaking countries. Maybe triple j latching onto it early managed to convince enough people of Milky Chance having some sort of cool indie cred. In any case, the fruits of deleting the album on iTunes meant that they were able to put it back up for pre-order when "Stolen Dance" became a hit and it managed to debut in the top 10 in Australia, which possibly never would have happened if they just left the album sitting there available the whole time. A classic story of artificial scarcity.

I'll admit that I do also enjoy Clemens' unique singing style. It's very abrasive and cuts right through the generally chill demeanour of the song. He loves emphasizing random words out of nowhere but I think it makes the song stick in your head a bit more. The song's chorus has at least 6 different lines that are memorable non-sequiturs. It's been very fun to watch the rest of the world catch up on a very old in-joke we've had, where the chorus inexplicably suggests bringing it on the floormf. He's clearly saying 'I've', and if you try to mash those two words closely together, you might be surprised at what happens. It's very boba though, much like this song in general. No, I don't remember if I ranked this song based on the album version, radio edit, or some sort of all-encompassing vibe, it was simply so long ago. Now that the radio edit is so completely obscure and forgotten though, it's managing to give me back the feeling that listening to "Stolen Dance" in 2013 was like.

#62

#62. Drake - Nice For What (#40, 2018)

5th of 2018

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"The Miseducation of Lauryn Hill" is so good. It's propped up by a handful of noteworthy hits, but really it's easy to like all the way through. If there's any more evidence to its potency, then we can take things back to 2018 when there were simultaneously two hit songs that sampled the same Lauryn Hill song. I don't mean just the increasingly easy chance of sharing chart space, I mean that the two songs came out one week after the other, and peaked at the same time. The first one was "Be Careful" by Cardi B, which if you haven't heard, is one of her most chilled out songs she's ever released (despite the threatening hook). It would have become a top 10 hit on its second week out but it was leapfrogged by Drake's "Nice For What" which debuted at the top spot. Cardi B also debuted in the top 10 with "I Like It" so it's partly her fault as well.

Both of these songs sample "Ex-Factor" by Lauryn Hill. For Cardi B, it's just a slight interpolation and one you might not even notice if you aren't looking for it, whereas Drake goes all out on it, running it either in the foreground or the background for the entire song in such a way that you couldn't possibly think it wasn't a sample. It was a failing on my part recently that goes against my desire not to spoil things in the slightest here that I was doing a Sporcle quiz with friends and came up to "Ex-Factor" which I couldn't recall by name in the moment, just that it's the one Drake sampled. It's quite easy to intuit from this that I obviously hadn't recently researched "Nice For What" and draw some conclusions about its pending ranking. I'm only now drawing attention to this gaffe now that it no longer matters, but the reality is that it's easier to feign ignorance than to mask it.

In any case, "Nice For What" was another huge success for Drake. It's something of an awkward middle child though, wedged between "God's Plan" (#507) and "In My Feelings". They were all #1 hits, but this was clearly the one that got the least attention at the time. triple j listeners felt differently though, as this one actually ranked the highest of the three. It might seem strange but it also lands pretty well with my experience both at the time and since, which is that this is one of the Drake songs that people who otherwise have no interest in Drake tend to like. Or even if you do, because a couple of years ago Billboard ranked all of Drake's 300+ Hot 100 entries, complete with blurbs for each of them, and "Nice For What" landed in the top spot. Again, it's the power of Lauryn Hill. I actually feel a bit boring by doing this, especially since "Passionfruit" (#86) is another of those. I can only play the cards I've been dealt though, and playing across the aisle has tended to be Drake's best way to find polling positions.

This song is Drake's tribute to women of the world. The title mantra sums the frustration up pretty succinctly. The video was also directed by Karena Evans and features a huge array of guest appearances from female celebrities. I'd say that's a big part of the appeal (just ignore that one lyric about high school pics), but I suspect the big driving factor has always been the song's vivacious launch into bounce music. The two go hand in hand though, really. If you're gonna make something into a self-affirming anthem, it has to sound like an anthem. This is just an endlessly fresh and fun hit song, and one of those times where Drake's haphazard approach of rushing out endless supplies of music actually lands on something particularly potent.

