Since 2019, I sit down for an evening in mid-December and gather all the most important and impactful songs I began listening to that calendar year. If I had to give a recap of what these year-encapsulating playlists, they would be described as such:

2019

• Eurovision
• Several entries from europop group KEiiNO who were introduced to me by (gasp!) Eurovision
• Lots of radio pop

2020

• Even more Eurovision (the year that never was)
• One (1) Taylor Swift song
• Several Italian men

2021

• No Eurovision!
• JK lol, SO much Eurovision
• The first year where my #1 song wasn’t a Eurovision song (but it was a KEiiNO song)

2022

• Your O’Vision
• Rina Sawayama
• One (1) song by Motion City Soundtrack

2023

• Is it 2012? Because there’s Eurovision AND Loreen here!
• Yes, I fell for the capitalistic trap that was the Barbie soundtrack
• One (1) country song!

And here I am now, curating a list of another 50 songs and ranking them by my own unseen, unknowable metrics and standards in some “order” I deem fit and definitely could not have trusted Spotify to do for me. I know the unique computing magic of a Spotify Wrapped is a simple algorithmic wonder that does the work of everything I’m doing with these playlists, but would Spotify create a blog post about it for me? And besides: unlike me, Spotify doesn’t have autism, so this is something I look forward to doing on my own for no one’s necessity other than my own. Anyway, if you’re someone who enjoys the words and thoughts of others about their music taste, welcome! And if you’re not — I dunno, sorry? Get well soon? Anyway we have 50 songs to mention, so I’m just gonna hop in and get the show started.

Our first ten songs sees the female-led force of songs that span five languages and multiple decades. “WITCH-ER Tarohoro” is the first and quite possibly only song in my library with select lyrics in a proto-Slavic dialect, “Go Tobann” is Irish for “go to the bathroom,” and then we round it out with English, Spanish, and French.

Also visibly obvious is the emerging of a repeat artist on this list: Rebecca Black. These first ten songs hopefully show how this playlist works; this isn’t exclusive to songs that released in 2024, but were added to my music library in 2024. If you’ve ever wondered what Björk would sound like if she were from the EurAsian country of Georgia, definitely check out “Visionary Dream” and just sit back and enjoy your brain getting whipped into a sonic frenzy for three chaotic minutes, it’s amazing.

This chunk is probably the most unpredictable to listen to in one go, unbroken. What other playlist goes from Kesha’s accordion-filled killer clown circus single, to Italian disco pop, to 2000’s Armenian folk pop, to a song in an entirely made-up language, to a song from the vastly underrated season three of Glee?

Mid-90’s dance classic “Ooh Aah (Just a Little Bit)” delighted my ears every time I jaunted down the streets of Philly, and Loreen’s “My Heart is Refusing Me” positively obliterated my headphones with its 2010’s classic Swedish pop production which we all remember (fondly or not so fondly) being heard everywhere during the previous decade. This reminds me that I added a few Cascada tracks to my library this year, but we sadly don’t have space for every European dance banger in this playlist — I was too busy evacuating the dance floor. Apparently the beat killed a woman? Anyway, moving on!

I would say “This is where it starts to get good” but clearly the last 20 songs were already tasteful enough — so here’s where it gets better. Back again is a selection of several languages: English, Icelandic, Spanish, Italian, and to my own surprise, German! As a composer, any song that isn’t in English is a wonderful experience to try and focus primarily on said composition, but also in learning the way lyrics in other languages can scan and flow. “Ich kündige” was my anti-capitalist anthem of the year and for once succeeded in making the German language a unique and memorable tool of the song’s rage and spontaneity, whereas “Einhver” by Diljá is a soberingly beautiful piece with absolutely incredible vocals by Diljá, succeeding in the feeling of “I don’t know a single word she’s saying but I get it, y’know?” The song is about the loss of a relationship and the empty, unknown feeling of now just being “someone” to a person you once loved. So yes, even in Icelandic this song lands very well.

Also if you have a friend named Tiffany in your life who could use some encouragement, check out “Um allan alheiminn” by Sigga Ozk!

