In early October, I wrote a review of the outstanding debut album A Fantastic Way to Kill Some Time by Texas grunge pop-rock band Tough on Fridays. I knew the talented female-fronted band had a loyal and growing fan base, but I had no idea just how large and passionate it was. In just two and a half months, the review has received nearly 1,000 views, the most of any post I’ve written in 2020! Now the trio, consisting of Caleigh on vocals & guitar, Carly on bass & vocals, and Chris on drums, are back with a great new single “Undone“, which I’ve chosen as my New Song of the Week.
The song opens strong with Carly’s intricate moody bass riff and Caleigh’s cold, matter-of-fact vocals that perfectly convey the sadness and pain expressed in the biting lyrics addressing a selfish and miserable friend of her disappointment with them: “I wish you were special / I really wish you were special / No one was miserable like you.” Suddenly, we’re hit with a blast of her raging gnarly guitars and Chris’s smashing drumbeats as the song ramps up to a fast-paced punk-like tempo. Caleigh’s vocals turn more impassioned as she bitterly informs her friend that their relationship is broken beyond repair and finally come ‘undone’. It’s a banger, and I think it’s their best song yet.
I wish you were specialI really wish you were specialNo one was miserable like youNo, no one had it as bad as youOh latelyYou’ll always be temporarySo point blank and in your faceMaybe you’ll learn somedayMake sure I’m not a necessityRight before you dispose of meHate yourself and that’s okI want out of your fucked-up gameYou’re in miseryStay far from meI want out of your fucked-up gameYou never had anyoneYou never liked to have funI wasn’t just anyoneMade me come all undoneI was never really doneLie to me,Use meStay far awayCan’t use me up anymore
The song at #9 on my list of 100 Best Songs of the 2010s is “My Name is Human” by by American alternative rock band Highly Suspect. Originally from Cape Cod, Massachusetts and now based in Brooklyn, New York, the band formed in 2009 as a three-piece consisting of Johnny Stevens (guitar, lead vocals) and twin brothers Rich (bass, backing vocals) and Ryan Meyer (drums, backing vocals). A fourth member Matt Kofos (guitar, synthesizer, backing vocals) joined the band in 2019. “My Name is Human” was released in September 2016 in advance of their superb second album The Boy Who Died Wolf, and peaked on the charts in early 2017. It spent eight weeks at #1 on the Billboard Mainstream Rock chart, and reached #20 on the Alternative chart.
The brilliant song is truly mind-blowing, featuring some of the most unusual instrumentals of any song on this list. The thunderous gravelly bass riff at the opening immediately sends shivers down my spine, then spooky guitars, crunchy percussion and piercing, otherworldly synths ensue along with Johnny Stevens’ intense, breathtaking vocals that go from coldly seductive to passionate wailing, adding goosebumps to the ones already covering my body. The track is perfection from start to finish.
The song’s surreal video was released in February 2017 on the Vanity Fair website, and shows a female robot, portrayed by actress Chloe Bridges, being built by robots and then given finishing touches by Stevens. It’s a little creepy, yet stylish and riveting. Stevens commented to Vanity Fair about the song’s meaning: “A lot of people think the song is about being a human. I believe some of us aren’t human at all. Or at least not completely, but that is still our name. At some point in the last couple hundred years something changed. The androids, the aliens…They aren’t coming. We are here.”
Okay
I’m feeling the way that I’m feeling myself Fuck everyone else Gotta remember that nobody is better than anyone else, here (Do you need some time to think it over?) Look what they do to you Look what they do to me Must be joking if you think that either one is free, here
Get up off your knees, girl Stand face to face with your God And find out what you are (Hello, my name is human) Hello, my name is human And I came down from the stars (Hello, my name is human)
I’m ready for love and I’m ready for war But I’m ready for more I know that nobody’s ever been this fucking ready before, hey (Do you need some time to think it over?) So figure it out or don’t figure it out I figured it out The bigger the river (the bigger the river) The bigger the drought (the bigger the drought)
Get up off your knees, boy Stand face to face with your God And find out what you are (Hello, my name is human) Hello, my name is human And I came down from the stars (Hello, my name is human)
Fire world, I love you Fire world
I’m up off my knees, girl I’m face to face with myself And I know who I am (Hello, my name is human) I stole the power from the sun I’m more than just a man (No longer disillusioned)
(I’m not asking questions) (‘Cause questions have answers) (And I don’t want answers) I came down from the stars (so I’ll take my chances) (And what are the chances) (That I could advance) (On my own circumstances) (Said “what are the chances?”) Hello, my name is human (and what are the chances?) (I don’t want your answers) (I’m not asking questions) (So you keep your answers) And I know who I am (so you keep your answers) (I’m not asking questions) (I’m taking my chances)
We’ve finally reached the final ten of my list of 100 Best Songs of the 2010s, and the song at #10 is “I See You” by MISSIO. It’s not often that I love an entire album at first listen, but that was the case with the spectacular The Darker the Weather // The Better the Man by the Austin, Texas-based duo. Comprised of singer-songwriter and producer Matthew Brue and songwriter/producer and instrumentalist David Butler, MISSIO’s unique, eclectic sound is a glorious mashup of alternative electronic rock, hip hop and dream pop. In 2017, they released their outstanding debut album Loner, which generated several singles, including “Middle Fingers” and the mesmerizing “Bottom of the Deep Blue Sea”, both of which received significant play on AltNation radio and made me a big fan of theirs.
