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By Your Side (The 1975)

Oh, I see what they've done here. Parasites. The 1975 released a cover version of Sade's By Your Side on the 22nd in an effort to raise monies for War Child. The Sade original is soulful, and very wisely avoids the trap of being too sweet, being upbeat as well. Unfortunately, The 1975 throw themselves headlong into this trap like a squirrel following a nut down a well, and it's painfully slow at times. It's quite obvious what they've done – covered a classic with the same name as a track in the charts – and they're an aberration for doing it.

Wave Your Flag (Afrojack ft. Luis Fonsi)

Now this isn't too bad. Afrojack's new release, Wave Your Flag ft. Luis Fonsi, is a tasty hunk of EDM with a slight Mediterranean flavour, not because the singer's from Puerto Rico (wherever that is) but because the horns over the drop add a pleasant touch to what are already sweltering tropics. We wish it luck.

Chapter One: Blue (Bea Miller)

  1. song like you
  2. burning bridges
  3. i can't breathe

We never did understand the meaning of the phrase "basic bitches". We knew it was excrescent sexism, but we had no idea what it actually meant. We wonder perhaps if naming not just one EP but three EPs after colours (Chapter Two: Red is expected to drop in May and Chapter Three: Yellow in August), and naming them with a conspicuous absence of capital letters is what they meant, because it's sure as hell what we mean. Thankfully, the actual music she's come out with is far from basic; song like you is an funky track which likens a diabolical ex to a piece of music (which, if Miller was a dog in a manger, she would record and send my way), while burning bridges is a delightfully dark record that almost comes across as though Miller just blew up London Bridge and is proud of her barbarity and i can't breathe [sic] is everything Beauty and the Beast was crying out to be, and might well have appealed to watchers of Disney movies had it not been for its asphyxiative topic matter.

Shame (Ben Hobbs)

Oooh, I do not like this. Ben Hobbs' Shame, released 22 February 2017, is profoundly stop-start, and with its miscreant funk-cum-slower early eighties synthpop sound, it ain't me that ought to feel shame. We listen to these records, so you don't have to.

Sucker (The Big Moon)

Ay, a record with 6/8 meter! I think this is the first record I've reviewed that's written outside of 4/4. Well done to The Big Moon's Sucker for thinking outside the box. The unusual time signature adds a breezy bounciness to it, while the guitars add a driving force to it. I can't fault this. More please.

Bellyache (Billie Eilish)

A fifteen year old Billie who sings stuff. Erm, nah. Doesn't ring a bell. Billie Eilish's new record is called Bellyache, and it's as pleasant as holding a newborn kitten; both love their strings (it a ball of string, Eilish an acoustic guitar), both sound utterly adorable, both want to kill you (at least according to the song's lyrics). Good luck. (And yes, I do know who Billie Piper is…)

Just the Same (Bruno Major)

Oh God, this is painful! You'd think you'd have the sense to either keep it acoustic or douse it with special effects. For his new record, Bruno Major's Just the Same contains only a piano, what I think is some kind of drum machine and a vocal with some sort of effect on it. Grrr! It's like, I don't know, a caramelised pepper. Absolutely repugnant.

Spotify Singles (Calum Scott)

  1. Rhythm Inside
  2. Golden Slumbers

Crikey, this is a history lesson and a half. Where to begin. Oh, yes – at the beginning. Calum Scott's released Spotify Sessions, which includes live versions of Rhythm Inside (issue 22) and Golden Slumbers, a Beatles record taken into the charts by Trash. (By which I mean a band called Trash, previously known as the then-offensive White Trash, and not my ex-girlfriend. Sorry, couldn't resist…) We stand by our views that the original version of Rhythm Inside is both "a danceable track with reverberating piano and nibs of acoustic guitar. Scott's fluffy vocal decorates this track like whipped cream on top of a gateau; it's delicious" and that it's too short. This new live version of Rhythm Inside is stripped back, basically to the same sort of instrumentation of Dancing On My Own, and it feels like he's scurrying back to what made him popular (which is never a good idea).

This EP is actually well worth listening to for a different reason than you might expect. I don't normally do this, but listen to the difference in the quality of the lyrics between Rhythm Inside and Golden Slumbers. Rhythm Inside is dancefloor fodder, Golden Slumbers is a wistfully random tale of a time gone by. Five people wrote Rhythm Inside, Scott being one of them; Golden Slumbers was written by two people, Paul McCartney and John Lennon, which if ever there was the musical equivalent of the kite mark, that was surely it. They considered this song to be filler, something to race through in a minute and a half so they can get to the interesting stuff; here, it is laboured to nearly twice its length. (For our money, we prefer the Trash version – a medley of Golden Slumbers and Carry That Weight, which runs gaplessly on from Golden Slumbers on Abbey Road as the next track – though we accept we are probably in a minority with that view.)

