Rolling Stone India’s global contributing editor Amit Vaidya counts down his favorite songs of the year, from TikTok phenoms to bonafide superstars to budding new artists and everyone in between
So what can be said about 2022 musically? As the world returned to a sorta normal way of life, gone were the melancholic pandemic ponderings and instead we got unabashedly commercial prospects from established artists and the blurred lines between pop, hip-hop, K-pop, country, dance and even reggaeton seemed to further crumble. While Adele and Silk Sonic ended 2021 strongly and their reigns continued early into 2022, the year soon shifted back to Taylor Swift and Drake and, of course, we saw a glimpse of a comeback from Rihanna!
Beyond the big artists, though, we saw numerous younger budding artists have their breakthrough moments and TikTok seemed to become the best non-label to launch artists into the mainstream. It also helped to revive many a star’s career (Sam Smith thanks you!). K-pop’s dominance expanded beyond just BTS and Blackpink, while Bad Bunny proved that Latin artists no longer were going to be relegated to language- or genre-specific chart. His dominance was so huge in 2022 that it truly can be said that it was his year, and deservedly so.
Country music continued to see its once-niche audience go global with Morgan Wallen and Chris Stapleton among others expanding their audience beyond any region of the world. And dance music became so mainstream that Queen Bee herself, Beyonce, made a whole album capitalizing on it.
Of course, once again mainstream radio seemed to ignore most singles that deserved our attention. Many would-be and should-be hits got overlooked. Thankfully, I’ve had the privilege to choose my weekly picks of songs in the #HitsOfTomorrow column and I was happy to see many of the singles selected end up becoming big hits.
As is always the case, this Top 100 chart is based on my initial reviews of the song, the song’s repeat value, the number of listens (I do not alter this even if I may regret it later!) and how the song has aged (and its cultural impact) since my initial listen.
This year’s chart has a number of collaborations but far less than in previous years. There are also a lot more artists from around the world usually not featured as prominently. I think with so many established artists trying to follow the latest trends rather than just evolving creatively, younger global artists have been exploring the sonic landscape in far more interesting ways.
So, to ensure more diversity of artists and styles, no more than two singles by any artist feature on the chart. Love it or hate it, here goes!
Starting us off are Two Another, the Australian duo who have found a way to keep their global identity alive and kicking over the past few years, mixing soul and electronica with even a little retro Motown vibe. “One I Need” is the perfect introduction to the band’s signature style and really should have become a global hit. Who knows – perhaps it’s just one viral step away from that!
British-Jamaican singer Mahalia has steadily been making a name for herself in the past few years, even featuring in our 2021 chart with Lucky Daye for their single “My Window.” That single brilliantly interpolated “I Can’t Stand The Rain” by Ann Peebles. Here, “In The Club” so smoothly interpolates “In Da Club” by 50 Cent that you don’t feel like it is a cheap gimmick to play into nostalgia, but rather an updated response to a song that has become a modern classic. Mahalia still hasn’t become the global breakout artist she deserves to be, but this single has done a fine job of alerting us that she’s here to stay.
“Honest” is the kind of song that a decade ago would have become a massive overnight smash across radio stations everywhere. But the oversaturation of dance music and the now almost required pre-emptive viral video has inhibited a lot of fun numbers from becoming the rages they deserved to be. This is a winning formula and Peking Duk compose a track that just makes you want to move along with Slayyter’s amped-up vocals.
I’ll be honest, I’m not as much on the musical Lizzo train as most of my peers, mainly because I feel her talent is far greater than the material she’s been putting out. Having said that, it is exciting to see Lizzo make her mark on Top 40 radio despite often-lackluster singles. “2 Be Loved (Am I Ready)” is 100 percent the exception, though. A standout track from her “Special” LP, the single infuses her personality, vocals and a solid retro production that makes the song sound less formulaic and more true to the Lizzo we fell in love with originally.
Bob Moses and BROODS come together for “Old Love” – a wonderfully hypnotic track that highlights Moses’ stellar production and chill vocals doing a back and forth with the New Zealanders BROODS, adding a new level of emotion we often can’t reach otherwise if not for vocal duets. The track is a perfect example of how collaborations, when done right, can be magic.
At the start of “Synchronize” you might be fooled into thinking you’re about to be “California Dreamin” but the all the leaves aren’t brown here and the sky isn’t gray – instead, they are ready to move and groove. Milky Chance have always found a way in every single to incorporate their signature bouncy touch and this single is no different. The song really deserved to be as big a hit as their previous singles, but there’s no doubt that “Synchronize” is up there as one of their best singles.
London-based singer/songwriter MORGAN struck gold with “In My Feelings,” a deeply emotional single that beautifully bridges the gap between soul and contemporary Top 40. The track has the same quick vocal whip that usually drives Ariana Grande’s strongest singles, but with her near complete absence from the charts of late, MORGAN’s single feels even that much more necessary as we have very few pop stars that can so seamlessly bring soul to the mainstream.
Cannons have ridden a creative high of late and their album “Fever Dream” proved that there is truly no one else like them in the current landscape. “Hurricane” is a standout track from the LP as these whistles between the verses get you grooving without any tricks – it’s just part of their joy. It’s another single that would have perfectly fit on radio between the latest from Ed Sheeran and Doja Cat. Here’s hoping!
German pop singer Leony was a revelation this year with “Remedy” – a single that by all measures should have blown up across radio and Top 40 all over the world rather than just within her home country and neighboring Switzerland and Austria. “Remedy” feels like a classic Swedish-pop single, but it’s actually not. It has one of the catchiest choruses since The Weeknd’s “Blinding Lights,” which actually may be the issue – radio needs to retire some of the older songs to make room for gems like this so that more artists get the global recognition they deserve.
Probably the best “diss” track of the year, “Ur Mom” is pure indie gold and Wet Leg are in on the fun. “When I think about what you’ve become, I feel sorry for your mum” – simply genius. The corresponding video and its “Napoleon Dynamite” inspiration make for an even more enjoyable ride. The British rock band have had an incredible breakthrough year and even landed four Grammy nominations, including Best New Artist.
Ever heard a song for the first time and thought you already knew it? These days that’s often the case because the first time we hear a snippet of a single is in a 15-second video, and that exactly was the case with Isabel LaRosa’s “I’m Yours”. The single (not a cover of the Jason Mraz hit) is a moody marvel with thumping beats to boot. While many older singles get the ‘sped up’ or ‘slowed down’ effect on TikTok, this single is already designed with a slowed-down appeal. The young singer isn’t just a viral star, though, as the single is genuinely addictive the whole way through, with a self-directed music video fitting perfectly with the moody vibes of the song.
