#10 “Take Me to Church”- Hozier

“Separation of Church and state.” A phrase that’s been under fire since Thomas Jefferson, up until the fight for marriage equality has engulfed the world. Hozier’s political ballad isn’t just a battle for gay rights, but a battle against government’s praise for the crucifix long before the American Constitution was even penned. His vocals roar like he’s singing in a massive cathedral, but only one in a world of equality- not religious restraints.

#9 “Video Games”- Lana Del Rey

The alt-pop movement of this decade to the likes of Billie Eilish and Lorde can be traced back to a single launching point. The nostalgic backdrop, grainy video, and willowy textures of Lizzy Grant’s alter ego exploded with this monumental single, one of the decade’s first viral music videos. Say what you want about her love-it-or-hate-it Born to Die, but “Video Games” complimented every trademark of the gangster Nancy Sinatra.

#8 “Still Into You”- Paramore

Enter Hayley Williams, an auteur of the alternative pop star brigade. Her band is one of the earliest invaders of an iPod shuffle for hits like “Misery Business,” and their pop punk persona continued well into the 2010’s with this fruity track about as colorful as Williams’ hair.

#7 “Formation”- Beyoncé

Despite being the only Lemonade cut off the beaten path from its dramatic narrative, the final track from the 2016 masterpiece is the dessert you’ll want to eat after taking your man to Red Lobster. Those instantly recognizable beginning zigzag chords flaunt Bey’s black pride anthem, oozing with lyrics ripe for an elaborate music video, a symbolic symphony of her heritage, and arguably music’s finest visual component to date. 

#6 “High Horse”- Kacey Musgraves

If John Wayne and KC & the Sunshine Band had a child, it would be Kacey Musgraves’ disco-country banger. A sneer at pretentious people that’s also a midwestern roadhouse’s dance night necessity, “High Horse” saddles up everything that’s made the Texas native’s take on country a thrill, even to those with more Rihanna than Reba in their blood. 

#5 “Somebody That I Used to Know”- Gotye feat. Kimbra

Aside from the knee-slapper jab “Now Gotye is just somebody that we used to know” currently flooding the comment section of its radiant music video, the pair’s breakup classic still holds a seismic impact, chugging well past a billion views. It’s not hard to see why, from the Australian singer’s subtle buildup leading into the iconic chorus. Then Kimbra emerges with an equally enticing backstory, securing the pair a deserved Record of the Year Grammy.

#4 “Pompeii”- Bastille

In an age of Katy Perry and Robin Thicke dominating radio, it was unusual to hear a Gregorian chant that started Bastille’s swing for the charts. Yet another track immediately recalled from its opening, the world through Bastille’s eyes was crashing down like the historical city of its namesake. The single erupted the charts, despite not being your typical Top 40 radio choice.

#3 “Alright”- Kendrick Lamar

It may be #3 on our list, but “Alright” is the most 2010s track of the decade. What our elders would say about the work of the Simon and Garfunkels of their day- “it’s more than a song.” That’s what this era will say for Kendrick Lamar’s fight song that became a Black Lives Matter anthem. Within the context of its album, 2015 landmark To Pimp a Butterfly, “Alright” is set the morning after a drunken night in a hotel room contemplating suicide. But the simple yet powerful message was a rallying cry for social justice that dominated the latter half of the 2010s.

#2 “Pumped Up Kicks”- Foster the People

A clear option for all of those “jumpy songs with dark lyrics” lists for the Buzzfeeds of the internet, Foster the People’s breakthrough is another track written by the headlines. This list has made it obvious we hold a liking for songs that tell of our age, and this epic that’s aged too well is an easy pick for the present’s musical time capsule.

#1 “Do I Wanna Know?”- Arctic Monkeys

Whether you first heard it from a Bacardi commercial or that hipster girl at school who showed you all the bands that’d eventually cram your playlist, “Do I Wanna Know?” brought Alex Turner’s crew higher than anyone labeled as “indie” could dream of. Unlike the ‘Creep by Radioheads’ of the world, it catered to the band’s core fans as well as that group of listeners who aren’t as cultured as you are.

In the opening number, Kacey and James Corden attempt to sing “Let It Snow” but are continuously bombarded by a blizzard pounding them through flimsy windows. A redundant laugh track kicks in as the scene sets the corniness bar for the rest of the 45-minute special. During Fred Armisen’s spot on “Silent Night,” the two are interrupted by a carpenter doing obnoxiously loud work in the same room. The gags are rather lame and predictable- after the guy hammers a wintery landscape painting above the fireplace, you know it’s gonna come crashing down while Kacey and the Portlandia star perform the gentle carol.