#63

#63. Tash Sultana - Jungle (#3, 2016)

8th of 2016

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I've said before that I find an artist's earliest impression to be fundamentally interesting. Often times you know where you stand with them in the long run, but the first time they come up, you're making some sort of decision as to whether or not you ride with them. It's something that with hindsight can look a little surprising. I know I look at Hottest 100s that I didn't witness in the moment, and it's full of all these isolated moments with artists that ultimately are on the mid-tier popularity scale but they just have this big one time awakening where seemingly everyone is capable of being on board.

I look at the 2001 countdown, and honestly you can use the sentiment for nearly every artist that's up there, but the one I find the most interesting is "Betterman" by the John Butler Trio. It's the first of many appearances for them, a legacy that runs all the way forward to 2013 (#810). It's not even their biggest hit in the end, but it's the most interesting result. If you look at the top end of the list, John Butler's contributions afterwards are largely treading the well trusted ground that "Zebra" set up. Extremely radio friendly, poppy songs. "Betterman" is an over 8 minute monster that stands alone simply because it was never re-created (although there are longer songs on that particular album). The song isn't without its appeal, but seeing it where it is on the list is such a shock to my system having only known what came after it. You look at John Butler from the lens of 2001 when he's basically only known for this and it's interesting to imagine the outlook of voters then. They might have thought they found the next big thing, and perhaps they were right although it panned out a little differently in the end.

I had an easier time piecing this together in 2016 when I felt like I witnessed the same thing all over again. Here comes Tash Sultana out of nowhere in 2016 and suddenly they're right up in the thick of it in this list. Hilltop Hoods' highest charting single of all time on the ARIA Chart? (#599) Get to the back of the line because this quirky guitar jam called the spot first. "Jungle" didn't even make the ARIA Chart until after the countdown happened so it doesn't even feel like a bandwagon as much as it is a very enthusiastic crowd who were instantly hooked. It's easy to see why. "Jungle" is one of those songs that can't help but stand out, with its pervasive, duelling guitar riffs and for better or worse, memorable scat-singing.

It's one of those songs, like "Betterman" that as an introductory statement, opens up a vague pathway for what Tash Sultana's music is supposed to be about. This is a song that is entirely instrumental for just shy of two whole minutes at the start, which is more than long enough to raise some eyebrows, the way hearing something that doesn't quite fit in with what you're used to tends to do. Unlike John Butler, the trajectory since this has been a little less clear cut. For all the more radio friendly follow ups we got (#302) (#773), we also weren't lacking for songs that felt like odysseys in one way or another (#290) (#951). I should acknowledge that "Jungle" did get a radio edit which just cuts down the song's intro to 40 seconds. If memory serves me correctly, it was actually a double-edged sword at the time because after the Hottest 100 when the song could've been primed to reach the Spotify top 50 (a big deal at the time and I'll get into it on a later entry), it never got there because its streams were being split between the two versions. I don't even think people necessarily wanted the radio edit, but somewhere along the way, that's the version that was put on Australia's biggest playlist. The song still fared fairly well, reaching the top 40 and so far being certified triple platinum (probably up to quadruple now). I find myself thinking about the intangible importance of maximising your potential when you've got the most eyes on you though.

While I didn't vote for it myself, I was one of those people who were very quickly charmed by "Jungle" when I first heard it. It's the holy grail I find myself comparing the rest of Tash's discography to, and it's just such a hard bar to clear. A song that's over 5 minutes long could run the risk of overdoing it, but there isn't a moment of this song that I feel is wasted. It's all a very steady process of easing in the listener, occasionally blasting them with something new (it's easy to notice the rapid fire second verse, but it's all building up tension to the big drum break that comes afterwards), but recoiling back to the elements that work each time. There's also just a huge (though brief) guitar solo at the end that reminds me of "Hotel California", John Mayer on Frank Ocean's "Pyramids", all the classics.