This section is what I refer to as the Honorable Mentions because I wish 20 songs could fit in my Top 10, but alas! Continuing in Carola’s footsteps in 2023, “UNGA & FRIA” continues the “One Song in Swedish” trend in an extremely fun, bright, and campy song with a contagious violin hook. You’ll also see a song by Baby Lasagna, implying the existence of family members such as Elderly Spaghetti, 20-something Fettuccini, and Hormonal-Teenaged Angel Hair — also “Rim Tim Tagi Dim” slaps very hard, jokes aside. “We Will Rave” is a lot of shameless fun and great song production for anyone who likes songs that sound like they’re written by someone who has literally never been to a rave but thinks “they seem like so much fun, if you’re into that kinda thing.” 

You’ll also spot two more entries from the late-oughts Broadway SMASH that is “Legally Blonde,” more on that gem in a second. My two highest recommendations of this section would be spots 12 and 11: a Finnish power ballad and an unapologetically Greek folk hip-hop track that would have come Top 10 in Eurovision at least, had the EBU decided to remove a competitor whose country is, has been, and continues to commit a genocide recognized by the ICJ but we can’t have nice things, can we.

#10: "Sinceramente" by Annalisa

Annalisa is a familiar face to the Sanremo stage where this song debuted, and the nation of Italy said “That’s ok, we don’t need to win a fourth time but this was really good, thanks!” As you noticed, Italy’s 2024 Sanremo winner “La Noia” is both on my Top 50 playlist as well as ending in the Top 10 of Eurovision, but this song is truly incredible whether live or in studio. In studio, the production is sure to remind any tasteful ear of a Kylie Minogue-style beat over hypnotizing and driving blend of pop, disco, and power ballad. When performed live, Annalisa couldn’t even be paid to hit a bum note, even if she tried to.

The song and its performance flows dramatically between thumping dance beats and into sweeping, intense strings and vocals that creates something simultaneously so dark and bright at the same time. To anyone familiar with Eurovision, Annalisa (along with Mahmood, Angelina Mango, etc etc.) is a shining example of the quality Sanremo seeks to display and represent the country of Italy in a contest where they have easily come Top 10 + a victory for the last several years of the contest. Meanwhile, Annalisa has an amazing discography of other similar dance-infused songs but as well as ballads — check out her 2021 Sanremo entry “Dieci” if you have the time.

#9: "What You Want" from Legally Blonde: the Musical

2024 was a hard year for me, admittedly. The year was obviously not without lovely folks, fun projects, and exciting life changes, but there were many days that left me in my room at night feeling hopeless, beaten, and confused about my position in life and my own trajectory. Enter “Legally Blonde the Musical” and its MTV pro-shot available on YouTube, which successfully and repeatedly turned my entire morale around during my hardest moments, as well as becoming a favorite show to watch and sing with my darling boyfriend over and over again. If I had to guess how many times I’ve seen this show since first watching it in late 2023, I would say I’ve easily hit the one dozen mark by now, and I have no intention to stop! It’s really fun and if you don’t like fun, then once again I’ll say “get well soon!”

Being one of the longest, toughest, and dance-filled songs of the show, this a stellar example of “I Want” songs from musical theater, title exempt. Filled to the brim with amazing vocal chops from solos to the whole ensemble and a dance break filled with enough “ethnic movement” to disturb any Harvard admissions officer, I’m happy to listen and sing along to her royal highness Laura Bell Bundy any day.

#8: "Ruoska" by Käärijä ft. Erika Vikman

If I had a nickel for every song about whips/the act of whipping on this Top 50 playlist, I’d have two nickels! Not a lot of money, but weird it happened twice. Every now and then I enjoy turning off my lyric-comprehension and listen to EDM-metal fusion from the likes of Eurovision 2023 runner-up Käärijä and his fun dominatrix girlfriend Erika Vikman. Personally, I love a song’s ability to teleport me out of my mortal realm and treat me to a completely bonkers, fun, scary, and even more bonkers three minutes of musical nightmare fuel — it’s great!