“I See You” was the third single from The Darker the Weather // The Better the Man, and my favorite song of 2019. This was further confirmed by my Spotify Wrapped report, which identified it as my most-streamed song of 2019. And what a gorgeous song it is, at once sad yet hopeful, and brimming with emotional intensity. The lush, sweeping instrumentals, highlighted by beautiful piano, a deep bass groove, shimmery synths and crisp percussion create a stunning soundscape for Brue’s stirring falsetto vocals. I love his beautiful and distinctive singing voice that never fails to bring tears to my eyes and a lump in my throat as he sings the poignant lyrics that can be interpreted as being directed either to a loved one or to oneself, reassuring the intended that they are understood, supported and loved despite their shortcomings.
Brue and Butler are great guys who frequently engage with their fans and followers, sometimes sharing their deeply personal feelings and thoughts on social media. I reviewedThe Darker the Weather // The Better the Man a few months after its release, and was blown away when they not only retweeted and thanked me for my review, adding that mine was the best they’d seen of their album, but also followed me on both Twitter and Instagram! Needless to say, it made me love them even more. That review is also the 7th most-viewed post of the more than 1,200 I’ve written.
I see you when you’re down and depressed, just a mess I see you when you cry, when you’re shy, when you wanna die I see you when you smile, it takes a while, least you’re here I see you, yes, I see you
I’m alone with you, you’re alone with me
I see you when you hide, and when you lie it’s no surprise I see you when you run from the lie within your eyes I see you when you think that I don’t notice all those scars I see you, yes, I see you
I’m alone with you, you’re alone with me What a mess you made of everything I’m alone with you, you’re alone with me And I’m hoping that you will see yourself
Like I see you Yes, I see you I see you Yes, I see you (I’m alone with you, you’re alone with me)
I see you when you chase all the dreams inside your head I see you when you laugh and when you love to the bitter end (I see you) In the dark, at the dawn of something new I see you, yes, I see you
I’m alone with you, you’re alone with me And I’m hoping that you will see yourself
Like I see you Yes, I see you I see you Yes, I see you
Even when you cry and even when you’re shy You mean everything to me Even when you lie and even when you hide You mean everything to me I see you (I see you, I see you, I see you) Yes, I see you (I see you, I see you, I see you) I see you Even when you cry and even when you shine Yes, I see you (I see you, I see you, I see you)
I’m alone with you, you’re alone with me And I’m hoping that you will see yourself
The poignant video, directed by Ben Fee, filmed by Kai Saul, and produced by Sascha Fix, shows a hairy creature, played by Veda Carmine-Ritchie, hidden by an oversize freaky mask, feeling alone and lost, alternately trying to either hide or be noticed by others, and fit in with a crowd of people who seem to be ignoring them. MISSIO is shown quietly standing in the background.
Here’s a stripped-down live performance that provides further proof of not only what a beautiful song this is, but also how wonderful they are:
ImageBeatZ is the latest music project of British composer and producer Justin Stephens. Based in the historic town of Ipswich in the eastern English county of Suffolk, the prolific musician has recorded and produced an impressive amount of electronic music since early 2016, both as a solo artist and in collaboration with other artists. He’s covered a wide range of styles, including Deep House, Chill House, Chill Step, Trap, Trip Hop and Lounge, though his preferred style is Deep House.