Holly Laessing and Jess Wolfe, better known as Lucius, returned this year with and gave us “Heartbursts,” a single that feels designed to be ready for use in commercials for years to come. The 80s-inspired synth track is a perfect addition to literally any playlist, given that the single encapsulates a feeling more than a genre. Their album “Second Nature” is a delight and it’s no wonder given that singer-songwriter Brandi Carlile is one of the producers with Dave Cobb.
Irish rock band modernlove. have had a winning year. Their second EP Oh My Mind gave us an even better indication of what’s next to come. “Follow You” is one of the standout tracks from the set, reminding us all that melodic pop/rock is neither dead nor does it need to be reinvented as long as the production is first-rate and the songs actually make you feel something. Definitely a band that will rise up the ranks and the charts in the coming years.
While we still await her first full album, Chloe (of Chloe x Halle) continued to tease us in 2022 with singles that worked to varying degrees. The naughtiest of the bunch, lyrically at least, also happened to be sonically the best. “Surprise” is that quintessential slow jam we just don’t hear enough these days. Once a genre almost exclusively belonging to Ciara a few years ago, Chloe worked her magic with this – it’s the chart’s most sensual single of the year, hands down, no surprise.
Probably a close runner-up to “Surprise” for the most sensual single of the year would be James Vickery’s “The Reason.” Harking back to the early 2000s when neo-soul ruled the airwaves and our hearts, the single is a throwback to a time when vocals, lyrics and heartfelt emotions meant a genuine connection for listening audiences. Vickery continues to be the underdog of his genre, but I reckon one day very soon his discography will become as appreciated and celebrated as the many he’s been inspired by from that era.
People love to hate on OneRepublic for a number of reasons. It’s funny that they do (much like Maroon 5 and Imagine Dragons) given that the band have given quite a few hits and in a day and age when acts have such short shelf lives, they’ve actually managed to stick around and continue to generate big hits. “I Ain’t Worried” was no different. The single is pure summer pop perfection, matched absolutely at the right spot in one of the year’s biggest films, Top Gun: Maverick. While all the attention went to the Lady Gaga ballad “Hold My Hand,” this was the better song and the bigger hit!
From Hole to Miley Cyrus, Malibu – the city – has been talked about quite a bit in songs. Aussie singer-songwriter will hyde’s “malibu” is no different. The song instantly gets you envisioning yourself driving down the PCH and appreciating all the beauty the city has to offer. While hyde has been making strides musically for some time now, it should be noted that his work on the podcast Really Mental alongside Harrison Kennedy is just as, if not even more, powerful. Their ability to connect with Gen Z and talk about challenging issues in a serious but real way has made the podcast a must-listen.
What do you get when you pair a Belgian composer-producer with two Nashville-based musicians/songwriters? You get the single “Unbearable” – an emotionally gripping song performed by Tyler James Bellinger and ROZES, a track that at any other point in time would have been a massive multi-genre smash. The song has literally everything required to be a hit and frankly it is a little unbearable to think that we suffered through so much trash on Top 40 this year, but this song didn’t make the cut.
I’m going to put it bluntly – I did not expect Jackson Wang to channel Franz Ferdinand but that happened and the result, “Blow,” is one of the best examples that no matter where an artist is from or what they’ve released before, they can and will surprise you. This is an extremely well-produced single that blew up for all the right reasons this year. Wang broke the mold not just musically but also with an epic music video that settles one thing once and for all – Asian men can be hot, happening and yes, a hit!
One of my favorite artists of the past few years, RAYE had a lot to say in 2022. Her journey to achieving her musical freedom for those that followed her journey was quite the revelation. And thankfully, social media played a huge role in helping the now-independent artist get her viral breakthrough – one where she calls the shots and boy, does she sound good. “Escapism” perfectly captures the angst and the aura of the singer – a vocal shape-shifter who now is the boss and we just love it!
“That’s Where I Am,” the first single from Maggie Rogers’ sophomore LP Surrender continues on the excellent path the artist started with her debut album, Heard It In A Past Life. The peppy single is accentuated by handclaps, blips and bleeps making the singer-songwriter sound more current than many of her young contemporaries who often shy away from mainstream production when showcasing their work. It is probably for this very reason that the song works; it stands apart and that’s exactly how Rogers became a name to remember.
Seafret’s breakout single “Atlantis” originally released in 2015 to critical acclaim and commercial success. But the song has seemingly gotten a new lease of life this year thanks to it going viral on TikTok. And here enters veteran DJ and producer Seeb to add additional elements to the popular track. It works, much like most of Seeb’s remixes over the past few years – the songs keeps the integrity of its core, but the production gives the track an even more dynamic space to breathe in. The song already gave us joy, but here that joy turns to euphoria.
Many country artists like to write songs about country music but seldom does a song resonate as effectively to the spirit of the music as “That’s What Makes The Jukebox Play” by veteran-great Miranda Lambert. The ballad is as touching as it is nostalgic – making for a perfect single that should have been released but now will likely become a fan favorite at Lambert’s future shows. Her album Palomino housed many great numbers but this is the one that will stand the test of time. Perhaps another artist in the future will reference this song just to prove that point!
Singer-songwriter Joy Oladokun gave us one of the most earnest singles of the year with “Fortune Favors The Bold,” a reflectively penned track that puts kindness and compassion front and center. While it may not be the most provocative, in this day and age, the song was a breath of fresh air giving us positivity while we could still groove along. Tim Gent’s guest verse adds further hipness to the track, though the real winner here is the spirit that Oladokun exudes in her vocals. A standout track by a standout artist.
Experimentation has seemingly become the norm for Doja Cat, who simply never surprises us anymore with her chameleon-like ability to genre-hop and always offer entertainment and excitement along the way. “Vegas” from the Elvis soundtrack is no exception. How the artist was brilliantly able to incorporate “you ain’tnothin’ but a…” from “Hound Dog” and make it feel current just shows her ability to literally make a hit out of anything. It’s a shame the Oscars have determined the song is not original enough to be eligible for Best Original Song. At the end of the day, while the song interpolates the Elvis hit (which originally was recorded by Big Mama Thorton), the creativity involved here in putting this tune together is frankly more captivating than many Oscar song winners of the recent past!