Slide (Calvin Harris ft. Frank Ocean & Migos)

From a record by The Beatles to a record featuring a group hailed as "this generation's Beatles", Migos has jumped on Calvin Harris and Frank Ocean's Slide, which for the most part is funky, but the beginning and end drawls make it feel like it's been rationed. Having three verses next to each other can work; Feelin' Myself by, Miley Cyrus, French Montana & Wiz Khalifa worked because there was sufficient variety between vocalists to keep it interesting, but the problem here is that Ocean doesn't sound all that different to Migos, and the instrumental is all one tone – a rich, sun-soaked funk which even after one listen was a party you had to get out of as soon as possible. That final "empty my bank account" bit after the second chorus is the equivalent of getting heckled by the doorman who won't let you leave. I think this was a case of getting as many featured artists on a record as possible without regard for whether or not the finished product was any good; it is the equivalent of a bar of cherry chilli chocolate; you don't need to listen to it twice.

Something Just Like This (Chainsmokers ft. Coldplay)

Now this is how a collaboration should be done! The Chainsmokers have featured Coldplay on Something Just Like This, a song which they performed at the BRITs Wednesday evening and which has gone straight in at #30. It is the very best of both bands. Coldplay contributes its cinematographic rock stylings to the Chainsmokers' electronics, and the result is truly breathtaking. When was the last time you heard a guitar solo on a new record, never mind one that feels like it belongs there? This deserves to go in at #1 next week but let's see if Shape of You is willing to shift, which I somehow doubt given that Sheeran's got two new remixes of that record out this week.

Won't Let You Go (CMC$)

CMC$ has released Won't Let You Go this week, and it's a tasty mix of driving electro house beats and weirdly suitable high-pitched voices. It does lose its flow slightly in the middle of the second verse, but it's not nearly as execrable a letdown as the end of the record, which we might have been gagging for in the middle of Slide, but here it just sounds lazy. Still, it is a step up from the sticky, shrieky shambles Won't Go Home CMC$ contributed to back in issue 21 so that's a start.

Shape Of You (Ed Sheeran ft. Stormzy); Shape Of You (Ed Sheeran ft. Major Lazer, Nyla & Kranium)

In a last ditch bit of promotion for his album ÷ which comes out next week, or possibly to just be a dog in a manger and stop the Chainsmokers topping the charts, Sheeran has released two remixes of Shape Of You, the current number one, and frankly they're both adulterated. The Stormzy version probably isn't too bad as a R&Beed up version to prevent listeners of Kiss FM from getting bored of it although if you have to do that while it's still number one, then expect a rapid descent. (For our money, we find the third verse of the orginal to be less interesting than the other two, and that's probably the best place for Stormzy to do his thing.) The Major Lazer remix is a reeky, splattery abortion of dancehall riffs which makes seeing a bloke being punched up and then seeing lots of other people piling in blows to the battered and bruised carcass seem as relaxing as ASMR.

Buttons (Emma Dewing)

Oooh, now this is painful. Dewing's raw, powerful vocals could easily grace any big record, and if it were plied with the right lyrics and the right instrumental, they could easily be big. Sadly, they're stuck down here, and they jar against the cheap and nasty instrumental, which feels like a bunch of mates hastily assembled for the job. I honestly believe this artist has the potential to be big, but she could do with some work.

Redrum (Era Istrefi ft. Felix Snow)

Era Istrefi, for those who haven't heard of her, she's that rare breed of Albanian singer who actually sings in Albanian. She's been described as the "Eastern European Rihanna", which means according to the Eastern European Ed Sheeran she's "the type of person who probably is banging the Eastern European Van Morrison". Nasty. In any event, she's teamed up with Felix Snow for Redrum, and it's not too bad, but there are all sorts of excrescences which, to my ears, are really annoying. I really don't like the "ow, ow ow ow ow, ow ow ow" synth line over the drop – it was quite dreamy as it was, and it juts out like a spring on an old bed. Secondly, the last line doesn't really fit because there's almost no instrumentation by that bit, and it feels like she's just sung it out of microphone hogging. Not nice. Thirdly, many of the lyrics are a bit vulgar – I almost threw up after hearing the phrase "chew you like a cannibal" – though perhaps this is a translation error. The trick to adult subject matter is subtlety; we all know that when Rihanna sings she's probably singing about sex, and part of the fun is working out what is sexual and what isn't. In Istrefi's case, it's too obvious, and it's boring. I really can't see this charting.

On My Mind (Frost ft. Leo Kalyan)

  1. On My Mind
  2. On My Mind (Illyus & Barrientos remix)
  3. On My Mind (Max Chapman remix)

Frost's done a Speech Debelle; release a record with two remixes in the same way Speech Debelle did last week. The release is called On My Mind, featuring vocals from Leo Kalyan and the three remixes are essentially three theses of the same work; the original reacts quickly enervating vocals against kneading deep house, while the Illyus & Barrientos remix is essentially part two of the original, with some relaxing synth lines which just doesn't quite work. Max Chapman's remix is, for want of better words, 'house-ier', and after thirteen minutes of dross is as hard as a Metallica record. Not for me thanks.