His first music project was called Infected Sun, and I reviewed one of his mini-EPs “Summer Nights” in 2018. He created his second music project AudioBytes in early 2020, and continued to release a tremendous output of music, including a terrific 18-track album Hold Me Tonight in September. He also hosts Friday Night House Sessions, a two-hour Deep House show he runs every other week on Facebook Live at 7:30 pm GMT, where he’s often joined by other special guest DJs. It’s an enjoyable show, so check it out if you’re into House music. He’s amassed more than a quarter million streams under that name. Now he’s created yet another new project ImageBeatz, which he’ll launch on New Year’s Day 2021 with his first single “Now or Never“.
With his latest project ImageBeatZ, Stephens blends Deephouse with NuDisco and pop to create a more upbeat and accessible sound. His first single “Now or Never” is an infectiously catchy dance song that aims straight for the hips. The lyrics speak to taking a chance on something or someone new. Starting with a thumping Deephouse EDM bass groove, he layers crisp percussive beats and sultry synths, then tops it off with a deliciously funky Nile Rodgers-style guitar riff. His use of a more prominent guitar is something new for Stephens, and I like the extra textural dynamic it adds to the track.
The lovely vocals are provided by a singer who, for reasons that both Stephens and I cannot fathom, does not wish to be named. She sings to someone to whom she’s attracted, wanting to be more than just friends: “I believe we can find what we’re looking to find / Someone to make us whole again / Doesn’t take very much to look around and see us, maybe we can be more than friends / You know we’ll make it feel right / We can turn this night into something new to relive again / So take my hand, take a chance / Let’s not let this night end, again / Now or never, let’s take a chance and do what we would never do.”
“Now or Never” will be available for streaming on Spotify and for purchase (if you would like to support the artist) at Beatport.com on 01/01/2021.
Stephens also hosts the Friday Night House Sessions, a two-hour Deep House show he runs every two weeks on Facebook Live at 7:30 pm GMT. He’s often joined by other special guest DJs like DJ JerryS and DJ Embrace. It’s an enjoyable show, so check it out if you’re into House music.
The song at #11 on my list of 100 Best Songs of the 2010s is the poignant “Need You Now” by Nashville-based Country band Lady Antebellum, who changed their name to Lady A this past summer in response to nationwide protests over the police killing of George Floyd. (That name change subsequently led to further controversy, as there was already another artist, Seattle-based African American activist and blues, soul, funk, and gospel singer Anita White, who’d been using the moniker “Lady A” for over 20 years. She and the band have sued each other over the use of the name; both cases have yet to be resolved.) Formed in 2006, the band is comprised of Hillary Scott on lead vocals, Charles Kelley on guitar and co-lead vocals, and Dave Harwood on guitar, piano, mandolin and backing vocals.
I haven’t cared for very many country songs in recent years, however, I love “Need You Now” and it was my favorite song of 2010. The song contains strong pop elements, so it can be argued it’s more pop than country, which might explain why I like it so much. The stunning and bittersweet song was first released as a single and title track from their second studio album Need You Now in August 2009, and went to the top of the Billboard Hot Country Songs chart that December. It became so popular that it crossed over to the pop charts in early 2010, going all the way to #1 on the Adult Top 40 and Adult Contemporary charts, and #2 on the Hot 100. “Need You Now” won four Grammys in 2011, including for Record and Song of the Year.
The song’s arrangement and instrumentation are exquisite, especially the somber piano keys and mournful slide guitar that really tug at our heartstrings. The highly relatable lyrics, beautifully sung by vocalists Hillary Scott and Charles Kelley, describe making a phone call to a former lover in the middle of the night out of loneliness and longing for companionship: “And I wonder if I ever cross your mind / For me it happens all the time / It’s a quarter after one / I’m a little drunk and I need you now / Said I wouldn’t call, but I lost all control and I need you now.” The line “Guess I’d rather hurt than feel nothin’ at all” really sums up the sometimes painful conundrum of love, relationships and life.
The song at #12 on my list of 100 Best Songs of the 2010s is “Dark Necessities” by Red Hot Chili Peppers. The Los Angeles-based funk-rock band have been making great music for more than 35 years, racking up scores of hits. They formed in 1983 while the four original members – singer Anthony Kiedis, guitarist Hillel Slovak, bassist Flea, and drummer Jack Irons – were students at Fairfax High School. Sadly, Slovak died of a heroin overdose in 1988 and Irons, devastated over Slovak’s death, left the band, and would later become a member of Pearl Jam. By the time “Dark Necessities” and its album The Getaway were recorded, the band consisted of founding members Kiedis and Flea, as well as Josh Klinghoffer on guitar and Chad Smith on drums.