British pop-rock band New Hope Club have been making waves with each new release this year (six and counting!) and of the lot, “L.U.S.H.” (“Love You So Hard”) is their finest effort yet. The guitar pop jam is slickly produced and is likely to attract even more fans. There may be a little Jonas Brothers sprinkled in there, but the arena-ready chorus makes the band stand out on their own merit. These guys are gonna blow up, way up… no question about it.
While The 1975 continue to engross us with their talent and their latest LP Being Funny In A Foreign Language was no exception, it is the standout track “About You” from the tracklist that had us at ‘hello.’ The single is simply magical, giving us a little nostalgia for 1980s U2, but in the best possible way. The dreamy single is screaming for inclusion in countless soundtracks and ads. The inclusion of female vocalist Carly Holt makes the song all the more special. Beautiful.
Former vocalist and guitarist for South Korean rock band Day6, Jae Park aka eaJ, released one of the best metaphor-heavy pop rock tracks of the year. The straightforward single is elevated by the lyrical content and Park’s vocals, which add an emotional heft to the track, making “Car Crash” a delightful tune. The song has such a timeless quality that you can find yourself listening to it on a drive at just about any time, anywhere. This single really should have been a huge hit for the American singer-songwriter as the song was miles ahead of anything Shawn Mendes or even Charlie Puth put out this year. That’s not a diss, but just the truth!
Noah Cyrus channeled Kacey Musgraves on this gem. “Mr. Percocet” is the highlight of Cyrus’ debut album, The Hardest Part. The song is unabashedly raw in its emotional content and the fact that the young star shared that the song was inspired by her own struggles with substance abuse and how she used prescription pills to fit in makes it that much more personal and believable/relatable.
One of the brightest spots in the rap game right now is JID and his “Surround Sound” is proof that the rapper can flow in more ways than most can even dream of doing. The clever sample of Aretha Franklin’s “One Step Ahead” adds another layer to the single, as does the guest verses from 21 Savage and the vocals by Baby Tate midway through the track, before the sonic switch that brings out the bass and JID’s final verse goes in the for the kill.
Okay, so I have a lot to say about Beyonce’s Renaissance album, but I already spoke about most of it in my article about the Grammys (https://rollingstoneindia.com/trendsimo-do-the-grammys-even-mean-anything-anymoreto-anyone-but-beyonce/). Having said that, there are definitely some standouts on the album and I’m never going to diss an artist or an era without giving the artist or their songs props when deserved. Donna Summer’s “I Feel Love” is beyond iconic – it’s truly the greatest dance record ever made and unlike some other samples on the album, this one felt warranted especially given that the sample is used effectively to showcase the spirit of “Summer Renaissance.” Unlike the cover a couple of years back by Sam Smith which truly butchered the classic, Beyonce does Summer justice (much like she did with her “Naughty Girl,” which sampled Summer’s “Love To Love You Baby”). I may not like that younger folks will think that intro is all Beyonce, but at least I’m thankful whenever they do hear the original, they will be blown away by the genius of Donna Summer AND Giorgio Moroder.
Teen singer-songwriter flowerovlove (real name: Joyce Cisse) has hopped from strength to strength with a series of singles that showcase the rising star’s diversity and lyricism. From “I Love This Song” to “Hannah Montana” to the strongest of the lot, “Will We Ever Get This Right,” flowerovlove has been proving that not all teens need to be filled with angst or prematurely sex up any formula. That last track in particular is the kind of pop gem that once saturated radio and now is almost impossible to come by unless streaming through a random playlist. flowerovlove is definitely an artist to watch and her recent EP, A Mosh Pit In The Clouds, gives us five more examples of why we love her!
L’FREAQ (aka Lea Cappelli) gave us such a timeless banger with “Rode All Night” this year that you’d think the artist has been at it for decades. Her 2022 LP The End Of The World was a revelation fusing pop, folk, trip-hop, electronic and punk, you name it, and this track stood out for its ridiculously catchy melody and the artist’s vocal delivery – never over the top but a true showcase for the talent. There are far too few artists at the moment defining their own sound with compromise and L’FREAQ is definitely one to watch, only conforming to her own style and we love it!
One of my favorite artists for some time now has been Vince Staples, and this first single from his 2022 LP Ramona Park Broke My Heart was a collab with Mustard and one of the best singles from the album. “Magic” is more than just a hip-hop/rap single, much like most of Staples’ catalogue. Like Kendrick Lamar, Staples creates a world that feels more rooted in art than commerce. That doesn’t make the beats hit any less hard; in fact, that authenticity makes the artist and his songs impact us stronger.
At a time when we seem to be perpetually stuck in early-2000s nostalgia, it was refreshing to hear JAEHYUN’s “Forever Only,” a slice of R&B-pop that would have fit in perfectly sandwiched between hits by Ashanti, Craig David and Usher. Of course, in 2022, the song still fits the pop landscape thanks to the singer’s dreamy vocals and enough updating in the production to make it ride the wave of nostalgia but stand out on its own. A special shout-out for the key change towards the end of the single, a feature that has all but disappeared from pop music!
“Firepit” by indie-dance duo Phantoms featuring Big Wild is just one of the several standout singles they put out this year from one of my favorite albums of the year, This Can’t Be Everything. With guest features including the likes of Jem Cooke and Lizzy Land, this single stood out because there’s an emotional heft that Big Wild aka Jackson Stell brings to the vocals that blend oh-so-beautifully into the synth-heavy production that feels cinematic at heart but also ready for Top 40 radio.
Swedish pop never disappoints and this single by Molly Hammar was sadly overlooked this year. After ending 2021 with the killer ballad “Love Me Blind,” the singer gave us “Tell Her,” a song about realizing that things would be far better if you spent it with someone who actually was there for you and loved you. The heartfelt lyrics and Hammar’s emotionally mature vocals make for one of the finest performances of the year. The 80s era production only adds to the drama and the almost dream-like quality the song evokes, as if our conscious is speaking to us. Hammar deserves our love and attention because you just don’t get great pop songs like this every day.
Los Angeles indie rockers MUNA have had quite the year. Their self-titled album is no doubt one of the finest albums of 2022. While their collab with Phoebe Bridgers, “Silk Chiffon,” is great, it’s the ballad “Kind Of Girl” that resonates even stronger. The song is the perfect blend between the best country songs and the best pop songs from the Lilith Fair era. The lyrics are beyond poignant, especially the chorus where the need to be kind to yourself is highlighted. This is more than just a queer anthem; this is one anyone feeling vulnerable for how to identify can so sincerely relate to. How I wish this was the 1990s and MUNA would get that crossover hit and this song would become the Top 10 hit it so deserves to be, across genres.