However, it can’t help but feel on-brand for Kacey. The cheese is much more stomachable coming from someone known for silly yet clever songwriting. Remember, this is the woman who told us on one of her best singles to “mind your own biscuits and life will be gravy.” She’s already got viewers in a suspension of belief for seriousness, so the lowbrow jokes fit in- including the ones delivered by Dan Levy’s banal narration. 

“The covers opt to instead throw in another one of Musgrave’s celebrity friends instead of putting a spin on the originals.”

The best songs are easily the ones Musgraves wrote herself. “Present Without a Bow” with Leon Bridges appeared on 2016’s A Very Kacey Christmas and is easily the angel on top; it’s a cute and much less controversial replacement for “Baby, It’s Cold Outside.” The covers, on the other hand, toss in one of Musgraves’ celebrity friends as their main selling point instead of putting a spin on the originals. Basically, if you like the guest artist, you’ll like their number only because it has them on vocals. It’s a missed opportunity that they chose not to rework a single classic to match the featured artist’s subgenre. For Lana Del Rey’s “I’ll Be Home For Christmas,” the pair duets nicely, but there are no spacey harmonies or Hollywood sadcore to truly make it a Lana track. A Latin pop-twist akin to “Havana” could’ve been an exciting direction to take Musgraves and Camila Cabello’s “Rockin’ Around the Christmas Tree,” but we’ll never know.

While the special may be saccharine at times, it never goes full-on Hallmark Original. The “Christmas Makes Me Cry” sequence is another present from Musgraves, a track for those spending the season alone. It’s handled with her usual empathy, contrasting with the persistent red and green twinkle to keep the sappiness in check. It comes in as just the right time, too, directly following the tacky comedy from Armisen’s bit. 

The album version of the special is identical to the show itself, the audio broken up into LP format. The only thing that would get you to watch the special over listening to the record is the visuals, which fail to add extra tinsel to the songs. Despite the large Amazon budget, the sets aren’t any more magical than your local theater group’s production of A Christmas Carol. In most scenes, we’re treated to typical mistletoe-decked living rooms, save for that gaudy pink mess in the “Glittery” segment with Troye Sivan. The concluding “Ribbons and Bows” is an exception, with The Rockettes and many other dancers delivering the explosive sendoff we knew Musgraves would live up to. Unfortunately, that’s the only part with plenty of choreography. The other numbers fail to reach the same energy, with Musgraves and her guest mostly stagnant for the duration of each song. By the time you get to the finale, you’re ready for New Year’s.

The Kacey Musgraves Christmas Show is a sweet little special, but not one that’ll become an annual household tradition. It doesn’t do enough to expand on the music, and the jokes don’t hold a peppermint-scented candle to Christmas Vacation. It’s by no means coal in your stocking, but it’s better suited in album form to pop on during your Christmas Eve drive to grandma’s house.

Kacey Musgraves scored Album Of The Year for her magnificent Golden Hour. Submitted into the awards in the “Country” category, some would say the LP is anything but. Musgraves hails from Texas and is certainly a country artist, but her interpretation of the genre reaches far past the south. Only it’s not a rerun of Taylor Swift’s transition into full-on mainstream pop: Musgraves dips her feet into disco-pop sounds, and even sings into a vocoder on the song “Oh, What A World”, but somehow still maintains the enjoyable glitz of the genre. You don’t have to be a fan of country music at all to appreciate her work- it’s even possible her concerts gather more country haters than actual country diehards.

Golden Hour is backed by gorgeous acoustic production. Every guitar stroke is intricately placed alongside Musgrave’s skilled songwriting ability. The 13-song tracklist is ripe with variation. There are bouncy jams like “Velvet Elvis” and the disco-pop banger “High Horse”. It’s got mellow love songs like “Love Is a Wild Thing” and the delicate “Butterflies”. She packs a plethora of clever cowboy references guaranteed to put a smile on your face despite “Space Cowboy” being a breakup song. One of the things that’s caused Musgraves to get “shunned” by the core country music crowd is her advocacy for LGBT rights, which she explores on the closing “Rainbow” (which Musgraves performed at last night’s Grammys).

It’s consistency that really makes the album shine. There are zero skippable songs across the LP. Even the 78-second long piano-driven “Mother” offers insightful emotion into Musgraves’ life. Her smart lyrics are understandable for anyone, rural upbringing or not, while her inviting vocals set the tone for an album that never overstays its welcome.

