‘Hang with Me’, a ballad that invites a boy to be friends while warning him that if he falls in love with her it will only lead to his heartbreak, sounds wonderfully intimate and grand at the same time. Nothing the rest of the way quite lives up to those two songs, but it all feels fresh and original, especially coming at this point in Robyn’s nearly twenty year career. In words of advice to teenagers, Robyn sings, “Love hurts when you do it right” and that kind of good-with-the-bad approach to love goes a long way to explaining why she sounds so much more real than other pop stars. If ‘Dancing on My Own’ is the perfect encapsulation of Robyn’s humanizing take on pop, ‘Cry When You Get Older’ is a sort of philosophical explication of that worldview over bright and pleasantly distorted synths. The anger comes in the verses, where Robyn seethes over an unrelenting stuttering synth line and the desperation comes in the choruses, where she opens up and, singing in a higher register, wonders “why can’t you see me”. Lead single ‘Dancing on My Own’ is both a great dance song and a movingly realistic portrayal of jealousy (something Robyn does well see ‘Be Mine!’ from 2005′s Robyn), in which Robyn absolutely nails the feelings of indignant anger and desperation of being left by a lover. Two songs, ‘Dancing on My Own’ and ‘Cry When You Get Older’, form the emotional heart of the album and, as the third and fourth tracks, pack an incredible one-two punch. Robyn’s new album, Body Talk, continues this trend and may be her best to date. After a decade of European pop stardom, Robyn has made in-roads onto the iPods of indie music America (where her fan base is more likely to be listening to Washed Out than Black Eyed Peas) by combining pretty, danceable pop songs with a vulnerability that feels refreshing and disarming for a pop star. Robyn is one of the fore-bearers to this phenomenon, but she doesn’t fit neatly into any of those boxes. Kelly) and pure, bad-ass virtuosity (Beyoncé). While, of course, plenty (Katy Perry) are still ignored, those who make the leap to indie popularity have done it on the basis of over-the-top theatricality (Lady Gaga), strange idiosyncrasies (R. Follow us on Facebook, Instagram, and Twitter.In indie music’s continually and rapidly evolving relationship with dance and pop music, artists who would have been ignored ten years ago are embraced by hipsters. Stay on the pulse of the most recent news in music. Listen to the top 100 songs of the 2010s selected by Stingray’s music curation team here: A Decade of Hits: the 2010s. Idina Menzel & Demi Lovato “Let It Go”ġ1. Justin Timberlake “Can’t Stop the Feeling!”ġ2. Christina Aguilera “Moves Like Jagger”ģ3. Cardi B, Bad Bunny and J Balvin “I Like It”Ĥ8. Macklemore & Ryan Lewis “Can't Hold Us”ĥ7. A Great Big World & Christina Aguilera “Say Something”Ħ3. Zedd, Maren Morris & Grey “The Middle”Ħ8. Ne-Yo, Afrojack & Nayer “Give Me Everything”ħ9. One Direction “What Makes You Beautiful”Ĩ8. Alessia Cara “Scars to Your Beautiful”ĩ0. Taylor Swift “We Are Never Ever Getting Back Together”ĩ5. Shawn Mendes & Camila Cabello “Señorita”ĩ8. Real people who actually lived through the era handpicked the music that defined and shaped the musical soundscape of the 2010s. Over the course of the last few weeks, Stingray’s music programmers put together a list of the top 100 songs of the last decade. Throughout this amazing decade in music, there was also an increase in vinyl sales. Viral songs like Psy’s “Gangnam Style” and Bauer’s “Harlem Shake” made waves on the internet and became inescapable earworms. Another trend was the crossover of Latin pop with inescapable hits like “Despacito,” “Mi Gente,” “Bailando” and “Con Calma.” K-pop was another genre that broke out in the 2010s, with supergroups such as BTS and BLACKPINK giving Asian pop worldwide attention. We saw hip-hop take over the Hot 100 charts with Drake, Kendrick Lamar, Post Malone, and Cardi B pushing pop stars off the top of the charts. The 2010s will be remembered as the significant shift in how music was consumed with the decline of CDs and mp3s, and upsurge of streaming platforms.
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