The ever-dependable Carly Rae Jepsen returned this year with a whole new kaboodle of pop gems with her LP, The Loneliest Time. While the album has some great tracks like “Western Wind” and the title track with Rufus Wainwright that’s gone viral, the bonus track “Anxious” is actually the best of the lot. The song has the signature melodic feel of Jepsen’s best singles, and yet there is a maturity here that works in the artist’s favor. I’m not quite sure why the single didn’t make the cut but then again, this is a woman whose B-sides are generally better than most other artists’ actual albums!
In the same year that he signed his major-label deal with YoGotti’s CMG label and just a couple of weeks after releasing quite possibly his strongest single ever, “Open Arms,” Mozzy was sentenced to a one-year prison sentence for a federal weapons case. The single explores the vulnerability of the California rapper as he reminisces about reuniting with a childhood friend back in the prison yard after having spent years growing apart. It’s a side of the rapper we have seldom gotten to see and perhaps upon his release, we’ll get even more reflective gems like this.
I’ve honestly never really taken Hailee Steinfeld too seriously as a musician, but then when you rope in the great Anderson .Paak for a single, I get invested in it! “Coast” is such a shiny California celebratory single that you can’t help but love it. It feels like the 2022 version of a Colbie Callaitt record and .Paak infuses the track with such whimsy and joy that the song makes you wanna “coast” along with the two of them.
Forever underrated, Tinashe never gives up the fight and never disappoints with the jams she gives us. “Naturally” is a such a solid R&B/pop cut that it just pains me to think the song didn’t reach the heights it deserved. The lead single from 2021’s “333” deluxe edition released early this year should have been a huge hit for the artist. But I’ve become a broken record when it comes to Tinashe and the unjust lack of support her music gets despite it being so damn commercial and marketable – forever leaving me speechless, Tinashe also was part of two noteworthy collabs that just missed this chart, including that with Snakehips (who will feature later) on “Who’s Gonna Love You Tonight” and Gryffin on “Scandalous.”
Tove Lo has become one of the most dependable pop stars of the past decade. Her singles are instantly catchy, have hooks that you remember for days, and there’s a naughtiness that at times can be coupled with a spoon of sauciness but is never tasteless. The same can be said about the sweet-as-anything “Pineapple Slice” – dare I say it’s the horniest song on the chart? Having SG Lewis steer the production makes for an even sweeter ride. The beat is as hard as Monifah’s 1990s classic “Touch It,” which in many ways feels like the appropriate forerunner for this delightfully fruitful bop.
p-rallel’s collab with Kasien, “Get Down,” is probably the coolest introduction the world could have gotten to amapiano, a subgenre of South African house music (a genre we’ll also see a bit further down again). The single is infused with jazz and the sax drives the Afro-house beats as Kasien’s vocals smoothly give us one of the most relaxed yet enjoyable sonic explosions of the year. The single builds in a way we aren’t usually used to in commercial pop or dance music. But the melody is so tight that the single benefits from the non-traditional structure, making for a song that fits any playlist, any genre!
While Tove Lo’s track might be the horniest single of the year, “Delincuente” could surely win the crown for the most explicit. The single by Tokischa featuring fellow reggaeton hitmakers Anuel AA and Nengo Flow is a total banger, and the three create an electric collab here that will have you moving and hollering alongside every shout-out. The music video is really the OMG USP of the single, where very little is left to the imagination. It’s no surprise that Madonna herself jumped on the Tokischa bandwagon and the two paired up for a 2022 update to Madge’s classic, “Hung Up.”
One of the most interesting artist projects this year has to be PARADISE LTD, two friends who we’ve known as Wild Culture and who took control of their creative narrative. The result has been a string of stellar could-be hits that should have blown up as each and every one of their releases this year has been pop perfection. My personal fave had to be “Holding Me Up (Parachute)” featuring Tomi Saario on vocals. The track is a warm slice of future pop intricately lined in with just enough nostalgic production to make for a current Top-40 jam. Excited to hear what’s next in store for the future of pop!
Despite countless attempts by trade magazines to accurately show the impact of a genre of music or style, I still feel Afro-beat music is being relegated to separate charts and radio programmers are still hesitating to play the artists who are very quickly becoming the globe’s most popular artists. Front and center is Burna Boy – a superstar who was everywhere this year. His single “Last Last” that heavily sample’s Toni Braxton’s “He Wasn’t Man Enough” became his most mainstream effort yet. The track was massive across streaming platforms and it seemed that wherever in the world I went, folks knew and loved the song. That sadly does not come across on the charts, which honestly surprises me because among the handful of songs you couldn’t escape this year, this was one of them!
Dove Cameron’s “Boyfriend” could have gone the way of just feeling like a copycat Billie Eilish thing, but her vocal delivery and the playful lyrics make it much harder to make that comparison. The single just sounds great on the radio and unlike many of Eilish’s hits, it’s much easier to sing along to and get behind. It’s a shame the artist failed to land a Best New Artist Grammy nomination despite the stellar year she’s had, while older artists like Maneskin and Anitta made the cut.
Henri PFR and ROZES reunite for a second time on the charts, this time in collaboration with KSHMR for “Bed.” ROZES truly is a gifted songwriter and she also knows the exact formula to give us a hit (and also some meaningful lyrics). The track is the kind that should have so easily crossed over onto mainstream Top 40 charts; I scratch my head wondering why the lack of love for this single because literally on one listen, you can feel the infectious energy and it just makes you want to move and sing along.
I couldn’t be happier that FLETCHER (Cari Fletcher) is finally getting the attention she deserves. “I Love You, Bitch” is one of several highlights on her debut album Girl Of My Dreams. The single is the best Julia Michaels ballad not written or performed by Michaels. FLETCHER thankfully adds enough of herself and her story in the empowering single to make it stand out. If the label is smart, they’ll push this single out in 2023 cause it’s a hit and with that title, TikTok is waiting…
I’ve never really been the greatest Jessica Mauboy fan. I’ve actually been more impressed by her acting (watch The Sapphires!) and her stint as a judge on The Voice Australia. So when she decided to pivot musically last year, I have to admit I was intrigued. Her single “Glow” didn’t impact me until much later (and that’s likely due to her amazing live performance on The Voice). “Automatic” is an extension of that single but really showcases Mauboy’s ability to unabashedly be a pop artist, something that feels daring and bold in this day and age. The song is melodically solid, as catchy as it can get and her vocals soar. Much like how Agnes got a second life last year thanks to “Magic Still Exists,” here’s hoping Mauboy uses the one-two punch of these singles for a new era that keeps us wanting more and more.