#64

#64. Anderson .Paak (feat Kendrick Lamar) - Tints (#67, 2018)

6th of 2018

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There's a solid period of time in the mid to late 2010s when a lot of collaborations just felt like cheat codes. There's a tendency for them to never live up to what you hope for, but at this point I was just all over it. For Kendrick Lamar, his tendency to do features seemed to drop off a little which made them all the more precious, while for Anderson .Paak, he just had this uncanny ability to effectively bounce off everyone and come out looking good. I only hesitate to go in deeper about this because it's very much going to happen again on this list. With that being said, it feels like a cruel injustice that Anderson .Paak has never even cracked the Billboard Hot 100 outside of his Silk Sonic work. This is someone who is teeming with charisma and should be a star, but might instead just be known as the guy who wins nearly every GRAMMY Award he's nominated for (he's won about twice as many as he's lost which is a maddening ratio).

Unlike "Bubblin" (#101), "Tints" actually did end up on Anderson .Paak's 2018 album "Oxnard". It's not an album I remember quite as fondly as "Malibu", but there were a handful of songs I tended to take away from it. Part of me wants to say that it doesn't have quite the same force of personality going around, but there are certainly memorable moments. I'm very fond of the song "Cheers", where Anderson .Paak reminisces on the loss of Mac Miller who died only two months before the album came out, and it also features another rapper thinking about their former bandmate who passed away not long before that. It's actually a fairly upbeat song all things considered. There's also the song "Headlow" and if you haven't heard it, I'll let you use your imagination regarding what that song's about. If I can say one thing about it, then perhaps it's that it makes sense why he needs his windows tinted on the next song.

When we get to "Tints", it feels like more of a victory lap than a big grand statement. It's basically him making something akin to a pop hit, even if it didn't amount to being much of one (it charted in Australia though, which is noteworthy). Gone are all those boisterous musical ideas and off-the-cuff performances, he's playing this whole song pretty straight. It's so straight that one might argue he's really saying that he needs tits. It doesn't make the song bland though. The ceiling for Anderson .Paak is just so high for what he can do. At the very least, the song still has an infectious guitar that locks into place when the chorus starts.

Kendrick Lamar is also here. It's just a 35 second cameo, and if we're talking about infamous guest verses of his, this just isn't going to rate much of a mention in a world where "Control" and "Like That" exist (I could keep going). It's assuredly a metronome kind of verse, where nothing's derailed, and you just stay with your good mood you were already in. Think of it as just another carefully casual opening round and perhaps don't double check just how many more times Kendrick Lamar is going to appear on this list.

#65

#65. A.B. Original (feat Dan Sultan) - January 26 (#16, 2016)

9th of 2016

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I think about the proverb about how the grass is always greener. There's some very serious truth to it. It goes hand in hand with the notion that no matter how comfortably successful someone becomes, there'll always be something they desire but can't have. Maybe money can make you happy so much as financial stability will do that, but do those super rich people you see ever look to be as mentally on top of the world as they are in a hierarchical sense?

This is something that can get weaponised through nostalgia. It's giving you a glimpse of greener pastures, perhaps ones you remember, dusting off the shakier parts of it, and re-selling it to you with the promise you can get back what was once lost. I'm not immune to the charms of this too, as I eagerly await a re-release of some old video games that are categorically worse than what came after them, but scratch a certain itch for the time frame they were in. I'm not so naïve to just say everything was better in a prior year, but maybe if you just take the good parts away from it, there's something to be salvaged.

One of the most eye-opening things I can ever recommend doing for any fan of music, if it's at all possible, is to specifically hunt down contemporary opinions on either the era or just specific, untouchable icons of yesteryear. History and marketing have a way of shutting out the dissent and glamourising the highs, but alongside every notable artist that never won a GRAMMY, or never had a #1 hit, sometimes the truth of the matter is that we've just had our perspectives clouded and the priority was never as strong as it feels now. It's always interesting to look back on things like this because it'll just feel like you've put a new filter on things, and you'll see people utterly disregard some all-time greats either because their potential hasn't been reached, or because they're in that moment staking the claim, and people have always been skeptical of the next big thing the way they are nowadays. The discussions are all very similar, just the names have been changed.

