From Angel Olsen to Solange, the words, sounds, and themes from women in music this year were immensely vulnerable, politically-conscious, and pave the way for musicians of the approaching 2020s to experiment further.
Several tracks heavily dominated mainstream airwaves and radio stations this year— some with utterly catchy choruses (a la “Old Town Road”) and some that abandon the idea of a traditional melody at all whatsoever (i.e. “bad guy”). The ten songs featured in this list experiment with traditional and unconventional musical structure maybe ones you missed, and touch upon what it means to be alive in the last year of this technologically advanced decade.
When initially compiling a list of my favorite tracks of the year, I aimed to represent a wide array of genres, themes, and artists. I realized after forming a list that all of my chosen music, whether from artists of the utmost mainstream world or from niche, indie realms all shared a commonality— they were by solo women artists or female-fronted bands.
As a fellow female musician, I’ve always found it frustrating to see “women in music” as an actual category since “men in music” has never existed in the world of music journalism and criticism, and probably never will. However, listening solely to women of 2019 can be a refreshing exercise for times when one craves listening to ideas, themes, and artists that are often overlooked or don’t receive large amounts of radio play.
Whether they were fiercely empowering anthems, introspective indie-folk tunes or alternative songs that made clever commentary on pop culture, here are ten tracks from women this year that made me think, reflect, cry, dance— and think about — all over again.
“The greatest” — Lana Del Rey
With tragic lyrics that capture the essence of nostalgia and longing, and Lana Del Rey’s signature cinematic quality, the eleventh track on her critcally-acclaimed LP, Norman Fucking Rockwell analyzes an exhausted generation. “I’m facing the greatest / The greatest loss of them all,” Del Rey sings in one of the most memorable verses, “The culture is lit and I had a ball / I guess that I’m burned out after all.”Amid muddled and distorted electric guitar solos, Del Rey’s hushed, wispy voice also sings of the current state of Planet Earth before mentioning Kanye West. She then points out that David Bowie was onto something when he first sang about life outside of the world we inhabit. “Hawaii just missed a fireball,” Del Rey sings as the song concludes, “Kanye West is blonde and gone / “Life on Mars?” ain’t just a song.” In exactly five minutes, the alt-pop icon’s lyrics touch upon newsworthy and memorable elements of 2019, while paying homage to places on the East and West coast that she once frequented.
“Lark” — Angel Olsen
Earth-shattering vocals, all-encompassing orchestral backing sounds and lyrics about defying an expired relationship are featured in Angel Olsen’s opening track, “Lark,” to her loudest, boldest and most dynamic album to date — All Mirrors. As the song begins, Olsen’s voice quivers at the thought of starting over with an ex-romantic partner, someone who puts their needs before her own, as reflected in the lyrics. “To forget you is to hide, there’s still so much left to recover /If only we could start again, pretending we don’t know each other,” she sings. In its accompanying music video, the indie folk singer-songwriter finds solace in nature. Shots of fights, scenes of both fire and rain and primarily, a breakup scene with her significant other then transition to her climbing mountains as she begins to prioritize herself in the lyrics. “You say you love every single part / What about my dreams?” she sings over and over as her vocals roar and the words become a resonant echo. The track shifts from moments of delicate verses to choruses of explosive, violin-backed intensity, while transitioning into each other seamlessly. Olsen captures a narrative that many can relate to regarding modern romantic partnerships— struggles of power and questioning one’s own self-worth, and it ultimately ends with a woman’s resilience backed by haunting yet forceful instrumentals.
“Pressure to Party” — Julia Jacklin
In this digital age where social media is more prevalent than ever, in-person interactions and gatherings can be increasingly intimidating. Australian indie singer-songwriter Julia Jacklin tackles the idea of being pressured into partying after a breakup, and sings about awkwardness, attempting to make small talk, and trying to open up to those around her all while passionately shredding on her electric guitar. The ultimate result is “Pressure to Party,” the third song off her second full-length LP, Crushing, released in February of this year. She sings about societal expectations she feels while partying post-breakup in the second verse. “Pressure to act the right way around him / We’re both in the crowd / With people surrounding us / What do I do? / Don’t know how it works,” she sings while jangly guitar chords back her soulful voice. Its music video depicts Jacklin trying to assimilate into a party-like situation, complete with others dancing around her as she plays the drums. She looks at the camera head-on while balancing an urge to get over a relationship ending and a desire to return to it. She notably sums this up in the song’s relatable first verse, “Pressure to feel fine after the fact / Out on the dance floor with my body back / Meeting a stranger, touching his face / I don’t want anyone to ever take your place.”
“Everyday” — Weyes Blood
On singer-songwriter Natalie Mering’s fourth album as Weyes Blood, Titanic Rising, she declares on its eighth track that it’s currently a “wild time to be alive.” Lyrically, each track on the album analyzes the crumbling world around Weyes Blood— what is societally expected of her, and how she attempts to stay afloat in a capitalistic, Internet-run environment. The album showcases soaring vocals, 1970s-esque melodic hooks and reverberating synthesizers, creating an overall infectious musical sound that blends psychedelic folk with experimental indie rock. Her third track and recent single “Everyday” is a tune that takes into account the theme of modern dating and the pros and cons to loving another person in this era. Weyes Blood’s lyrics bounce back and forth between wanting love and recognizing risks and drawbacks to doing so. “Fell so hard like I always do / I’m so scared of being alone / It’s true, it’s true,” she sings in the first verse. She later recounts a memory of speaking to someone at a party in which they discuss monogamy in modern dating— or a lack thereof, in the song’s third verse. “The other night, I was at a party / And someone sincerely looked at me / And said, “Is this the end of all monogamy?” / And I said, “Not today / Then again, you might be right.” The track’s music video is reminiscent of vintage horror films as it playfully analyzes the rises and downfalls of romantic relationships in the current decade.