Riding an 89 Metacritic score, the LP was undeniably a critical darling. Its victory and Childish Gambino’s Record & Song Of The Year wins hint at a much-needed 180° for the awards. Following recent controversies, the Academy enlisted a more diverse pool of voters to address the lack of recognition for the other 98% of music that’s not on mainstream radio. The Grammys were careening towards the bottom after the debacles of the past few years, but the 2019 show pointed towards a brighter future for the best artists to get the praise they deserve. Golden Hour was the best choice for Album Of The Year, and I’m absolutely bewildered and grateful for Kacey’s win. Here’s to hoping the Grammys can keep it up.

SCAD Radio gives Golden Hour a 9.2/10.

Album Of The Year

Should Win: Golden Hour– Kacey Musgraves or Dirty Computer– Janelle Monáe

Will Win: Dirty Computer– Janelle Monáe

Drake and Post Malone are clearly more mainstream here, but one of the culprits of Grammys past has been the “genre-splitting” phenomenon. Compared to other award shows, voters here tend to lean toward a specific genre more than they would in voting for movies or television. In instances where multiple artists of the same genre compete for non-genrefied awards (basically all the biggest prizes of the night), the votes tend to get divvied up between them, resulting in all parties getting screwed. This year, hip-hop-leaning voters will choose from Cardi B, Post Malone, Drake, and the rap/R&B hybrid Black Panther album. Therefore, Musgraves and Monáe have a clear advantage this time around.

That’s not to mention the acclaim of their two LPs. Both were able to land on many year-end best lists in 2018, including SCAD Radio’s. Musgraves’ fantastic Golden Hour made a heavy impact outside of the country music realm and became a critical darling with its beautiful acoustics and pleasing songwriting. Dirty Computer doubled as an anthemic pride album and a sci-fi epic of a short film. Both are equally deserving of the night’s final prize, but expect Monáe to come out on top just because she’s a little more popular than the often-overshadowed country genre.

Record Of The Year

Should Win: “This is America”- Childish Gambino

Will Win: “God’s Plan”- Drake

This one almost always goes to something that got tons of radio play, and Drake’s “God’s Plan” takes the cake for most FM cranks. It’s a tough call, because “All the Stars”, “rockstar”, and “Shallow” have also gotten a fair amount of air time, but the lead single to Scorpion will land Drake his first Record of the Year victory. This is Gambino’s 2nd time in the category (was up last year for “Redbone”), and “This is America” certainly made waves with its politically fueled music video. He’ll be a sure bet to score Best Music Video, but probably not here.

Song Of The Year

Should Win: “This is America”- Childish Gambino

Will Win: “Shallow”- Lady Gaga & Bradley Cooper

For those that don’t know, Song of the Year focuses solely on the lyrical composition of the music, whereas the former centers on how the songs sound. With that being said, expect the Star is Born duo to nab the first Song of the Year from a movie since Titanic’s “My Heart Will Go On”. The musical-drama grossed more than $400 million worldwide, and its use in the film was more relevant than end credit nominee “All the Stars” from Black Panther. It’s got all the emotion and epicness of Celine Dion’s hit, but it’ll likely come above “This is America” due to the Grammys’ sordid history with the hip-hop genre.

Best New Artist

Should Win: Dua Lipa

Will Win: Dua Lipa

Jorja Smith had a respectable debut last year and is undeniably a talented R&B singer, but Dua Lipa’s hits like “New Rules” and “IDGAF” top all the other nominees. No one else here is as big of a name as the British pop star, either, a huge factor in the Grammys these days. Perhaps the only competition she has is the divisive Led Zeppelin ripoff/tribute (depending on your perspective) band Greta Van Fleet, whose love ‘em or hate ‘em style caught the attention of many voters. It’s also worth noting H.E.R. is in this field, as well as Album of the Year, but it isn’t always a shoo-in that she’ll score the Best New Artist trophy.

The remainder of the field is extensive, but there are some noteworthy possibilities. Experimental EDM artist Sophie could become the first-ever transgender Grammy winner with her album Oil of Every Pearl’s Un-Insides. Black Panther could make history yet again if its album scores AotY, with the film’s Best Picture bout waiting in the wings at the upcoming Oscars. There’s never been a movie that scored the top Academy Award and whose album garnered the top Grammy trophy as well. The nominations do raise a few eyebrows here and there (Weezer’s Pacific Daydream? Seriously?). This is, after all, the Grammys. Alicia Keys hosts the show on Sunday.