What I want to get into with this is culture wars. They're a frustrating reality, but one that can't really go ignored because it inevitably shapes the world view of everyone. Whether it drives passion, amusement or anger, the hold it has over us all is a big driving factor in global upheaval. All around the world, elections are staked, won and lost over this often incredibly petty part of life. I feel like it's the 'grass is greener' mentality that drives a lot of this. Someone will take something that is largely trivial to the greater populace, blow it up out of proportion, and incense a large swathe of the population into using it to drive their voting habits. Things like economic stability and infrastructure are almost certainly more important, but they're vague, hard to get a read on, and mostly just boring. What better way to motivate someone than to remind them of their own day to day hardships, and point the blame at a minority class who seemingly get everything handed to them? If you don't keep them in line, they're going to cut at your already crunched budget, or just get in the way of your own personal freedoms like being able to continue using those 'harmless' slurs you've been saying since you were a kid. It's an easy playbook. Just find any small bit of change, appeal to that sense of rejection to change, shrinkflation or otherwise and squarely blame those people who you already are at odds with for going too far yet again. In the age of AI slop proliferation, it doesn't even have to be something real, all too often I see sheer madness driven by something that was poorly explained, already resolved, or just flat out untrue in the first place.

The most apparent thing about all of this to me is the way you can see this way of thinking has lit a fire in the belly of people who were otherwise completely reasonable before. Like, it's all become a partisan battle that you're not allowed to ever concede on, lest you come out the loser. But more specifically, and this is another thing you can learn from looking at old conversations and writing, there are so many things that once went by without a whimper that now call forth outrage. Often times it can just make people unwittingly show their hand. When it comes to those culture wars, the unspoken part of it is that nobody can admit to being a bigot. It's one of those things that are just universally accepted as not okay, and will destroy any possible credibility one has, so there needs to be plausible deniability. Mind you, the bar for this is so low that certain world leaders and powerful people will freely refer to ethnic cleansing as a reasonable course of action, but it can so easily be waved away because they're just asking questions or whatever. Fascism or anything like it is just a fundamentally weak mindset that tries to reason with the idea that some people are just inherently superior, but completely undermined by those lesser than them. They'll never be happy because there's always a new problem. It should be completely untenable to all because if you tolerate this, the next target will land just a little closer to you.

The thing that I always find myself catching is just the more trivial sides of things. It's become something of a punchline to just conclude that something was done 'because of woke', on both a sincere and lampooning sense. Just the sheer lengths people will go to in order to keep up their one track mind (just don't ask them to define what 'woke' means). In the most trivial instances, it just ends up with someone making a fool out of themselves, and maybe in that sense they'll know better not to do it. I just can't help but think about the day of the year that triple j's Hottest 100 airs on.

For a very long time, triple j's Hottest 100 was synonymous with Australia Day, January 26th. Given that the school year tended to start a little bit after that, it was basically the only thing I ever associated with the date, as it had no real bearing as a holiday for me. If you want a quick history lesson, January 26th has been roughly associated with being Australia Day since 1935, but it wasn't locked in as the specific permanent date until 1994, meaning that triple j's Hottest 100 actually pre-dates it. For that reason, the Hottest 100 date has actually fluctuated a bit. In the earliest incarnations it was held in the middle of the year, but they changed it in 1991, delaying it to right at the end of the year. This proved to be pivotal to the result as Nirvana won that poll, having risen to prominent in the latter half of that year. I don't believe January 26th got locked in until 1996, which was also the first time an Australian band won it. From that point onwards, it actually gets difficult to verify because there isn't a lot of online documentation that's survived from before 2003. I did find a comment online from 2004 that suggested it wasn't quite on Australia Day a few years ago, but it's hard to say they're not just confusing it with the countdown that aired that year on January 25th.

I can readily believe that they missed the exact date in 2001 or 2002 because I know they did in 2004. It'd be for the same reason too, as a leg of the Big Day Out festival coincided with it, and triple j didn't want to divert their coverage of it. That's how easily they were able to break the tradition though, and so it was only from 2005 to 2017 that triple j consistently held the countdown on January 26th. A tradition to some maybe, but the main thing I found whenever the changed date was ever mentioned is that the biggest reaction you'd tend to get was one of slight bemusement. By today's standards, you should expect outright fury, but in a time where we weren't all being prodded at all angles to take a dramatic stand on everything, it just didn't happen. Since 2018, triple j have consistently held the Hottest 100 on a date that falls somewhere nearby January 26th, but never on that exact date itself. Righteous fury comes forth. This was the point of no return for triple j or something like that. Once again, short term memories that don't have all the facts in place start to override reality, and of course, empathy for the purpose behind the change. In reality it's much more reflective of contempt for that purpose. No one raises a fuss if a national touring festival gets precedent, but heaven forbid we listen to the plight and concerns of our Indigenous population. I'm sure they're not racists for this, just people who galvanise and reinforce the views that would be held by these theoretical white hoods.