“Cellophane” — FKA twigs
On the poignant, heart-rending and moving ballad, “Cellophane,” FKA twigs demonstrates her talent as an innovative genre-bender. The track’s backing piano and subtle string instrumentals are minimal, and her breathtakingly raw soprano vocals are at the forefront. The lyrics depict a modern story of unrequited love, with twigs’ voice breaking, wailing and shifting to great heights. She climbs up and down soprano scales with wavering trills and moments of breathy whispers. In the evocative and affecting chorus twigs questions why her subject doesn’t make the same effort in their relationship that she does. “Didn’t I do it for you? / Why don’t I do it for you? / Why won’t you do it for me / When all I do is for you?” she sings. In the coinciding music video, FKA twigs performs a stunning and surreal pole dance, complete with vines and flying robots that share her face. Her chilling first verse showcases her honest and vulnerable lyricism. “And I just want to feel you’re there / And I don’t want to have to share our love / I try, but I get overwhelmed / When you’re gone, I have no one to tell,” she sings. twigs’ experimental, avant-pop album, MAGDALENE was released in April to critical acclaim, largely for her piercing lyrics and experimental use of electronic instrumentation. It is her impressive comeback and first LP release since 2015’s M3LL155X.
“Old Man” — Stella Donnelly
The opening song, “Old Man” off of Stella Donnelly’s debut album, Beware of the Dogs, addresses sexual assault, women banding together and calls out a specific male subject. The Australian singer-songwriter uses wit and blunt honesty to tell the song’s story, voicing her frustration with the post #MeToo patriarchy and singing about strong women over spirited guitar instrumentals. “Your personality traits don’t count if you put your dick in someone’s face,” she boldly sings in the song’s second verse. She also emphasizes the power of women in numbers, “So have a chat to your friends / ‘Cause it’s our words that’ll keep our daughters safe.” Donnelly recognizes her inner strength within the track’s chorus as she aims jabs at her assailant, “Oh, are you scared of me, old man? / Or are you scared of what I’ll do?” The music video depicts Donnelly and her friends parading around Amsterdam and reading a book on self-defense for women. She ends the track while making it clear to her subject that his actions have lasting effects, “You grabbed me with an open hand / The world is grabbin’ back at you.” In 2019, many victims of sexual assault, both famous and not, have been courageously open about their experiences. This track encourages others to follow in their footsteps.
“Soulmate” — Lizzo
Lizzo’s April 2019 album release Cuz I Love You featured several body-positive tracks and feminist sentiments, a quality that the singer-songwriter, rapper, and flutist has developed a fan base from. The fourth track on her recent album, “Soulmate” may not be as popular as her chart-topping hit, “Truth Hurts,” but it is particularly memorable in the context of 2019, a year when Rihanna’s Savage X Fenty fashion show put diverse models on full display and the Victoria’s Secret Fashion Show came to an end. “True love finally happens when you by yourself,” Lizzo assuredly sings in the song’s middle verse. The chorus promotes self-love and care, as Lizzo’s lyrics explains that being single is her choice and a proud one at that. “’Cause I’m my own soulmate,” she sings while beats drop and her layered vocals blend together, forming a dance-worthy and infectious feel-good anthem, “I know how to love me.”
“Almeda” — Solange
Solange’s 2019 album release, When I Get Home celebrates her Houston hometown, her identity, and is her spectacular follow-up to 2016’s A Seat At The Table. Complete with her trademark blend of R&B, psychedelic soul, and contemporary jazz fusion, Solange sings about Black ownership, Black culture, and how it can never be “washed away” on the album’s ninth track. In the song’s first verse, Solange powerfully commemorates her heritage. “Black skin, black braids / Black waves, black days / Black baes, black days / These are black-owned things / Black faith still can’t be washed away,” she sings. “Almeda” also features contributions from Playboi Carti and The-Dream. Overall, with empowering lyricism, visceral instrumentals and a remarkable music video that features scenes from Solange’s coinciding film, When I Get Home, “Almeda” is an unforgettable tribute to Black womanhood in the modern era.
“So Hot You’re Hurting My Feelings” — Caroline Polachek
As a former member of indie/synth-pop group Chairlift, Caroline Polachek is no stranger to writing an epic dance song. With an addictive melody reminiscent of 1980s artpop, Polachek sings with synthesized, layered vocals about trying to get over an ex-lover that she can’t escape from due to seeing recent photos of them. “And I’m out at a party, they’re playin’ our song / I cry on the dance floor, it’s so embarrassing / Don’t send me photos, you’re makin’ it worse,” she sings in the first verse. Her ex is “out there killing the game,” or at least that’s what it feels like as she sings that they are “so hot” it’s “hurting her feelings.” In a world where exes are only an Instagram search away and can pop-up out of nowhere on one’s feed, the idea of moving on become much harder in this decade as social media grew in popularity. Polachek understands this, and created a relatable, catchy and moving pop track that defines what it means to still have feelings for an ex in 2019.
“Seventeen” — Sharon Van Etten
Indie rocker Sharon Van Etten kicked off 2019 by looking back at her past, writing a Springsteen-like ode to New York City and reminiscing about her old stomping grounds on the sixth track of her album, Remind Me Tomorrow. On “Seventeen,” Van Etten describes how ever-lasting teenage angst can be, as she sings to a subject who reminds her of her younger self. Van Etten’s nostalgic chorus captures much of what 2019 consisted of— reviewing a decade coming to a close and remembering significant moments within it. Van Etten sings amid searing electric guitar licks and later ardently screams the final, resonant chorus, “I used to be free / I used to be seventeen / Follow my shadow / Around your corner / I used to be seventeen / Now you’re just like me.”