Hello, everyone! Welcome back to my website! Today I am talking about my top ten favourite hit songs of 2015!

The rules for this list are the same as my worst list, which I just posted recently. There are 92 eligible songs which made the Billboard Year-End Hot 100 in 2015, with the other eight songs having already made the Year-End Hot 100 previously, thus not being eligible for this list. Also, I should mention that if you do plan on reading my worst list, I’d recommend reading it before this list, because there may be spoilers for that list.

And, of course, this list is all just my own personal opinion. Feel free to comment your list down below.

I’m a lot more excited to talk about these songs than the ones on the worst list, so without further ado, let’s go over eight honourable mentions (in randomized order), starting in controversial territory …

“Fight Song” by Rachel Platten

So, if you read my segment on Sia’s “Elastic Heart” in my worst list, you might be kind of surprised to see this song here. I mean, it’s a pretty generic empowerment anthem which does kind of feel like it’s trying to show off depth that isn’t really there. And look, it’s not even like the production doesn’t have its issues, with the sort of clunky percussion which kind of drowns out the rest of the instrumentation, and some of the strings really don’t blend well with this production.

But what sets this apart from a lot of generic empowerment anthems for me is a few things; for one, it’s got really strong vocal melodies, not only in the chorus but in the verses as well, and I like the use of acoustic guitar in the verses to emphasize the internal thoughts that are here lyrically. And also, Rachel Platten’s vocals really give this song a lot more grit, and aside from those production issues I mentioned earlier, I think the instrumentation has seeds of greatness, including the really pretty piano timbre at the start. I mean, yeah, the song is kind of cheesy, but I honestly do find it kind of empowering … albeit emphasis on ‘kind of’.

I will admit that even though the honourable mentions are in no particular order, this song was the final entry here, and I was debating whether or not it was good enough to make it or if I should just go with seven honourable mentions instead … but honestly, I think the tipping point for me was that this song became part of a huge inside joke with my coworkers a few years ago because I like this song and almost all of my coworkers hated it … and thus this song has a special place in my heart, so I couldn’t bring myself to leave it off the list.

“Good for You” by Selena Gomez (ft. A$AP Rocky)

It’s kind of hard for me to really pin down what it is that’s holding me back from liking this song more. I mean, the vocal production in the first verse is a little awkward, and the percussion could be a bit stronger to really fit the sensual vibe of the production … but I don’t know, something just feels a little bit off about this song, if that makes any sense.

But still, at its core, “Good for You” is a very good song. It’s a song in which the narrator just wants to look good for her partner, and Selena sounds really nervous here, like she’s worried she doesn’t look good enough. And while she doesn’t make any direct references to sex, the sexual desire feels very implied, with lines like ‘Leave this dress a mess on the floor’ and ‘Trust me, I can take you there.’ And maybe it’s just the very sensual production, but I think Selena sounds super horny in this song … but again, she’s worried about what her partner is going to think, and that’s why it’s so odd that something feeling sort of ‘off’ about this song is working against it, because in theory that would make sense in a song like this.

But anyway, then A$AP Rocky shows up, and typically this would be the part of the song I really don’t like, with the guest rapper appearing in a pop song and totally throwing off the vibe … but I actually really like A$AP Rocky’s verse here; his flow is really strong, he sounds really good over this production, and I really like the rhyming.

So, despite its flaws, I do think “Good for You” is a pretty good pop song, just not a great one.

“Waves (Robin Schulz Remix)” by Mr. Probz

This one kind of snuck up on me a little bit. I wasn’t familiar with this song before preparing for this list, and on my first few listens I thought it was only decent, but while I don’t think this is great, it definitely grew on me. The original version of this song really doesn’t do anything for me at all, but Robin Schulz gives this song a bouncier feeling which sounds really nice with the breezy percussion and the faster tempo.

And I really like that groovy guitar melody which repeats throughout the song. And I think it fits with the lyrics which show a sense of calmness despite feeling like everything is coming to an end. I guess it’s just embracing the uncertainty of life, and enjoying the present moment.