Also be sure to check out our Top 10 Songs of 2018.

#10- Clean- Soccer Mommy

Move over, Lana- there’s a new sad queen in town. Sophie Allison’s official debut packs all one could want from a slowcore indie rock stance. Whether the woozying riffs of “Cool” & “Your Dog”, or the melancholy chants of “Still Clean” & “Last Girl”, Clean checks off all the boxes for an indie star on the rise.

#9- Invasion of Privacy- Cardi B

After making landfall in 2017 with “Bodak Yellow”, Belcalis Almánzar’s first full-length follows up on the boisterous nature of the single that made her famous. Aside from her signature swank, Invasion of Privacy keeps on giving thanks to a variety of crowd-pleasing sounds like the latin-infused “I Like It” and the trappy “Drip”. Throw in an A-list cast of features, and the whole thing catapults Bardi far past one-hit wonder status.

Read our review for the album here.

#8- Welcome to the Neighbourhood- Boston Manor

Arcade Fire’s Win Butler described their landmark The Suburbs as neither “a love letter to, nor indictment of”, but a letter from his hometown. Boston Manor, on the other hand, uses this album as a complete criticism of theirs. Henry Cox announces “Welcome To The Neighbourhood/If you could leave you would” on the titular track before the Blackpool-bashing delves into issues that’ve beset the English city, such as a newfound drug haven on “Halo”. The hard rockers pull no punches with harsh yet understandable words and consistently banging riffs.

#7- Bark Your Head Off, Dog- Hop Along

Frances Quinlan’s ever-shifting voice leads the way on the Philadelphia band’s fourth album. Earworm moments like the finale of “How Simple” to the biblical imagery of “Not Abel” weaves variety into the record, but it’s clear the vocal performance makes Bark Your Head Off, Dog the best it can be.

#6- Golden Hour- Kacey Musgraves

For those of you about to skip on this one due to it being a “country” album, let it be known that much of Golden Hour is anything but. What makes Kacey Musgrave’s music so listenable is her ability to appeal to those who’ve never worn a cowboy hat. Her loveable lyrics are often cute in their wordplay, while the production strays from the southern sounds that would otherwise be a turnoff to country-haters.

#5- Sex & Food- Unknown Mortal Orchestra

The New Zealand band dives into a delicate mix of sounds on their fourth LP. The ripping riffs of songs like “Major League Chemicals” and groovy basslines of “Hunnybee” provide something for every listener.

#4- How to Socialize and Make Friends- Camp Cope

2018 introduced a wave of female indie rock with artists like Soccer Mommy and Snail Mail, but it was Australian girl group Camp Cope that won us over with their second LP. The trio tackled subjects like sexism in the music world, entranced with the raging vocals and often sarcastic wit of lead singer Georgia “Maq” McDonald.

#3- Black Panther: The Album- Various Artists

Since DAMN came out last year, it seemed we weren’t getting another Kendrick Lamar album soon. However, we got the next best thing- a giant collaborative release with Kung-Fu Kenny and his friends to pair with the Marvel blockbuster. Blending sounds like African tribal drums with today’s hip-hop and R&B worked like a charm. The soundtrack is just as much of an ode to the continent as its movie, even with that…interesting (and meme-worthy)…Future verse on “King’s Dead”.

#2- Be the Cowboy- Mitski

Zany instrumentation accompanies witty writing on the songwriter’s most recent offering. Most of the tracks don’t reach the 3-minute mark, staging Be the Cowboy more as a collection of anecdotes from Mitski’s mind. Some songs are won over by the exuberant sounds, others by the poetic lyrics. Though anchored by the pounding “Nobody”, the album contains plenty of treats like the melancholy “Lonesome Love” and the flamboyant “Why Didn’t You Stop Me?”

#1- Dirty Computer- Janelle Monáe

A “visual album” that packs a 46-minute short film for good measure is still a fantastic listen by itself. The robotic flow of the ingenious artist (and now pansexual icon) dishes out identity, feminism, and lust all in one dazzling LP. Politically intelligent on “Screwed” and “Django Jane”, while shamelessly craving same-sex love on “Make Me Feel” and “PYNK”, Dirty Computer is a relevant plea for a better tomorrow, as well as an LGBT pride album for a generation.

SCAD Radio has to choose it as the best album of 2018.

Read our review for the album here.