Emeli Sande’s Let’s Say For Instance LP seemingly got lost in the shuffle this year despite so many potential hit songs. The one single that really should have been commercially released and promoted is “Wait For Me,” an emotionally powerful single where Sande’s voice just makes your heart bleed. The guitar ballad is as mesmerizing as anything she released on her debut album Our Version Of Events. It really breaks my heart that the artist is just not getting the love and attention her music so richly deserves. A timeless single by a timeless artist.
So first, “Break My Soul” does not credit Big Freedia because it’s a sample BUT, the sample is important to the song, and I really do feel like credit needs to be shared there. Second, I say this because when “Break My Soul (The Queens Remix)” came out sampling Madonna’s “Vogue,” she got equal billing. Sure, Madge probably only said yes to the remix if she got that, but one’s status in the industry (however legendary it is) shouldn’t determine placement in billing especially because Big Freedia getting credit on the track would have been a genuine symbolic step for their career. Now, onto the remix – the mash-up of the original song and Madonna’s classic was brilliant and elevated the track beyond my expectations. Beyonce’s shout-out bridge where she celebrates other black female vocalists is the absolute highlight. Radio really should have embraced this mix, but not even Queen Bee is capable of unbanning Madonna.
After the runaway chart-crashing success of “Love Nwantiti,” Ckay had a choice to make. Either he could just repeat the formula or opt to collaborate with the big international hit-makers, or he could just produce the music he feels like. Thankfully, he opted for the latter. “Watawi” is a wonder collab between the hitmaker and Davido, Focalistic and Abidoza. The amapiano single is a departure for Ckay because it is a risky deviation from his style and sound. There is a definitive vibe to the track and the song highlights the diversity in range among African artists and that Afrobeat isn’t just one sound.
Yet again, Taylor Swift didn’t disappoint us with her Midnights LP this year. While “Anti-Hero” became the big pop hit she’s not had in many a year, it’s actually “Sweet Nothing” that stands out for me. The single is the perfect marriage between pandemic Swift and pop Swift – a mature, somber but continually reflective artist who knows how to craft a great song but can also do it in such a way that it resonates with every age range regardless of their own experiences.
There was no escaping “First Class” this year. Whether you get the hype behind Jack Harlow or not, this was a pop masterstroke. “Glamorous” by Fergie featuring Ludacris has always been considered one of the most timeless singles released from the former Black Eyed Peas vocalist’s solo career. So, with nostalgia super high these days for the 2000s, Harlow’s use of the single not only got us a hook we could groove with, but also brought in a whole other generation to the mix. My only wish is that Harlow would have released an official remix with Brandy who stole the show when she came out with Harlow at the BET Awards and rapped a brand-new verse. Maybe a whole new collab needs to done!
It seems that every year, Lucky Daye manages to make an impact on this chart and 2022 is no different. With the release of his second full-length LP Candy Drip, the artist proved yet again that he’s a master of creative soulful gems. While the industry goes one way, he swings the other and other artists have taken note and in fact, the singer is part of the songwriting team of two Album Of The Year Grammy nominees (Beyonce’s Renaissance and Mary J. Blige’s Good Morning Gorgeous). “Feels Like” is funky, soulful and feels like it could have come out at the time of Prince’s best work. While the industry has woken up to his talent, the charts need to do the same too. One can hope!
I became an avid fan of ALMA after her Heavy Rule mixtape in 2018. Her single “Chit Chat” even ranked in the Top 20 of that year’s end chart for me. While the artist has hardly faltered in the stream of releases that have followed, “Summer Really Hurt Us” is such a standout track that it has to be celebrated. The orchestration, ALMA’s vocal delivery and the song’s lyrics all come together to create this emotional crescendo that makes you just wanna move, cry, and more than anything else, sing along. ALMA continues to be underrated and underappreciated in my opinion and with any luck, this song can get renewed life on social media. Young influencers, take on this challenge!
Kx5 has been at it for nearly a decade and a half but never been packaged with this moniker before. “I Remember” by Kaskade and deadmau5 has since become an iconic moment in electronic music and whenever the two talents have come together since then, it has been magic. That continues here with “Escape” following in the great tradition of “I Remember” and “Move With Me”. Hayla provides the vocal etherealness required to make the melodic house number standout. It was great to hear the song at least make it onto the Mainstream Top 40 charts, even if at the lower end of the charts. In another world, the single would have gone to #1 across the globe, but this is just the official beginning of Kx5 and the future is very bright.
Satin Jackets finally released their long-awaited full-length LP Reunion early this year. The album included my #1 pick from 2020 – “I’m With It” featuring Metaxas. The album has several gems and my personal favorite from the remaining lot that hadn’t been released in the previous two years is “Different Directions” featuring Ivy Falls. Her magical vocals seamlessly blend into the hypnotic production, making for a song you just don’t want to end.
Un Verano Sin Ti is easily the best LP of 2022 and there’s no shortage of hits on Bad Bunny’s album, but “OjitosLindos” just hits a little deeper thanks to his collab with Colombian electronic duo BombaEstereo where vocalist Li Saumet’s vocals capture an ethereal sentiment that juxtapositions itself beautifully against Bunny’s. A superb track in any language, Bunny’s ability to infuse numerous genres into his own style is a gift and there’s no question why he is the most popular artist on the planet right now.
After the smashing success of the “What’s Your Pleasure” era, Jessie Ware started her return with “Free Yourself” this year – an extension of the previous era but with a little more tongue in cheek than the previous LP. The single rests on the anthemic lyrics and Ware’s confident vocals that make you follow her and believe everything she says. Can this woman ever go wrong?
Not since Mariah Carey back in the 1990s have I heard the whistle octave so prominently on display as in “Heartstrings” – the emotional cry-dance single of the year. Henderson has always been an amazing vocalist but here with M22’s production creating crescendos in all the right places, her voice literally soars to places we seldom hear in a pop record. In case the original mix is not your cup of tea, listen to the acoustic mix of the single and just be blown away by Henderson and the haunting melody. Another single that deserved a much better fate across the charts!