I mean, it’s not a super unique song or anything, but I think it mostly serves its purpose as radio filler, and there are certainly much worse songs on the radio than this.

“Ex’s & Oh’s” by Elle King

This is one of those songs where the small details really matter, as it can determine whether it’s really really good or absolutely insufferable. I mean, it’s basically a braggadocious anthem about using a bunch of guys for sex and then moving on to the next, and while she admits how much it haunts her to think about the moral consequences of it all, she can’t help but drown in a pool of her own ego, where she says she’s the best partner they never had.

And the braggadocious energy of songs like these can make them really insufferable … but I think there’s enough eeriness in the chord progression and instrumental melodies and enough self-awareness that the sort of villainous vibe actually really clicks, and it kind of makes you have a bit more empathy for the narrator despite the unlikableness, really giving the sense that this person is mostly well-meaning. And I don’t want to fall down the rabbit hole of discussing morals surrounding casual relationships and casual sex, but it really makes you think about whether or not it’s worth blaming her for this issue—or if it’s even an issue at all.

Again, all that is complicated, and I’m going to avoid falling down that rabbit hole I just mentioned … but sonically this is a really good song, too, with the thunderous kick and toms, the killer guitar distortion, and everything sounds really punchy in the production, with this track being really well mixed!

And I haven’t even mentioned the really clever wordplay with the double-meaning of ex’s and oh’s, which really fits with the playful songwriting style—and it might even be more than a double-meaning, considering the implication that she’s ‘playing games’ with all her partners.

And Elle King kind of knocks it out of the park on the vocal front, especially in that chorus with the descending melody on the word ‘oh’s and other words that rhyme.

So, why don’t I like this more than I do? Well, I think it’s a few things. It’s partially that I wish there was a bit more detail in the verses considering the storytelling songwriting style, and I also find the phrasing ‘they haunt me like ghosts’ a little awkward and maybe a little corny. And really, there’s not a whole lot about this that I find all that unique aside from the wordplay. There are a lot of songs like this, and I don’t think this is among the best of them.

So, while I think this song shows a lot of potential, and I’m kind of curious to hear more of Elle King’s music, it’s not one I really go out of my way to listen to, even though I won’t complain when it comes on the radio.

“Centuries” by Fall Out Boy

This is probably the most ‘problematic’ song mentioned here, and to be completely honest it’s kind of the reason this song is here, as bad as that sounds. I mean, look, I’ve got complicated feelings on this song … because on the one hand, Fall Out Boy are clearly aware of how toxic this is, yet it also shows a desire to simply be remembered, no matter what reason that be for, and unfortunately that’s become too much of a motivation for some people to treat others like crap … and it honestly makes this feel kind of icky. I mean, clearly this isn’t the band showing their beliefs, it’s just painting a bleak picture …

And I think that feeling of ‘ickiness’ is due to a few things. Maybe it’s partially how evil Patrick’s vocals sound in this song, especially in the bridge, and also the notion that the abuser in the relationship described here is ‘just making mistakes’ … but that’s because the abuser is the narrator in the story, and the fact that it feels so believable actually kind of wins me over on this song. I mean, there are a lot of people who are actually like this in real life, as sad as that is, and Fall Out Boy hold no punches here in the writing, with lines such as ‘heavy metal broke my heart’ and also blaming everybody else for the narrator’s problems. And I really like the usage of the “Tom’s Diner” sample, as that song also seems to represent a desire for attention.

And look, I understand the band wasn’t trying to send a bad message here, and I think they might have actually been trying to get the listener to think more about how you, the audience, have a small say in people’s legacy … and look, I very well may be overthinking this, and this not making the top ten doesn’t really have much to do with the lyrics. I mean, yeah, it’s kind of hard to fully get behind a song like this, especially when it’s framed as such an empowering anthem, but the drums are kind of clunky in the verses and in the chorus the snare feels a little too breezy, and not all the guitar work really fits in my opinion.