If you're in the need for another history lesson, Australia was federated on January 1, 1901. It's a great date that's easy to remember, and would serve as a logical place to put the national holiday, if it wasn't already stuck in the calendar as a significant day that kicks off the year itself. After some discussion in the early 20th century, January 26th stuck as it marks the arrival of the First Fleet in Australia. This is a somewhat controversial decision to say the least, as while it is historically significant for Australia, it also marks the beginning of two centuries of genocide for the Indigenous population who had been living there for millennia. There was concern raised about this decision even back then, but given the way the self-appointed white government treated Indigenous Australians, it doesn't surprise me that they didn't waver on it. For many, January 26th is a day of mourning, and is often called Invasion Day. Recognition of this has increased in the 21st century, though it's admittedly a minority view that polls only about a third of the country as wanting to change the date, so neither Labor nor Liberal parties seem interested in pursuing a change that would inevitably cost them votes. As we've also learnt in recent years with the Voice referendum, there's no small part of the population who take pride in celebrating any form of progress being held up.

In 2016, A.B. Original jumped into this debate by releasing the song "January 26". It's a fairly pointed political track that makes their stance on the date clear. At the time, I felt like it was Hottest 100 nectar. What better way to send a message than to vote for this song, knowing it'll have to get a spin in the countdown on January 26th? I wouldn't have thought Briggs & Trials had the kind of notoriety to get that far, but sometimes these things can step beyond the music and end up on a different playing field. That's how we ended up with the song right at the pointy end of the list at #16, on what would end up being the last ever Hottest 100 held on the date.

For a good while after the song was out, I actually hadn't gotten around to listening to it. Sometimes when a song broaches a difficult topic, I can be hesitant to getting around to it because it can feel like I'm being suckered by provocative marketing, listening to something I'd never go near if it didn't have a bonus source of attention. My hesitation was born purely from not having heard the song, and once I heard it, it was a big remedy to it all. "January 26" is a protest song, first and foremost, but when you only look at it on that level, you miss the other vital aspect which is that it's just really good. This is a song that sounds like a hit on every level except for all of the provocative lyrics. It's short and sharp, never dawdles, and finds a great place for Dan Sultan to deliver a big hook.

Talking to people who have different politics to you is a frustrating ordeal. Sometimes the differences only have to be slight and that can still be too much to deal with. I feel like Briggs & Trials take turns here with two different perspectives. Briggs is direct, as he often is. Taking all the shit-slinging and throwing it right back, emphasizing all the tired, seemingly teleprompted responses people tend to give out. If his verse is a punch to the face, then Trials delivers it to the jugular, reminding everyone of their twisted priorities as they live in comfort provided by the very atrocities that they distance themselves from because they didn't directly commit or witness it themselves. It's important not to fall for all the classic trappings that the privileged parts of the country throw around to get away from any sort of reconciliation. They want nothing more than to ignore any sort of protest, leave it to only the small minority to be part of it so they won't have a loud enough voice to change anything. I'm well aware that I myself have a habit of wading out of difficult conversations because I don't always have the confidence to put up the right words to correctly convey myself and understand the situation. It is something that means a lot to me, and as I currently witness as the political opposition veers further and further right, it's not something I can just silently protest on with just my vote. There's no room for empathy when everyone's too busy looking out for themselves, or just having their strings pulled by the billionaire class. Fuck that.