Red Hot Chili Peppers in 2016
Thirteen of their songs have reached #1 on the Billboard Alternative chart, more than any other artist in the chart’s 31-year history. I love many of their songs, but my favorite of them all is “Dark Necessities”, from their 11th studio album The Getaway. I think it’s their greatest song yet and a real masterpiece. The band teamed up with Brian Burton aka Danger Mouse for the writing and production of the song and album, and say what you will about the use of more complex melodies and instrumentation, but I love it. Flea’s wonderful opening bass riff, the vibrant piano keys, and Josh Klinghoffer’s layered funky guitars are all drop-dead gorgeous, and I especially love the repeated “aah aah” in the backing chorus. The song was released in May 2016, and became their 13th #1 hit on both the Alternative and Adult Alternative charts.
In a video interview for the band’s YouTube channel, lead singer Anthony Kiedis explained that the song “speaks to the beauty of our dark sides and how much creativity and growth and light actually comes out of those difficult struggles that we have on the inside of our heads that no one else can see.” He added that the song meant a lot to Burton and it was one of his favorites on the album. Mine too! The meaningful lyrics show a real maturation of The Red Hot Chili Peppers sound, which is totally appropriate for a band whose members by then were in their late 40s to early 50s.
Coming on to the light of day We got many moons that are deep at play So I keep an eye on the shadow smile To see what it has to say
You and I both know Everything must go away What do you say?
Spinning Knot that is on my heart Is like a bit of light in a touch of dark You got sneak attack from the zodiac But I see your fire spark
Eat the breeze and go Blow by blow and go away What do you say?
Yeah
You don’t know my mind You don’t know my kind Dark necessities are part of my design And tell the world that I’m falling from the sky Dark necessities are part of my design
Stumble down to the parking lot You got no time for the afterthought They’re like ice cream for an astronaut Well, that’s me looking for we
Turn the corner and Find the world at your command Playing the hand
Yeah
You don’t know my mind You don’t know my kind Dark necessities are part of my design Tell the world that I’m falling from the sky Dark necessities are part of my design
Do you want this love of mine? Darkness helps us all to shine Do you want it? Do you want it now?
Do you want it all the time? But darkness helps us all to shine Do you want it? Do you want it now?
Pick you up like a paper back With the track record of a maniac So I move it in and we unpack It’s the same as yesterday
Any way we roll Everything must go away What do you say?
Yeah
You don’t know my mind You don’t know my kind Dark necessities are part of my design Tell the world that I’m falling from the sky Dark necessities are part of my design
The official video was directed by actress Olivia Wilde and filmed by Chris Blauvelt, and features four female long boarders (Carmen Shafer, Amanda Caloia, Amanda Powell, and Noelle Mulligan) skating around various locations in Los Angeles, interspersed with humorous scenes of the band acting silly and playing the song.
The song at #13 on my list of 100 Best Songs of the 2010s is “Tongue Tied” by alternative rock band Grouplove. I love this song with a passion. It’s an exhilarating synth pop song that fills me with strong feelings of euphoria, like a kid jumping up and down on a bed at a slumber party. So it was a surprise to discover in researching about the song that it was widely panned by music critics upon its release. A lot of music critics make me sick. They’re so smug, self-impressed and full of shit. OK, now that I’ve got that off my chest, let me say that I think “Tongue Tied” is absolutely wonderful, and one of the best songs of the 2010s. Despite its mixed to poor reviews, the song went all the way to #1 on the Billboard Alternative chart, where it ended up as the #2 song of 2012. It peaked at #42 on the Hot 100.
Grouplove’s music is fun, quirky and infectious, and always a joy to listen to, even their downtempo songs. Now based in Los Angeles (where a third of the artists and bands with songs on this list seem to also reside), they formed in 2009 after meeting on the island of Crete. Hannah Hooper (vocals, keyboards) and Christian Zucconi (vocals, guitar) actually first met in New York City, then traveled to Crete to attend an artist residency program, where they met the other three founding members – London-born songwriter and guitarist Sean Gadd, Los Angeles pro surfer and musician Andrew Wessen, and his childhood friend drummer Ryan Rabin, who’s the son of former Yes guitarist Trevor Rabin. (Gann and Rabin later left the band, and have been replaced by Daniel Gleason on bass and Benjamin Homola on drums.)