I wasn’t totally sure how to approach talking about this song, and even now I’m not sure I wrote about it as well as I could have. And I’ve been spending so much time talking about the moral implications of this song that I haven’t even mentioned that it has a really strong melodic chorus, a simple yet effective piano line repeating throughout the song … and that bridge is damn near chilling! And those things certainly don’t hurt. So, while I’m undecided on whether or not I love this song, it’s certainly one of the most fascinating hit songs of 2015 … and at the very least, I definitely like it a lot!

“Cool for the Summer” by Demi Lovato

I feel like this song should be so much better than it is. And it’s really frustrating, because there are seeds of a fantastic song here, and yet so much of that potential is squandered, partially by the production, which really doesn’t flatter Demi’s vocals which really are quite impressive, and the snare sounds super underpowered.

And then the chorus hits, and while I get that it’s supposed to be really huge and anthemic, which I like, I don’t think the snappiness of the sound really helps the soaring feeling of the chorus.

And then there’s the lyrics … and look, the controversy around this song was always stupid, including Halsey’s apparent diss toward this song in 2017, saying that ‘this narrative is so fucking damaging to bisexuality and its place in society,’ implying Demi isn’t taking bisexuality seriously in this song, which looks especially bad on everyone who criticized it considering Demi has since come out as pansexual. But this song is about experimenting with your sexuality, and not caring what other people think. And the feeling of ‘naughtiness’—possibly more as a kink than anything—really fits with the thrilling instrumentation and melodies. But the line ‘don’t be scared’ makes this sound kind of pushy, and that one line really brings this song down in quality quite a bit in my opinion.

And I say all this because there’s a lot about this song that really works for me, such as the great vocal melody in the chorus, the sort of eerie synths, that great guitar melody that continues throughout the song, and again, I like the concept of the song. I feel like this song should be phenomenal … but there are just too many really notable flaws for me to put it on the list, and that’s really a shame.

“Wildest Dreams” by Taylor Swift

Alright, I’ll just say right off the bat that if this were Taylor’s Version we were talking about, this very well may have ended up in the top ten. But this, on the other hand … well, it’s good, but I think the 2023 Taylor’s Version re-recording is a lot better; it’s got a better vocal performance, and the production is a lot smoother.

But I still mostly like the original, too, although I wouldn’t call it a great song, just a good one. I mean, yeah, the lyrics, while simple, are mostly effective; I like the fact that the only thing the narrator wants from this person after their hookup is to be remembered, just as she will remember this person, and there’s some good imagery used here.

And it’s not like Taylor’s vocals aren’t good here, and the production could be a lot worse. And I like some of the melodies, especially in the bridge which is probably my favourite part of the entire song.

I definitely think there are better songs on 1989, but there are also worse, and I say that as someone who thinks it’s a pretty good album.

“Lay Me Down” by Sam Smith

I’ve heard some people describe this song as being super boring, and … well, I kind of get it. It does kind of move at a snail’s pace, and when the vocal melodies aren’t all that interesting I can understand why a song like this might be a total slog to get through.

But I really like Sam’s vocals, and I think the piano sounds really good, with just enough of a crisp timbre to accentuate the dreamy atmosphere without sounding too overly piercing or metallic.

But really, where I think this song succeeds the most is in the slow build throughout the song, with that marching-band-esque drumming in the bridge being really quite captivating, and there are some really nice strings in this song, too. So, despite the flaws, I mostly do like this track—I certainly like it more than “I’m Not The Only One” and “Stay With Me”, both of which I find a lot more boring.

So far, based on the small amount of songs of theirs that I’ve heard, I prefer Sam’s pop side compared to the slow piano ballads, but of the Sam Smith songs in this lane, this is probably my favourite of the ones that I know.

…

Alright, so those are all good songs … but now for the songs I really like that were eligible for this list …

#10 …

So, I’ve never been a huge fan of Fall Out Boy. In fact, I’m not much of a fan at all. Although an unpopular opinion I have is that American Beauty / American Psycho is their second best album. Although I think that’s more due to being consistently pretty good, as I don’t think the high points are super strong. However, thankfully my two favourites from the album are the two which became hits, with “Centuries” being my second favourite, and my favourite being … well, I think you know what it is.