Despite its very “Eurovision” appeal, this song was not in Eurovision nor did it try to be. To that I say: WHY. Why not?? Does Finland not like winning? Given their actual choice for the 2024 contest, the answer is a resounding “Nah.” However, my disappointment with this does not diminish my enjoyment of “Ruoska,” clearly. I won’t go much further into trying to describe the sonic insanity of this song, so I recommend you treat yourself to a listen when you can.

#7: "Supera (ao vivo)" by Marilía Mendoça

Typically, any songs in Portuguese on my Songs of the Year playlist come from Eurovision, but this year we stopped by Brazil for the incredible talent that is Marília Mendoça and this live performance of her song “Supera.” This song was introduced to me by one of my past guitar students who had also been learning Portuguese for some time. They showed me this track and I immediately fell in love with the song’s uplifting composition, Marília’s smoky alto chops, and the uniquely wholesome moments of her audience singing “SUPERA!” during the song’s choruses.

The song’s lyrics and mellow-yet-rhythmic composition create something so uniquely beautiful that can provide a feeling of strength and resilience, as well as tenderness and comfort. “Supera” in this translation means “to overcome,” to overcome doubts and fears, hardships, or anything we encounter in life. And beneath it all, this song reminds me of the the genuine connection and friendship I was lucky to form between myself and the student who introduced it to me. In 2025, I truly hope we all overcome whatever’s in our way. Supera!!

#6: "Europapa" by Joost Klein

You’re telling me a cleverly-worded criticism of existence in the EU while coping with loss and depression ALSO has a hard-step breakdown? No wonder the EBU disqualified this song the day of the Grand Final — the Netherlands winning again so soon after 2019 would’ve been quite the move, but alas. Joost Klein is a familiar face to the Dutch and I believe we all owe the Dutch a great big “Thank you for Joost.” Call to YOUR resident Dutchie in your life right now and do it! As mentioned, the song’s lyrics ramble, jump, and pop for three utterly captivating and entertaining three minutes while successfully namedropping a dozen or so EU countries while telling the very personal experience of Joost, all the way up to said-hard step breakdown and through the touching, sobering finale.

A term I don’t enjoy using too frequently is “masterclass,” but I will happily proclaim this track is a masterclass of 90’s/00’s hard step, EDM, and freestyle with its just-right amount of orchestration. The rhythmic piano isn’t too much, but it’s not weak or flimsy. The ear-punching breakdown is very deserved after the refreshing mix of instruments and beeps-n-boops underneath it all. I fear we are now listening to the Eurovision winner that never was.

#5: "Un jour, un enfant" by Frida Bocarra

This Top 50 has been filled with the gems of Eurovision’s past, featuring pop hits from the 90’s and into the 2000’s. However, we now hop in the TARDIS all the way back to Eurovision 1969 and one of its historic four-way-tied winners, a classic French chanson from Frida Bocarra. Yes, the beauty of French songs can easily be conflated with one’s bias towards French as a “romantic” language, or whatever they’re called. However, this song captures your ear so gorgeously from its first measure, then once more with Frida’s first lyric. The lyrics, while scarce, are incredibly poetic and to the English-speaking ear can just be listened to in all their expertly-performed brilliance. The song describes dreams and visions, which I fully believe is the effect of the song itself on the listener.

Another highlight of this performance is more amazing alto recognition. The vocal melody sways and flows around a lower range, repeatedly building upwards alongside a similar motion in the music. Each moment Frida’s voice begins to peak higher and with more intensity is incredibly gripping and has me wanting to hear her go even higher. Surely enough, the last moment of the song features Frida’s humbly impressive high note, then ending the song assuredly with beauty and grace. In my educated opinion, I propose a systemic re-scoreing of Eurovision 1969 should be held so that this Queen is given her rightful crown.

#4: "Fast Car" by Tracy Chapman

This list has given us a few tearful moments: Diljá’s coldly touching ballad, Sara Siipola’s cathartic power ballad, or every time Sigga Ozk said “Go Tiffany!” etc. However, the real waterworks start now and for obvious reasons. Tracy Chapman and “Fast Car” many are familiar with either from the original or its more recent radio-cover hit, but my preference lies with the source material. What amazing things can’t I say about this song? Tracy Chapman’s basically-a-tenor vocals remain so incredibly powerful, amplifying the storytelling of the song. It’s impossible not to feel the quiet wanting of the lyrics that communicate such an enormous emotional burden under the surface through every verse and chorus.