#66

#66. BENEE - Evil Spider (#51, 2019)

4th of 2019

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One of the benefits of incessantly cataloguing your music listening and taste is that it gives you the chance to look back and see harbingers of the future. My taste has shifted quite a bit over the years but music itself doesn't necessarily work by my whims, so whatever it is that appeals to me now was likely circulating in some capacity in the past. The main curiosity here is investigating at what point it became clear that my primary focus shifted away from alternative rock on the heavier side to quirky indie pop of little to no consequence. It's something that's a little hard to define because there aren't clear bounds to what this really represents.

Much like how a lot of early hip-hop successes in the Hottest 100 are anchored around a rock skeleton, what you'll likely find is some edge cases that straddle the line both ways. Ali Barter is one such example, where her music is in every sense part of this world, but she's still fundamentally making rock songs, with often loud guitars and satiating that part of my interest. You can go back earlier, to artists like Sia and [redacted] who are certainly more apparent in shaping my taste, but I don't think their particular brand matches the aesthetic. We're looking at extremely obscure music without any particular star power to drive it out of its niche. We're looking at music like BENEE's early career.

In this regard, I think BENEE arrived at the perfect time for me. Right around the time when I was most susceptible to her music, as well as likely to hear it. Before her music really blew up, it looked primed to just sit in my corner, because there was nothing to suggest she was hitting the big time. As a result, we've got a brief period where it was open season, and we've got this quirked up song about being a spider sitting here.

I can't genuinely say that this is the most inconsequential song still to come on this list because I believe some are objectively less popular, but it really feels like it on vibes alone. I'm self-conscious about putting it so high up here because it just feels completely unnoteworthy next to all of its company, and yet here it sits as a representative for a specific niche of music I'm especially interested in. Like, there are so many other songs I could totally disrupt the list with if they were on the list, this is just the one that got a chance.

Maybe the most historically interesting thing about this song is that it's the single that was out when BENEE decided to change her name. I don't believe this was ever explained, and my only guess is that it needed to be easier to draw the connection between pronunciation and spelling. For a couple of years I knew her as 'Bene' and while I didn't do it myself, I can imagine some people wanting to say 'bean', and then on the other end of it, having trouble finding this 'Benny' artist they're hearing so much about. As someone who tracks play counts very ardently, it's a little bit annoying, but then last.fm finally got released from their corporate shackles lately so maybe they can fix this all up.

Much like I said about "Find An Island" (#88), "Evil Spider" does feel like a slight change of pace for BENEE compared to the two songs she released before it. It answers the mystery of whether she was ever going to make something a bit more upbeat. Change is gradual though, so it's still intrinsically a moody song. It means she gets to use both sets of tools though, so there's a genuine sorrow you feel out of the song's chorus that I don't think would come naturally to everyone. Otherwise, the fact that this song polled higher than her previous single just goes to show how much her profile increased in 12 months.

#67

#67. Peking Duk (feat Nicole Millar) - High (#2, 2014)

10th of 2014

Listen

One last chance to get this out of the way before I try and move on from it. Back in August 2025, ARIA made a post on their social media about how Keli Holiday's "Dancing2" had debuted on the ARIA Australian Singles chart. The song had just come out but it was fairly well promoted so it was on the charts from the jump. On Instagram, there were dozens of comments cheering it on (I'm just linking it because I'll never find it again otherwise), just the one tucked away at the bottom calling it trash. On Facebook however, there's a big contrast because there were literally zero comments on it, for a while, at least. Three months later, the ARIA Awards happen and suddenly there about 80 comments, all of them roughly around the same week and not a single one since then. This post that might have had a few thousand views at the time now has over 100,000, all because everyone needs to chime in with their baffled two cents. This is a pattern that Keli Holiday now exhibits everywhere. Just the mere glance of that curly head hair or curly chest hair is enough to start a riot. ARIA have started regularly pre-emptively closing comment sections for him, something they only otherwise tend to do with First Nations artists.