#10: “Uma Thurman” by Fall Out Boy

This probably has to be one of the strangest songs to become a hit in the 2010s. I think Fall Out Boy songs typically follow this approach of having some of the most random lyrics, but usually their hit songs aren’t quite as ‘out there’, and especially with the Munsters theme song sample, I can’t help but wonder where they came up with all these ideas.

And yet the song really works! It’s based on a reference to Kill Bill, a movie which I’ve personally never seen before, but I read online that this is referencing a murder scene during a dance, and the feeling of being potentially on the edge of danger really shines through on this daring pop rock anthem, which has so many bizarre lyrical references, and yet it all comes together to sort of make sense in a weird, convoluted way.

Really, as far as I can tell, this is a song about a summer hookup which involves some potentially very unsafe practices. And yeah, I feel like I shouldn’t like such an upbeat song about unsafe sex this much, but 1) it’s a song, it’s not real life, and 2) there are potentially other meanings to this song, with the ‘danger’ potentially being only in their imaginations to set the mood.

And I actually really like the use of the Munsters theme sample. Not only is it a really good sample to begin with, but it sounds awesome with that super punchy snare, and honestly all the percussion. And they continue to use the horn sample throughout the verses in the background, and it really contributes to the spooky vibe. It’s the second example here of Fall Out Boy using a sample really well!

And Patrick Stump’s vocals here are really impressive! He really conveys so much thrill and yet so much fear at the same time, but for the most part this is a really fun song more than anything … I mean, be safe out there, but at least if you’re gonna put yourself in a dangerous situation, you may as well at least have some fun, right? And this song perfectly captures that magic, with the bold, adventurous feeling of this song with lots of really catchy moments!

And then there’s that bridge, which really feels unresolved, with it seemingly ending on the third scale degree (I may be wrong about this, though), and I think it actually really fits considering how ‘on edge’ this whole song feels, like something could go wrong at any moment. And the guitar distortion in the bridge sounds awesome as well!

Yes, this song is silly, and at times it can feel almost a little bit too over-the-top because it’s just so ridiculous, but it’s such a fun time that it’s hard for me to complain! This is a great song!

#9 …

Out of every song in the top ten on this list, this one is probably the most controversial. I know there are a lot of critics who think this song is really bad, and to be honest I’ve never fully understood why.

#9: “Love Me Like You Do” by Ellie Goulding

So, based on pretty much everything I’ve heard about Fifty Shades of Grey, it sounds like a really bad movie. And if you read my worst list, you saw I had some not great things to say about the other big hit from that movie’s soundtrack.

But “Love Me Like You Do”, on the other hand, is a much better track if you ask me! And part of that is because it actually sounds like the singer cares—in fact, that’s a huge reason, because this kind of mostly mellow adult contemporary radio hit often have a very small margin for error.

Now, this isn’t entirely that, because it’s got some faster-paced synths and a fairly intense drum pattern in the chorus—it’s certainly not the most mellow hit of 2015, not even close. But it still kind of has that vibe to it similar to a lot of soft rock and piano ballads all over those radio stations.

But anyway, this isn’t really anything more than a simple sex song, and while the repetitive chorus is probably the biggest complaint people are gonna have about this song, I actually really like the juxtaposition of the same repeated vocal melody with mainly just two notes and the changing chords … and most notably, the gorgeous strings and production when paired with these melodies help this song actually be sexy, which I don’t think is a requirement for me to like a sex song, but it certainly helps. Memes aside, this song is so hot!

Honestly this is probably my favourite Ellie Goulding hit of the 2010s. “Burn” is really good, if not great, but I have some nitpicks with its production that I can’t fully look past, “On My Mind” and “Close to Me” are both not very good and I don’t think that’s an unpopular opinion, and “I Need Your Love” is technically listed as a Calvin Harris song, although I don’t think it’s great …

And then there’s “Lights”, the one that all the critics go nuts about … and I’ve just never fully gotten into that song as much as everybody else. But I think “Love Me Like You Do” is a legitimately great pop song that takes pop clichés and turns it into something memorable.

#8 …

Alright, time for something less controversial. How about a song pretty much everybody loves?