K-pop has continued to evolve and with each passing year the subgenres continue to expand. NewJeans released their eponymous debut EP this past summer and the absolute standout single from the set was “Hype Boy,” an ode to the early 2000s but with just the right amount of contemporary production to not make the single feel dated. It doesn’t hurt that the chorus is one of the catchiest of the year across all languages! It’s an exciting time for the girl group and here’s looking forward to have them keep on dancing in 2023.
“Let’s Go Girls!” is so iconic, you immediately expect to see or at least hear Shania Twain. Thankfully Twain has been enjoying a resurgence of late and some of that could possibly be the fact that younger artists like Rina Sawayama are unabashedly paying tribute to the country-pop legend with their work. “This Hell” is basically Shania Twain meets Lady Gaga in 2022 and that formula makes it just perfect. Sawayama has quickly gone from a budding to a bonafide star in the past couple of years, and the single became as much as LGBTQiA+ anthem as just an amazing pop record!
Harry Styles has had an incredible 2022 – two films and a superb album Harry’s House that featured multiple hits. While “As It Was” became the massive first single, I have to be honest, “Late Night Talking” was the real winner for me. The track does a better job of showcasing Styles’ personality and even vocally there is more energy and fun in the track. Basically, this track feels a lot more authentic for the singer. There’s really no stopping the former One Directioner in terms of opportunities so long as he keeps giving us hits like this.
Camila Cabello continues to be an interesting question mark for me. She has some great singles and they often chart high in my year-end listings and then she has other songs that are so ordinary that they’ve often bubbled under my ‘Worst Of’ list. This year with her Familia album she seemed to embrace more of her heritage and while songs like “Don’t Go Yet” and “Bam Bam” played with that in a contemporary way, it was actually the incredibly out of place but kinda awesome “pyschofreak” featuring WILLOW that enticed me. I’ve never really been a big fan of WILLOW as an artist until this song. Honestly her performance overshadows that of Cabello in a way because she is such a revelation and her vocals are just stunning. While the song made headlines for its raw lyrics, the production and the overall mood of the song is what made it a standout. The song really should have been a bigger hit but then again, I think it was such a departure in many ways for both artists that it was hard to place. I hope over time the single gets the justice it deserves!
First of all, there was no deliberate move on my part to have two former Fifth Harmony members appear back-to-back! What I can say is this. “Fair” felt like the first real single by Normani (Camila Cabello is the other Fifth Harmony member) after “Motivation” in 2019 and “Waves” featuring 6Lack released in 2018 (both of which ranked in my Top 50 charts for the respective years). “Fair” is a straight-up soulful ballad that showcases the singer and her vulnerabilities – far better than anything else she’s released in the past couple of years. It’s upsetting that the single didn’t get the label push it deserved as it was one of the best ballads of the year. Here’s hoping Normani either changes teams or straight goes independent like RAYE cause she’s talented, and no artist deserves to be sidelined like this.
This is probably the highest-ranking song that released the latest in the year for me. From the first listen, “Trouble With This Bed” was a smash! Beach Weather have been enjoying a revival of sorts after nearly a six-year hiatus. Thanks to the success of their 2016 single “Sex, Drugs, etc.” on TikTok this year, the band released a music video for that track and since then have been releasing new music with this song being the absolute standout. There’s no reason the track shouldn’t go the way of “Heat Waves” and move from sleeper hit to one of the biggest hits of the year. Here’s hoping
Montreal duo Banx&Ranx have always had a pulse on what is current and “Fire” is no exception. The single featuring JP Cooper is pure pop perfection. The single is the summer bop you didn’t realize you needed to know, but once you do, you can’t get it out of your head. Credit to Cooper for creating a melodic hook and chorus that helps the song’s simplicity stand out. In a just world, this too would have been a massive smash in 2022 but here’s hoping a TikTok revival gets the song the chart justice it deserves.
Criminal. That’s all I’ve got to say about this track. “Harder” by NY-based duo Lion Babe featuring Brooklyn legend Busta Rhymes should have been a massive hit this past year. The track takes us back to the 90s incorporating soul, jazz and house to create an empowering anthem about self-love that should have had all of us moving throughout the whole year. Sometimes I really wonder what the hell programmers and playlist creators are thinking when singles that have literally everything going in their favor get overlooked.
Nine Inch Nails meets reggaeton? Yup. On paper, that shouldn’t work but Rosalia has created her own world and we’re all for it. “SAOKO” is weird af but it works because it is hypnotic from the word go. The song, which talks about transformation, matches the theme right on its head with the varied musical genres the song hops through, including a jazz interlude that solidifies once and for all (if there was any doubt) that Rosalia is one of the most creative musicians at the moment on this planet!
So there’s absolutely no reason for Rema’s original version of “Calm Down” not to be listed here instead of the remix with Selena Gomez, but the reason I’ve included her mix instead was for two reasons. First, this version featuring Gomez felt far more authentic as the singer just joined Rema in his original production without any new mixing being done to make the track more “westernized.” Second, neither artist expected to collaborate on the track but it happened rather naturally. These days far too many artists are jumping on the Afrobeat craze and the bigger “featured” stars are diluting the tracks to accommodate their own egos. Here, Gomez just seamlessly adds her voice/style into the chill song. Music has a lot more to celebrate when things happen organically.
“Fast Times” is extremely well-written and slickly produced. It’s no surprise given that Julia Michaels and JP Saxe are co-writers on the track, songwriters that Sabrina Carpenter has previously labeled as her “parents.” Here, the lyrics really are the strongest component of the song as the singer reflects about the ride she’s been on (and has been well documented, they have been quite tumultuous). Here, the whole song comes across as a step towards a more mature Carpenter and the music video showcases that to perfection as well.
Post Malone ended last year with an album teaser collab with The Weeknd that left me feeling meh, so when he dropped his entire 2022 LP Twelve Carat Toothache and his list of collaborators included everyone from Roddy Rich to Fleet Foxes, it was a welcome surprise. Of course the highlight was the collaboration we got between Malone and Doja Cat. The two superstars have marched to their own drums in many ways and while we didn’t necessarily think of the two of them collaborating, they did, and “I Like You (A Happier Song)” became the unlikeliest quirky romantic ditty of the year!