I mention this for two reasons, firstly to highlight just how mindless the whole thing feels. When you see a months old post driving activity for a short stretch of time and only that, it's absolutely an algorithm at work just in complete control of everyone's periphery. Every befuddled comment just reeks of someone in an endless doomscroll that needs to regulate themselves. If not for that reason, then for the fact that if they really, genuinely don't like the song, then making a derisive comment is probably the worst thing you can do. I know from experience that for every person you might dissuade with your witty takedowns, there's all the more chance that you'll inadvertently put far more people onto it. All those derailed posts about Keli Holiday tend to have another thing in common, which is that consensus or not, there are in fact hundreds, if not thousands of likes on the post. Given that most ARIA posts tend to struggle cracking double digits, that's an incredible amount of attention given firstly on the forefront, but then subsequently as the whole thing becomes a controversial talking point. The only way to make something seriously fall short is to ignore it, the same way these people successfully manage for most other Australian artists who get their moment in a tiny little hole with sunlight poking through between 5:05pm and 5:08pm. Unless the message here is that people need an adversary and thus it's justified, but now you're the ones being performative, you dumb pricks. In conclusion, social media is a land of contrasts.

"Dancing2" is actually moderately more relevant here than the obvious surface level thing. It has another aspect in common with "High" which is that it also finished at #2 in the Hottest 100. This is an almost unique affliction for Keli Holiday as the only other artist who has made it to #2 twice is Ben Lee. It comes with a remarkable gap of 11 years though, not far off of Silverchair's entire career which is also bookended by near misses. I don't know how many voters contributed to both in this case, but given the sheer consistency of the Duk over the years, I can imagine some volume stuck around. "High" also strikes me as a song that was a near miss for the top spot, as it was leading projections over "Talk Is Cheap" (#862), making it something of a toss-up, or at least not likely to be a runaway victory. I find myself wondering what a reversed result might do. I think I may have said something before (though I can't find it) to the effect that this result may have paid dividends for Peking Duk, who never had to be the face of the elevated standards that the #1 finish provides. Anyway I probably made that comment over a year ago and it hasn't aged well.

Has "High" aged well though? It's interesting to look back on it. One of the most peculiar things about it is that it very immediately entered the charts and slowly climbed its way up, becoming a top 5 hit, before settling back out. Obviously it's very strange by today's standards, but it was even a little weird then. Peking Duk just had no established hitmaking presence at that point and it's the kind of thing you'd at least expect would take a little longer to spread around. Like, this song caught on faster than "Royals" (#134), its predecessor in the runner up status. Electro-pop is generally an easier sell, but to me this felt like a song that commercial radio would've been hesitant to jump on board with. Actually I have the stats to back it up, and the song took 6-7 weeks to crack the airplay chart, and despite the mandated law that Australian music must be played, it actually lagged a decent way behind its sales performance on the radio. I just don't think they're very down with a song whose big hook goes the better part of almost 50 seconds with very few words uttered at all.

Undeniably though, it stands out. When you're in a competition to evoke the strongest reaction, then letting it all out on the table is one way to manage it. It just sounds enormous, like the audio only equivalent of fireworks. I compare it to their previous single "Feels Like" and on the surface it's operating on a similar level, but it never reaches the same heights. I can never remember how it goes but I could awkwardly vocalise every single instrumental moment of "High". The only thing that really lets it down is the repeating synth that runs through most of the song, which lands a little on the side of farty sounds. The drums also swing in and out of being a bit too compressed which is a shame because when they get it right, it sounds terrific. Fortunately it's very rarely the centre of attention as Nicole Millar is here to steady the ship.

It's easy to forget in all of this that for a very long period of time, Nicole Millar wasn't even credited on this song. Perhaps another one of those marketing decisions for a clean credit sheet, or maybe it's just something they never thought would take off like this and need it. I can't remember when exactly the change was made, but I'm also writing this not long after The Chemical Brothers finally credited the vocalist on "Go" (#203). I'm still not going to do it yet but they had their opportunity to open a new suit early for me. Something that helps factor here is that Nicole Millar has had something of a solo career since the song came out, but I don't think she had any music out before "High". I'm somehow only just now learning that she was born in Canada, which makes her the equal highest landing artist born in Canada in the Hottest 100, tied with Justin Bieber (#669). The main thing I just want to say about this is that "Gimme A Break" is a pop banger that doesn't get enough love. Cut from a similar cloth to Dua Lipa's "Be The One". She comes through to fix that song's one weakness of having an underwritten bridge. In general though I don't feel the need to move my hands up and down to weigh my options because the benefits far outweigh my minor squabbles.