#8: “Uptown Funk” by Mark Ronson (ft. Bruno Mars)

I mean, does this one even need an explanation? It’s “Uptown Funk” by Mark Ronson ft. Bruno Mars—you know this song and you love it, am I right?

Bruno Mars has a very commanding vocal presence here, where the listener is basically asked to sing along and have fun with this smash hit which became the biggest song of 2015 in the USA, and in multiple other countries as well, and deservingly so!

I feel like there isn’t really much to say about this song. I mean, the awesome horns, the four on the floor kick drum, and the sick bassline all add up to create a super funky banger of a tune with that guitar being the cherry on top!

And I love how this song moves through its many phases, adding lots of interesting drum fills and transitions.

And the quotable lines, too; ‘I’m too hot, make a dragon wanna retire.’ I mean, I could go on and on, but it doesn’t even feel worth it, because you all know how good this song is!

I guess I may as well add that I’ve been learning it on the drums recently, and it’s a really fun song to play! Aside from that, let’s just move on to …

#7 …

So, this song was under a bit of fire back in the day, for what I would consider a really stupid reason. But I’m going to avoid that conversation here and focus on what made this the best country hit of 2015.

#7: “Girl Crush” by Little Big Town

So, I’m not going to get into talking about ‘queerbaiting’ right now—it’s very much a conversation worth having, but I don’t want to make this particular review about that, because it just feels like a nonfactor here—and the fact that this song was pulled from radio stations due to some people thinking this was about lesbianism … well, I shouldn’t have to explain all the reasons that’s stupid.

Anyway, I think “Girl Crush” by Little Big Town is a pretty great country song. Yeah, it’s mellow, and there’s not a whole lot to it sonically, but when the vocals are so gorgeous it’s hard to complain, especially when the production gives the guitar such a nice, watery timbre without losing that stripped back, natural sound, at least not too much. And the added percussion has just the right mixing and timbre to add a slight sense of frustration without losing the melancholy.

And speaking of which, there’s the lyrics, which are simple on the surface. The narrator is jealous because her romantic interest is with another woman, and she starts wishing she were more like her, because maybe then this person would want her instead. And I really like that she refers to this as a ‘girl crush’ when she starts thinking about all the things about this other woman that she wants, showing that she can’t help but have an admiration for this woman and understand what her partner sees in her, to the point where it kind of feels like she feels bad for the desire she’s feeling and yet can’t get rid of it and can’t help but have complicated feelings about the woman.

In other words, I think this song gets brutally honest in a way which on the surface may seem like your average song about unrequited love, and yet reveals a lot more about itself when you dig a little bit deeper, and I think it’s really powerful!

#6 …

Now here we have pretty much the opposite of the last song. This time the narrator is in the relationship, and yet it’s incredibly toxic. And I’m not sure how many pop songs with this theme have been pulled off as well as this one …

#6: “Style” by Taylor Swift

I’ve gone back and forth on whether or not this is my favourite song from 1989 … and while I think for now I’d probably give that title to “Welcome To New York”, it’s certainly close.

Now, I should stress that I’m specifically talking about the original recording from 2014, because unlike “Wildest Dreams”, I think Taylor’s Version of “Style” definitely pales in comparison to the 2014 recording, and that’s mostly because the main reason the lyrical content works so well with this song is because it has the right production to match the vibe, and Taylor’s Version removes the darkness from it and makes it sound more like a happy, upbeat pop song … and that is NOT WHAT THIS IS AT ALL.

I really like how Taylor plays the role of the lesser of two evils in a toxic relationship, where both partners have been cheating, and her partner has probably been ghosting her. And not only that, but he’s not even looking at the road while driving. And yet something is pulling her toward this relationship over and over again, even when she knows it’s destined to fail, as it should.

And the fear that shines through in the vocal performance is amplified by the eerie guitar, that bassy synth which sounds like something from a slowed-down darkwave song, and many of the subtle details. And those flashy synths which wash over you in the chorus feel like they represent whatever it is that attracts her to this relationship, like a brief moment of euphoria before the sad ending that’s basically guaranteed.