“Tongue Tied” is from their debut album Never Trust a Happy Song, and was released in September 2011. It starts off with a sweet guitar riff that sounds kind of like a ukelele or banjo, then explodes into a cacophony of exuberant synths, deep bass, smashing drums and a boisterous chorus of cheers that set the stage for the adventure about to unfold as they head to a party. Singers Hannah Hooper and Christian Zucconi wail “Take me to your best friend’s house / Go around this roundabout Oh yeah / Take me to your best friend’s house / I loved you then and I love you now Oh yeah / Don’t leave me tongue tied / Don’t wave no goodbye Don’t… / Right!” By song’s end, I’m left feeling happy, and isn’t that one of the greatest things a good song has to offer?
The song at #14 on my list of 100 Best Songs of the 2010s is the brilliant “Do I Wanna Know?” by British rock band Arctic Monkeys. They’ve had quite a musical journey since forming in 2002, while still in their teens living in Sheffield, England. They’ve released six studio albums, won seven Brit Awards, been nominated for five Grammy Awards, played numerous music festivals, including twice headlining at Glastonbury, and performed at the opening ceremony of the London Summer Olympics in 2012. The band consists of the dangerously charismatic Alex Turner (lead vocals, guitar, keyboards), Jamie Cook (guitar, keyboards), Nick O’Malley (bass guitar, backing vocals), and Matt Helders (drums, backing vocals)
“Do I Wanna Know?” is from their fifth album AM, which received widespread acclaim from both music critics and fans upon its release in 2013. The album was partly recorded in the town of Joshua Tree, in the Mojave Desert not far from where I live in Palm Springs, with contributions by area native and Queens of the Stone Age front man Josh Homme. “Do I Wanna Know” has a moody, psychedelic/stoner rock vibe, with a dominant thumping drumbeat and accompanying bass line forming the track’s mesmerizing rhythmic foundation. But the real highlight is Alex Turner’s spectacular shimmery guitar work, courtesy of his Vox Starstream 12-string electric guitar, which produces a richer, more ringing tone than a standard six-string guitar. (Wikipedia) In December 2019, the song was ranked No. 3 on Guitar World‘s list of the 20 best guitar riffs of the decade.
The clever and cheeky lyrics speak of uncertainty and doubt as to whether the object of one’s affection shares your feelings, leaving you wondering if you really want to know the truth. But in the end, you always end up going back for more. The interplay between Turner’s sultry croons and the falsetto backing vocals is exquisite. The magnificent song is the band’s biggest hit, spending 10 weeks at #1 and a total of 58 weeks on the Billboard Alternative chart, where it was also named the top song of 2014. It’s also their only song to chart on the ridiculous Hot 100, where it peaked at #70.
Have you got colour in your cheeks? Do you ever get that fear that you can’t shift The type that sticks around like summat in your teeth? Are there some aces up your sleeve? Have you no idea that you’re in deep? I dreamt about you nearly every night this week How many secrets can you keep? ‘Cause there’s this tune I found that makes me think of you somehow and I play it on repeat Until I fall asleep Spilling drinks on my settee
(Do I wanna know?) If this feeling flows both ways? (Sad to see you go) Was sort of hoping that you’d stay (Baby, we both know) That the nights were mainly made for saying things that you can’t say tomorrow day
Crawling back to you
Ever thought of calling when you’ve had a few? ‘Cause I always do Maybe I’m too busy being yours to fall for somebody new Now I’ve thought it through
Crawling back to you
So have you got the guts? Been wondering if your heart’s still open and if so I wanna know what time it shuts Simmer down and pucker up I’m sorry to interrupt. It’s just I’m constantly on the cusp of trying to kiss you I don’t know if you feel the same as I do But we could be together if you wanted to
(Do I wanna know?) If this feeling flows both ways? (Sad to see you go) Was sort of hoping that you’d stay (Baby, we both know) That the nights were mainly made for saying things that you can’t say tomorrow day
Crawling back to you (crawling back to you)
Ever thought of calling when you’ve had a few? (you’ve had a few) ‘Cause I always do (’cause I always do) Maybe I’m too (maybe I’m too busy) busy being yours to fall for somebody new Now I’ve thought it through
Crawling back to you
(Do I wanna know?) If this feeling flows both ways? (Sad to see you go) Was sort of hoping that you’d stay (Baby, we both know) That the nights were mainly made for saying things that you can’t say tomorrow day
The imaginative animated video for the song was directed by David Wilson, in conjunction with British animation agency Blinkink, and has been viewed over 1 billion times.