As with the conclusion of any Earth cycle, it’s time for SCAD Radio’s favorite tracks that made 2018 suck less. After rigorous debate and a sophisticated voting process, we have rounded out our overall choices for the 10 best songs of the year.

Also be sure to check out our top 10 albums of 2018.

#10- Nice for What- Drake

For the most part, it seemed fans loved Scorpion “only partly”. While much of the LP fell flat, “Nice For What” brought more of the upbeat and fun music Drake has become a household name for. Taking a bite from Lauryn Hill’s “Ex-Factor”, the Canadian rapper constructs a women’s empowerment tune complete with a star-studded music video of famous females.

Listen here.

#9- Tints- Anderson .Paak feat. Kendrick Lamar

The funkiest man in music right now teams up with rap’s reigning king for a nostalgic bop. Fans anticipating the lead single for .Paak’s third album, Oxnard, got what they wanted. “Tints” begins with a delicious ‘70s-centric disco beat as the Dr. Dre. prodigy and Lamar dive into their distaste for the paparazzi. Channeling his inner James Brown, Anderson .Paak summons perhaps his flashiest tune to date.

Listen here.

#8- Make Me Feel- Janelle Monáe

Bubbly, catchy, and clearly Prince-inspired, the single to Dirty Computer warps the pop & R&B styles the electric lady is known for mixing. With that finger-snap bassline to the “bass drop” chorus of sorts, “Make Me Feel” made us feel “so f*ckin’ real”.

Listen here.

#7- Fists of Fury- Kamasi Washington

Clocking in at nearly 10 minutes, the opening to Kamasi Washington’s Heaven and Earth is nothing short of epic. A fight song at heart, but a jazzy ballad for the ages nonetheless, the saxophonist’s combination of roaring brass and racing drums ensure that listening to “Fists of Fury” only through headphones limits the thunderous experience.

The full track isn’t available on YouTube, but you can listen to a live version here.

#6- Cool- Soccer Mommy

A ringing yet soft guitar carries us into the underdog world of one of indie rock’s most promising stars. “Cool” details the girl who’s too good for you through the eyes of the girl on the sidelines, Soccer Mommy. Capitalized with a simple chorus that’ll have you belting out “you-ou-ou-ou”s of your own, one of 2018’s best breakouts finishes the track with a nicely done slow fade-out.

Listen here.

#5- High Horse- Kacey Musgraves

The disco-pop glitz of “High Horse” would never leave a first-time listener to guess Musgraves is a country artist. The songwriter ventures further and further away from the genre she once called home, and in all the right ways. The danciest track from the terrific Golden Hour wonderfully displays the Texan evolving far beyond her comfort zone.

Listen here.

#4- All the Stars- Kendrick Lamar & SZA

The end-credit tune from Marvel’s groundbreaking Black Panther movie shines thanks to two of Top Dawg Entertainment’s finest hitmakers. Kendrick Lamar’s motivational verses in the guise of T’Challa complement the superhero’s story, and SZA’s powerful vocals anchor the uplifting chorus. Wakanda forever indeed.

Listen here.

#3- This Is America- Childish Gambino

When Donald Glover and his stage name Childish Gambino were announced to be the host and musical guest for Saturday Night Live, it served as a conformation of new music. The same night Gambino performed at the New York venue, the music video for the America-criticizing song was unleashed for the internet to interpret. He surprised everyone with the psychedelic shift in genre on songs like “Redbone”, but Glover made an even bigger splash with this instant classic and it’s mind-boggling video.

Read our review for the iconic music video here.

Watch the music video here.

#2- Nobody- Mitski

Everyone experiences loneliness at some point in their lives, even if you’re an indie giant like Mitski Miyawaki. Starting with a light percussion tap and concluding with a roof-raising chant of the track’s title, the Japanese-born singer/songwriter pairs feelings of isolation with a bouncy riff that launched her from underground to indie fame.

Listen here.

#1- Feels Like Summer- Childish Gambino

If you haven’t realized by now, it was a big year for Donald Glover. Following the cultural phenomenon “This Is America”, the music world couldn’t expect what the multi-talent would do next. In sync with the “jigsaw-puzzle” vibe of the former, “Feels Like Summer” tactically misled viewers on a seemingly relaxing animated bit with various rappers and public figures from J. Cole to Michelle Obama. Even the video’s finale of Gambino entering his house as the sun sets is thought to reference the rumors his upcoming fourth album will be his last. Nevertheless, for those of you who didn’t know, the song is actually about climate change and global warming. Yeah.

Listen here.