“Loved By U” is quite possibly the best dance-pop collab of the year thanks in no small part to the message of the single. TOKiMONSTA produces a truly joyful trance guided by singer/songwriter morgxn’s haunting vocals. The single balances the euphoric nature of the production (strangely reminiscent of old school Mark Ronson and that’s a big compliment!) with the meaningful energy of the song’s lyrics. The song really should have blown up on mainstream Top 40, it’s that good!
Songs that don’t fear talking about suicide are something relatively new, or at least in terms of how openly they talk about it for sure. Stromae’s “L’enfer” was such a bold, brilliant and bravo move that it didn’t need any one language to convey the emotions the artist got across simply by sharing his truth. In a year when many personalities in the public eye we know and love chose to end their lives, the song was a rallying cry for not just better understanding the darkness but also embracing the reality that talking about it is a far better way to handle the darkness than simply pulling the cord.
I got a lot of flak earlier this year when The Weeknd released his album Dawn FM. I wasn’t actually criticizing the album but was more worried about the impact of his work given the close proximity timeframe-wise to his earlier work. While for some artists like Ariana Grande and Taylor Swift this strategy has worked, for others it hasn’t (case in recent point, Drake). The latest era from The Weeknd did actually suffer because of audience exhaustion where a number of singles that should have been #1 hits failed. Even the set’s strongest single “Out Of Time” managed to only chart in the middle regions, a result that’s unjust by any measure for such a timeless jam. I’m hoping that the artist who has been on tour for most of 2022 has understood the importance of spacing out eras a bit more, and already it seems enough time has passed for us to now embrace new eras, starting with his new single for the just released Avatar 2 film.
A little history lesson for ya’ll. In 1979, Chicago released their album Chicago 13. The album’s first track “Street Player” was written by band members of the time Daniel Seraphine (drummer) and David Wolinski (keyboardist) with vocals by Peter Cetera. It was the first album the act released to not feature a hit single. Cut to 1995 and Kenny “Dope” Gonzalez under the moniker of The Bucketheads released “The Bomb! (These Sounds Fall Into My Mind)” which not only samples the Chicago single but has subtitles that are actually a mondegreen. You see, the original lyrics Cetera sings are “street sounds swirling through my mind.” Gonzalez of course thought otherwise and one of the greatest club hits was born. Now, let’s add to the mix one of the most famous dance singles also from the 1990s – Crystal Water’s “Gypsy Woman (She’s Homeless)” and its very famous keyboard chords. Now, cut to 2022 and DJ Alok fused both 90s house classics together with Ella Eyre’s vocals and a whole new set of lyrics. What do we get? “Deep Down” – an instant 2022 classic rooted in so much history that, well, how could you not love it? The single is hands-down my go-to party song of the year and to be honest, there was really no competition with so much backstory!
Keeping it real, “Pushin P” by Gunna and Future with Young Thug was probably the best multi-rapper collab of the year. The song created a whole social media world around the word “pushin” where something with “p” had a positive meaning and something without it had negative connotations. Regardless of the meaning, the song was a standout hip-hop moment this year – not built around well-known samples or simply trying to adhere to a certain musical style. All three rappers give us flows with such swagger that you wish more would do the same!
British electronic music duo Snakehips gave us one banger after another this year. But none was more electric than “Water” with singer/rapper Bryce Vine. The track may work best after hours in the clubs but truth be told, the infectious vocals of Vine combined with the atmospheric groove also made for the perfect summer anthem. I’ve yet to understand why the track didn’t just blow up instantly as it was such a hit! I’m beginning to wonder if Snakehips are even capable of releasing a dud?
So let’s get this out of the way, the highlight in “Wait For U” is the wonderful sample of Tems’ 2020 gem “Higher.” While for the most part Future and Drake are rehashing the same stories they’ve told before, the song works because the sample adds an emotional heft to their rhymes making for an R&B ballad that feels like a yesteryear production by Future, and we’ve missed that. The track also feels like a saving grace from the two efforts Drake released in 2022. While his Honestly, Nevermind didn’t really soar the way he’d hoped, Her Loss with 21 Savage just proved marginally more entertaining. This single was probably the best from Drake’s repertoire this year, while Future just featured above as well on “Pushin P” too.
For those in the know, Steve Lacy was part of the great band the Internet before he went solo. He actually got his first Grammy nomination as a solo artist in 2020 for his Apollo XXI LP. So it’s not like he just suddenly emerged this year but for many, Lacy truly had his breakthrough moment in 2022 with “Bad Habit” (thankfully not a cover of the Ed Sheeran hit!). “Bad Habit” became an instant hit catapulting Lacy into another league. The musician is mad talented but what helped here was that the single was like nothing else on the radio AND that it was a well-composed song that crossed genres that usually never cross paths with one another. The single ended up topping the R&B, rock, alternative and mainstream charts simultaneously – something that basically wasn’t possible till Lacy.
From Steve Lacy to Lava La Rue, there was something gripping about hearing lo-fi get some mainstream love. Hi-Fidelity was a great EP by the artist but the title track with BiigPiig was definitely the highlight. The single oozes soul and funk, and gives us a retro feel that makes it timeless. It’s likely the coolest track of the year on this countdown!
While 21 Savage spent a good amount of time collaborating with Drake to varied success in 2022, his standout single is no doubt “Cash In Cash Out,” produced by Pharrell Williams and also featuring Tyler The Creator. The stripped-back beat by Williams feels like a throwback to his Chad Hugo/Neptunes days where the joy of the rhymes came from the minimalistic beats but with enough bells and whistles to keep the listener forever entertained.
This is quite possibly the most commercial single in recent times by Florence + The Machine and we aren’t complaining! “My Love” is layered to such a level that no second of the song feels boring or repetitive. It’s hands down their best single from the Dance Fever era and possibly a few other eras too. In case you didn’t know, the song was co-written and co-produced by Glass Animals’ Dave Bayley with Florence Welch – possibly the reason why the track feels so modern despite it featuring the best of what has always made the band stand out over the past decade and more.
Quite possibly the cleverest song of the year has to be HARDY’s “JACK” – a country/rock song told through the perspective of alcohol. HARDY’s unique take on making booze the protagonist flips the switch on an otherwise cliché topic, enticing listeners into his storytelling world. Honestly, the song really deserved to break out of genre tropes and become a crossover smash as the lyrics, the production and HARDY’s vocals are first-rate, making for a multi-format hit. It’s possible the song may still have legs into 2023 but if not, one thing is clear – HARDY is a talent that’s likely going to make a huge impact in the coming years.