Most significantly, that simple yet stunning guitar hook. Theory-wise, so very simple beyond all reason. Thematically, so very impactful and bittersweet beyond all reason. This song was also one introduced to me by the same guitar student I had taught last year, and it reminds me every time I listen to it how much we bonded and worked together to learn the song and do our best to convey the same emotion as Chapman’s own performance — even though I admit we never came close to what Chapman succeeds in doing. No way else to say it but admit this timeless classic will remain timeless and certainly remain a classic.

#3: "TRUST!" by Rebecca Black

Even though a 2011 track from Loreen made the Top 50 this year, we’re a long way from what Rebecca Black had to offer in the same year. It is in fact 2025 and anyone who doesn’t know how seriously good Rebecca Black’s tracks are/have been are seriously missing out. You’ve noticed selections from her 2023 album “Let Her Burn” which is clearly an entertaining and ambitious start to Black’s musical identity, but “TRUST!” soared into my top marks for being a definitive step in an upward direction across the board. Production? Crisper than the cool sea breeze. The kicks and snares are sharper than knives, there’s even more whip sound effects, and my favorite part has to be the wubb-wubbing bass synths that keep the driving pulse of the song feeling like we’re moving in all directions at all times.

Vocally, Black slots into three ranges with ease: raspy and talk-y lows, strong and amplifying callouts during choruses, and her signature icy upper range that almost fools me into thinking this song is performed by a girl group trio, with each talented and amazing singer picking up each range, but no — just Rebecca and a killer track that I know with 100% certainty will kill me to death when I see her live in Philly later this year.

#2: "Eres Tú" by Mocedades

Eurovision 1973 — or as I call it, the Great Spanish Robbery of 1973. Now for some Spanish-speaking families and folks, this song will either make you go “Wait my grandparents slow-danced to this at their wedding I think” or “Didn’t they sing this on an episode of Riverdale?” The answer to at least the latter question is yes — no one is allowed to ask me how many seasons of Riverdale I’ve watched, I’m not gonna answer. Regardless, the Spanish alternative to The Mamas and the Papas came 2nd in Eurovision with a song so simple in composition while being so vast and scenic in presentation and sound.

The title being the song’s hook is a good example of how music, inside or out of Eurovision, has these magical unseen qualities that help convey its emotional impact regardless of language. “Eres tú” is sung so gently but with deep intention, echoed beautifully by the rest of the band in falling chromatic patterns, and just the sound of “Eres tú” communicates that “you” of it all. The beautiful lyrics retain said beauty in both translation and pronunciation — “guitarra en la noche” is a line I could just listen to over and over again. Truly no matter how far in the past this song comes from, it’ll be part of my future for many years to come.

Song of the Year: "Doomsday Blue" by Bambie Thug

If this were a one-lady Grammy awards and not just a too-long blog post, I would love to present and award this song with a myriad of awards. Best lyrics, best live performance, best song about non-binary rage in a binary world, any and every trophy prophecy. As bittersweet as my relationship with Eurovision now is, I can never deny its power to help me discover songs that remind me why musicians create their art in the first place. In studio alone, this track is disturbing and disorienting, rapidly shifting gears and sonic traits in such a mesmerizing way. Another masterclass of vocals, Bambie Thug’s machine-like technique and control effortlessly slip and slide lyrics in and out of the ears lucky enough to be listening to this song, before tearing through the fabric of the composition to cry out in severely guttural emotions and expressions. Combine this with one of the most show-stopping Eurovision performances ever seen and I have no choice but to slap this song at the tippy top of my list.

Overall, this song combines what I love most about my approach to creating this list — combining songs new and old from all over the world that constantly show me new ways of thinking, new ways of feeling, and new ways of creating incredible music. “Doomsday Blue” and its darkly ethereal nature refuse to exist solely in one emotion, one sonic theme, one lyrical message — it is anything and everything for three uniquely brilliant minutes.