And I think the most striking part of this whole song might be in the bridge when she belts out, ‘take me home’, leaving it up to the listener if she’s looking for a hookup or finally trying to get away from this asshole, with that extra ‘we never go’ leading into the bridge with a vocal delivery that implies a huge conclusion to the story is imminent.

While there’s no way to argue against 1989 being Taylor Swift’s full-on pop era, it certainly wasn’t all rainbows and unicorns.

#5 …

But now here’s a song that has the guts to call out somebody else’s bullshit …

#5: “I Don’t Fuck With You” by Big Sean (ft. E-40)

So, I’m often one to complain about the ‘I don’t care about you anymore’ breakup songs where you have to ask ‘then why are you writing a song about it?’ And yeah, it’s kind of hard not to laugh at Big Sean’s attempt to convince this ex that he’s totally over it when he actually sounds more pissed than anything … but that’s also kind of the charm of this song, and the reason it works. He doesn’t sound like he wants to try again with this person, but he’s clearly still upset about the way that it ended, and the ex’s clinginess despite him making it clear that it’s over.

And honestly, all three verses here are really strong! I really like that the first verse paints the scene, with him clearly having moved on while she’s still calling him, and he’s pretty sure her new partner is just a rebound for her to show off. And there’s a lot of really good lines, such as ‘Fuck your two cents if it ain’t goin’ towards the bill.’ And Sean’s flow is really strong here, too, with the perfect delivery with just enough pissed off energy.

And E-40 has a lot of great phrasing in his verse, with the sort of braggadocious energy which really shows how much fun he’s having, and it’s just so joyful to listen to in a weird sort of way, despite the subtle anger that might be implied here by giving attention to someone he’s not very happy with.

And then there’s a beat switch on the final verse with the sample of DJ Rogers’ “Say You Love Me”, and he’s got a very different flow here, but it’s also really good! And I really like how he just tries to focus on moving forward and even wishing his ex well, and it’s a nice end to the story. And I also can’t not mention the line where he admits that drama can make for the best content, which might be one of the most self-aware lines in any song on this list.

And, of course, there’s the chorus, which is one of the most infectious you’ll hear in popular music from the mid-2010s—it’s funny, it’s pissed off, and I love it!

#4 …

You know those songs that just put you in a good mood whenever you hear them? Because I’m not sure there’s another 2015 hit that captures a feeling of pure joy as much as this one:

#4: “Shut Up and Dance” by WALK THE MOON

I haven’t really listened to much of WALK THE MOON’s music, and while I know they’ve got a pretty big fanbase, I don’t really remember being all that big a fan of most of what I’ve heard of theirs.

But I feel like pretty much every fan of pop music would agree that this song absolutely rules! Well, except for Anthony Fantano, but he’s wrong. I should stress I mean this in a lighthearted way, and I am a huge fan of Anthony Fantano.

But anyway, “Shut Up and Dance” has got to be among the best pop-rock songs to do big numbers in the 2010s, a decade full of mediocre and forgettable alternative rock songs hitting the mainstream charts. But alongside a few others, “Shut Up and Dance” actually wound up being memorable and catchy, with that awesome guitar melody with the ascending arpeggios that open the song including a sus4 and sus2 chord which keep a feeling of tension, giving this fun pop song a bit more of an edge, but in a way that complements the song without taking away any of the fun!

I love the four on the floor kick with the claps, the hard-hitting snare which gives the song a huge burst of energy, and I can’t not mention the euphoric synths that enter and leave at the right times, adding just enough glamour to the thrill of it all!

And lyrically there’s not a whole lot to it, but when the song’s message of just letting yourself have some fun without spending all your time worrying about your problems actually encapsulates such a joyful feeling, it’s hard for me to complain!

And then there’s Nicholas Petricca, who has such a commanding vocal presence here that almost distracts from how great the instrumentation, composition and production are! And yet those things are all crucial to this being the timeless banger that it is!