Last year’s #1 single “Worth It” was just the prelude to a fantastic album release in 2022 for Amber Mark. “Three Dimensions Deep” showcased the many sides of the talented artist and “Bliss” was the next best of the lot for me. From the get-go, the hard-hitting beat serves as a perfect foil to Mark’s sultry vocals. Another single that should have been a massive hit for the singer!
Mabel has been a curious case this year. Her 2022 album “About Last Night” was a way-too-long and hot mess of great singles and wtf moments. Somewhere right in the middle was the set’s strongest single, “Overthinking,” featuring 24KGoldn, who is used to perfection in the moody single that gives Mabel a little more vocal and lyrical weight than a lot of the other material on the album. Mabel has always shined when the production doesn’t overpower her personality and this single works because it feels genuine rather than manufactured. Perhaps the artist needs to heed her own advice and stop overthinking, and just give us the songs she believes in.
Melodic house music is easy to come by, but how strong the melodies actually are is a matter of opinion. Le Youth mastered the art this year with “Lighthouse” featuring RBBTS. The single is a brilliant collab that pushes the genre forward into a space where the mainstream can access this gem. Le Youth’s debut album, Reminders, is full of potential hits and here’s hoping that perhaps in 2023 there is more push to make other singles also create a sonic spark.
Much like Le Youth, ODESZA, one of my favorite electronic/dance bands for some time now, triumphed with their 2022 LP The Last Goodbye. The album took us one step further into their sonic evolution with some of the tracks being straight up ready for Top 40 radio. One of those tracks is “Forgive Me,” a smash single if there ever was one. With vocals handled by Izzy Blu, the song took me back to the days when bands like Delerium, Dirty Vegas and Zero 7 scored big pop hits without compromising their sound. Programmers were fools in my opinion for ignoring the song since it would sound really good sandwiched between a Taylor Swift and Post Malone track!
Florida native Doechii created a whole new vibe with “Persuasive.” The single already worked as a solo smash, but it honestly went to the next level when SZA joined the track. The two together create fire on this addictively hypnotic single. You can’t help but sing along a few times into the phrase “she’s so persuasive” and you’ll find yourself humming that melody for hours to come even after the song is finished. Can’t wait to hear what’s next for the multi-hyphenated talent in 2023.
What do you get when the two Gs collide? Well, you get one of the best collabs of 2022 for one. Becky G and Karol G came together for the ever-so-fantastic “MAMIII,” hands down the best all- female collab of the year, empowering women across all ages, languages and styles along the way. The single works big time because both artists play off each other’s strengths and the song’s message flips the bird to all the naysayers they’ve encountered along the way.
Hats off to Alex Isley and producing partner Jack Dine for just giving us straight-up soul. “Under The Moon” is actually the song that I played the most in 2022, likely because it released so early in 2022. But unlike many other tracks that fell off my radar after a bit of time, this single continues to bring me the same vibes every time I hear it. Isley is a star who is yet to shine as brightly as her talent warrants it. The highest compliment goes to the two for creating art that no one will ever ask what year it’s from as they’ve created a timeless classic. In case you’ve not done it, please check out her LP Marigold – it’s pure gold.
Arguably one of the most underrated rappers of all time, Pusha T made a triumphant return to educate and entertain the new generation this year with “Diet Coke.” Ever since his days with Clipse, the rapper has been a fave of mine. Ironically, the instrumental for the track dates back to 2004 according to producer 88-Keys. The age-old topic of selling drugs never felt so contemporary again.
This year belonged to Bad Bunny and while his entire album could have been featured throughout this chart, only two singles could make the cut and at the top has to be “Titi Me Pregunto,” a single that whether you spoke Spanish or not, liked reggaeton or not, knew Bad Bunny or not, you heard, you appreciated and you danced to! And so as to not exclude those of you that did not partake, don’t worry – this song is going to be around longer than us. At a time when no artist even in English is willing to take many risks, it was beyond refreshing to see the artist create a world where every style, every person is welcome.
The brilliant Kendrick Lamar returned this year giving us yet another masterpiece album with Mr. Morale & The Big Steppers. While it may pale in comparison to “Damn” and “To Pimp A Butterfly,” the album is full of strong singles and “N95” was my favorite and most repeated. Lamar uses the notorious N95 masks and raps about the ones worn while adorning designer clothes. The scathing critique is just perfect and no song did better to understand the present than this.
I hate it when a song feels perfect for the radio and yet you hardly, if ever, hear it. And you wonder, maybe they’ll take the chance and give the people what they know they’ll like. COIN have always given us the goods but “Killing Me” is a smash. The song is a melodic minefield and the band have so much fun taking us through the journey. I love that there is so much love for the band, but I’ll be pissed off for years that this song didn’t become a track that everyone sang along to this year.
Usually I’m not a sucker for a straightforward piano ballad but this one just hit me hard. “Best Day Of My Life” was literally neck and neck with the number one song of 2022, but it’s likely its late release date during the calendar year that fails to take it to the top. Heartfelt lyrics, warm vocals and a message of positivity, no matter what – well, that’s how I live my life. It’s rare to get an anthem for life these days but damn you, Tom Odell – you made the darkest of our thoughts into a love-song lullaby about the present, the only gift we can celebrate.
Joesef first caught my attention in 2019 with his EP Play Me Something Nice. Within a year, he released the single “The Sun Is Up Forever” which ended up in my 2020 year-end chart. Truth be told, if my yearly Top 100 included recurring songs from previous years, that single would have appeared last year and this year on my chart too. That single has become one of my favorite songs of the past few years. Enter “It’s Been A Little Heavy Lately” – take Joesef’s gorgeous vocals but add a retro-fueled disco beat and some melancholic lyrics and you have my top track of the year. The song is literally the perfect pop song and it should have broken out of the indie/dance category and become a #1 record on Top 40. But who knows, maybe it’s not a little too late?
CHECK OUT THE ENTIRE PLAYLIST FOR AV’S TOP 100 OF 2022 on the following streaming platforms.
Spotify Link: https://open.spotify.com/playlist/01Obrkbd9YCZD73sNQru01?si=088f2e169d52478c&pt=924a34b079c707aa4270259562b2c640
Apple Music Link: https://music.apple.com/us/playlist/avs-top-100-of-2022/pl.u-6mo4lN4HBZ9RNbr
YouTube Music Link:
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