The song at #15 on my list of 100 Best Songs of the 2010s is “Broken” by Los Angeles-based indie pop group lovelytheband. Formed in 2016, the band consists of vocalist Mitchy Collins, guitarist Jordan Greenwald, and drummer Sam Price. One of the catchiest earworms of 2018, “Broken” was the band’s debut single and breakout hit, spending nine weeks at #1 on Billboard‘s Alternative chart, as well as reaching #1 on the Adult Top 40 chart and #29 on the Hot 100. The song actually came out in 2017 as an exclusive release to Billboard that April, but didn’t chart until the beginning of 2018. It ended up being the #1 song of 2018 on the Alternative chart, and was my personal pick for top song of the year as well. “Broken” also holds the current record for the longest time spent on that chart – an eye-popping 76 weeks!
Written by Collins after his breakup with Danielle Bouchard, who was also a member of his former band Oh Honey, the song speaks to the idea that everyone’s flawed and has problems, and of finding someone who’s just as fucked up and lost as you, and trying to make a go of it. He told Billboard “We all have our demons we fight every day. It’s about finding someone whose problems complement yours. Perfectly imperfect. Everyone is a little broken inside, trying to find their band aid. This song is an ode to the broken ones.”
I love the chirpy synths, intricate guitars and powerful driving beat, as well as Collins’ irresistible, quirky vocals that had me listening to the song over and over. The official video brings the song’s lyrics to life with an endearing charm.
I like that you’re broken Broken like me Maybe that makes me a fool I like that you’re lonely Lonely like me I could be lonely with you
I met you late night, at a party Some trust fund baby’s Brooklyn loft By the bathroom, you said let’s talk But my confidence is wearing off
These aren’t my people These aren’t my friends She grabbed my face and That’s when she said
I like that you’re broken Broken like me Maybe that makes me a fool I like that you’re lonely Lonely like me I could be lonely with you
There’s something tragic, but almost pure Think I could love you, but I’m not sure There’s something wholesome, there’s something sweet Tucked in your eyes that I’d love to meet
These aren’t my people These aren’t my friends She grabbed my face and That’s when she said
I like that you’re broken Broken like me Maybe that makes me a fool I like that you’re lonely Lonely like me I could be lonely with you
Life is not a love song that we like We’re all broken pieces floating by Life is not a love song we can try To fix our broken pieces one at a time
The song at #16 on my list of 100 Best Songs of the 2010s is the beautiful “Sit Next to Me” by Los Angeles-based alternative pop-rock band Foster the People. Their third song on this list – “Coming of Age” appears at #65, and “Pumped Up Kicks” at #23 – it’s my favorite of their many wonderful songs. The third single from their third album Sacred Hearts Club, “Sit Next to Me” was released in July 2017 and was a sleeper hit. It debuted on the Billboard Alternative chart that September, and slowly climbed until peaking at #3 in early 2018, then remained on the chart until September 2018! It peaked at only #42 on the Hot 100 in the spring of 2018, but was ranked as the #2 song of 2018 on the Alternative chart. It reached #1 on my Weekly Top 30 at the end of 2017, but remained on my chart for many weeks well into 2018 too. I never tired of hearing it, and my Spotify Wrapped report for 2018 showed that it was my most-streamed song that year.
Isom Innis, Mark Foster, Mark Pontius & Sean Cimino
Song intros are important in setting the tone for a song, and “Sit Next to Me” has one of the most enthralling openings of any song I’ve ever heard, immediately hooking me in. It starts with a delicate shimmery synth and Mark Foster’s ethereal vocal, then opens into a breezy ballad loaded with gorgeous sweeping synths, subtle guitar and Mark Pontius’ perfect drumbeats. I love Foster’s vulnerable vocal style that includes lots of soaring falsettos and beautiful harmonic choruses.
The song was inspired by his time spent in the L.A. bar scene. Foster explained in an interview with Rolling Stone: “Everyone was trying to look cool, say the right thing and be at the center of the universe. It was like a fashion show. In that environment, I felt alone in a room packed with people. I kept waiting for someone authentic to come walk through the door and sit next to me.” About the song’s slow rise and longevity, he stated: “I’m just kinda shocked. It’s kind of crazy to me that it’s been on the radio for so long and it keeps continuing to grow. I guess it’s a sleeper.”
ECLECTIC MUSIC LOVER 