I honestly think it’s kind of a miracle that this song made it as big as it did in 2015, considering this was right around the time that rock songs essentially stopped being popular in the mainstream … and I feel like this sort of The Killers-esque new wave hadn’t been popular on the mainstream singles chart since … I don’t know, maybe since The Killers broke out in the mid-2000s?

But either way, what I can say for sure is give it another decade or so and “Shut Up and Dance” will almost certainly be a classic, and deservingly so! This song will turn the dancefloor into a hell of a party, and I’m here for it!

#3 …

This song, on the other hand, I think has been mostly forgotten, and I’m not sure it ever became a radio hit to the same extent as most of the songs on this list. Even the critics I don’t think praised this song nearly as much as songs like “Shut Up and Dance”, “Uptown Funk”, “Uma Thurman”, and “Style”. And I’m not even entirely sure why I like this song as much as I do.

Yeah, it’s good—it’s really good, but can I really justify it being this high on the list? Well, I may as well try …

#3: “The Hanging Tree” by James Newton Howard

For the record, I have never watched any of The Hunger Games movies, nor have I read the books. Honestly, I don’t really know much about them at all, or even what this song represents in the movie.

But I do know it’s a goddamn fantastic pop song—in fact, calling it a ‘pop’ song doesn’t even feel accurate. Yeah, it was popular enough to end up eligible for this list, but stylistically it doesn’t feel like pop music. It’s hard to even give this a genre label … in fact, it almost sounds like the sort of song that could’ve been written centuries ago—I’ve been studying a lot of music from centuries in the past, and it sounds oddly reminiscent of some of that music.

And there’s not even much to this song, which makes for a pretty easy song to discuss where I don’t really have a whole lot to say. I mean, the vocal melodies are haunting, and the repetition really works when it builds this much!

And while I’m sure I’m missing some context in the movie, lyrically it seems to be describing a location where strange things have happened, and the chill that one gets every time they go there. And the instrumentation and melodies back this up, with those incredible dramatic strings, and the choir that shows up later in the song was a fantastic decision!

This song feels a lot shorter than its three-and-a-half plus minute running time, and I don’t know if that’s a good or bad thing, but either way this song is great, and quite possibly the most underrated hit song of 2015 … except for maybe one other one.

#2 …

Now, I should clear this up: this isn’t the other ‘underrated’ song that I just mentioned. We’ll get to that one, but this is probably one of the most ‘obvious’ picks for this list, from one of the biggest and most influential pop stars of the 2010s.

Now, I’ll admit I’m not nearly as big a fan of this artist as a lot of people are. It’s been a while since I went through all his albums in full, and I do plan to do that sometime soon, but I don’t remember ever loving a full album of his, and I think he’s more of a singles artist. But some of those singles have wound up being among the most fascinating pop songs of the past decade, including …

#2: “The Hills” by The Weeknd

I’m not sure if anyone has fully untangled the meaning of “The Hills” by The Weeknd. Yes, on the surface it’s pretty clear that it’s about Abel Tesfaye’s famous character The Weeknd doing typical Weeknd things involving all the meaningless sex, and hard drugs, and all the other stuff you’d expect in a mid-2010s Weeknd song.

More specifically, he’s having an affair with a woman who’s cheating on her partner, and as much as they both try to hide it, and her man so far doesn’t know, her friends have started to catch onto what’s really going on, after she suspiciously kicks them out of her house when she finds out The Weeknd is on his way.

And this has to be one of the most sonically haunting tracks to top the Billboard Hot 100 in the past decade, with that repeating high-pitched synth in the background of the verse before what sounds like a scream leading into the chorus. And the chorus hits really hard, too, with that loud bass which sort of drowns out Abel’s vocals, as The Weeknd realizes how problematic his actions are, and yet he’s not going to stop … and this is the sort of song where my opinion of it really depends on the details. And in this case, the song is very self-aware of its own problems, with one of the most daring lines being, ‘When I’m fucked up, that’s the real me.’

But what really brings this song to the next level for me is the bridge. I’m not familiar with the The Hills Have Eyes films, but there are so many possible meanings of that line in this song, with the most striking being that he feels like he’s always being watched—also, maybe I just have a dirty mind, but I can’t help but wonder if it’s also about boobs; it would make sense considering the song is describing sex with no emotional connection—but anyway, not only does he give an absolutely amazing vocal performance which sounds terrifying in the best way with those vocal melodies, but he seems to be bringing up the idea that maybe we can’t really trust anyone but ourselves … although it’s complicated, and we don’t have all the answers.

Look, this song isn’t trying to justify bad behaviour, but I do think it’s trying to humanize it a little bit more, as a lot of people are just looking for something to satisfy them in the moment and their worst instincts get the best of them. And the fact that the nihilism of it all feels so thrilling in the context of a pop song, it’s kind of revealing of the dark parts of our minds which we don’t want to admit.

Really, at its core, I think this song represents someone’s lowest point, and I think we’ve all been in a situation where we realize we’ve screwed something up, and we may as well make the most of it, even though it’s probably more important to better ourselves.

I’m not sure I’ve done a good job of really analyzing this song, but it’s a tricky one to figure out. But this is easily my favourite song from Beauty Behind the Madness, and one of the best representations of what makes The Weeknd such a special artist. No, I’ve never been the biggest fan, but at his best, when he makes music like this, I can’t help but be in awe.

#1 …

Out of all the artists to have a big mainstream hit in the past decade or so, I’m not sure I can think of a better example of missed potential. Because this was her debut single, and it does so many things incredibly well, while being unique, catchy, and creative … and then the album came out, and the rest of it was nothing more than generic pop music, in my opinion. And the same thing goes for her other two albums as well.

But none of that makes this song any less great!

#1: “Here” by Alessia Cara

The first thing you’ll notice about Alessia Cara when you listen to her music is that she’s a great singer … it’s just unfortunate that, at least based on my memory of her albums, they don’t have very flattering vocal production, and the songwriting really isn’t all that interesting in my opinion.

Thankfully, those are not issues in “Here”, in which the vocals are very emphasized and it’s absolutely the right choice for a song where there’s so much importance to what’s being said.

Built off of an Isaac Hayes sample from the 1970s, “Here” is basically an introvert anthem. And while I’ve never really understood whether I’m an introvert or an extravert, I would consider myself very socially awkward, which I think is a big part of the reason this song resonates with me so much; it’s that feeling that something’s not quite right while in a social situation where you desperately want to fit in … but again, something’s not quite right.

And Alessia Cara is very clearly giving a middle finger to the societal expectation of ‘coolness’ here, where a lot of well-meaning individuals end up in a group setting where they can fall victim to their worst aspects, and she takes pride in not letting that happen to herself … but then she realizes she doesn’t know what to do in this situation, which takes away the feeling of ‘maturity’ that would otherwise be there.

But she just has to accept that not knowing what to do is part of being human, and for her own good she removes herself from the situation. And I find it interesting how despite her dismay at the behaviour she’s witnessing, the lyrics don’t describe any super problematic behaviour. I mean, yeah, there’s the gossip and the excessive drinking, and she mentions being hit on (it’s not clearly mentioned whether or not it’s in a creepy way) … but really the problem might be within herself, and she knows that. Because when it gets to the chorus, the main question she wants answered is, ‘What am I doing here?’

And there is so much to love in the flow of her vocal delivery, with the excellent phrasing, and the backing vocals enter and exit at just the right moments throughout the track!

And as a fellow Canadian, I kind of love how much she apologizes throughout the song, and then at the end she mentions her ‘beanie’, which I personally would call a toque, but she’s unapologetically—or, should I say, apologetically—just being herself here, which I 100% respect.

I really wish Alessia had lived up to her potential more on future albums—I mean, you never know, she’s got a new album coming out soon—but for a moment in time, she had redefined what it means to be cool. I mean, she even says on another track on this album, ‘The cool kids aren’t cool to me. They’re not cooler than we are.’ And while I don’t think that line is the most creative thing ever, and it doesn’t even come from a song I like very much, it’s still a good message … and there’s probably a lot of truth to it. And while I personally think “Here” is an incredibly cool song, what’s ‘cool’ is what you care about … so tell me, what are your favourite hit songs of 2015?