Lonely Again (gnash)

Grrr! gnash is back this week with Lonely Again, a boring a couple of minutes with gnash singing over a boring keyboard riff perhaps recorded out of sheer bloody boredom with minutes left of studio time. You know where he got the name gnash from? A dog in a manger.

Make Love (Gucci Mane ft. Nicki Minaj); Swalla (Jason Derulo ft. Nicki Minaj & Ty Dolla $ign)

Nicki Minaj has released two different pieces of music this week – Make Love with Gucci Mane, not to be confused with Mane's earlier release Make Love to the Money, and Swalla, with Jason Derulo and Ty Dolla $ign on 23 February 2017, and on both occasions, I would suggest that her presence gives an injection of fresh air to the record (not literally, of course, that would kill you); on Make Love her verse prevents the track from feeling like the unhinged ramblings of a man who just got out of jail, while Swalla, despite being the better record of the two, manages to sound really stale despite its bouncy, almost reggae fusion beat and fairground-like drops by the time Ty Dolla $ign's had his wicked way with the second verse and so Minaj's verse does rescue it from abject failure.

Numbers Game (H Block Ink ft. Mali-Koa)

Mmm. Numbers Game is H Block Ink's new record; we haven't been able to find out who H Block Ink is, but we do know that Mali-Koa is the sister of Calum Hood from 5 Seconds of Summer, and frankly without her this record would get stale quite quickly. H Block Ink's pizzicato style of singing is highly irritating to say the least.

Body High (Harrison Brome)

Body High is Harrison Brome's new release, and it's a dark, atmospheric track on which Brome's smokey vocals fit the gently ominous background roar. It's not bad actually, it's well worth a listen.

King Kong (Icarus)

Now I don't believe this has ever happened before; reviewing a release by a band with the same name as a release I've already reviewed. I may have done it the other way around, but I honestly can't remember. King Kong by Icarus has been split up into two versions; one unmarked but obviously a radio edit, and the other marked as 'extended', with a longer intro and outro and a different word for 'mothersucker'. Both versions fizz with the fury of funky disco loops from the late eighties/early nineties (we were reminded of a brassier Dance by Earth People), with the gospel-tinged vocals reveling in the chaotic nature of the track. It's a brilliant record.

Feelings (Iyes)

Not to be confused with Iyaz (remember him?), duo Iyes have this week released Feelings, and it's a rich, sun-drenched tropical piece evocative of a walk across a baking hot beach (which, given that the pair are from Brighton, is a perfectly reasonable expectation if you ask me). Our bone of contention is that the two vocalists don't quite sit right with each other; one is exceptionally sweet and sugary, while the male vocalist is very savoury, and it doesn't quite sit with each other. I'd compare them to dipping chips into a milkshake, except my sister does that quite regularly and I don't want to give her ideas.

Rebekah (Jack Vallier)

Now Jack Vallier has produced a rather peculiar record this week; at first Rebekah is a gentle ode to an ex-girlfriend, but listen again and you'll find it's on a bed of electronics which might on paper sound off-putting, but in practice does work quite well, and it is one relaxing piece of music.

Lately (James Vickery)

Now this is a nice set of soulful electronics is James Vickery's Lately, it's a gorgeously soft, chilled track which nibbles away at any stresses you might have. (Well, most of them, anyway. That chorus sounds like one of the tracks played recently on Top of the Pops on BBC4 and I'm buggered if I can remember which one and now I'm even more stressed.) Still, it is a pleasant enough piece, and we look forward to hearing more of the stuff.

Don't Let Them In (Jessarae)

The times, they really are a-changing. I can remember when the request from Wings was that we open the door and Let 'Em In (well, thanks to my Mum's compilation albums, anyway). Nowadays, Jessarae – who despite the name is in fact a Canadian bloke – requests that you Don't Let Them In. I blame Brexit. This particular record is a London Loft session from The London Loft Sessions EP, but you can't actually tell it's live, a testament to Jessarae's ability. Good luck, son.

The Search For Everything – Wave Two EP (John Mayer)

  1. Still Feel Like Your Man
  2. Emoji of a Wave
  3. Helpless
  4. Roll it on Home

Well, we reviewed part one in issue 30, and now John Mayer has released part two of The Search For Everything. Well, alright then. Still Feel Like Your Man is a candid track in which he confesses he's not quite over an ex yet; it's a shame we can't compel our politicians to be that honest to be honest with you. It's also a shame we can't compel John Mayer to put a consistent amount of energy across all his tracks; Emoji of a Wave is a languid bit of filler which subtracts from the flow of the record, and frankly we wouldn't miss it if future pressings omitted it. Helpless is a groovier country track, complete with a juicy couple of guitar solos, while Roll it on Home is my personal favourite, a ZZ-Topsified southern country drawl. Overall, there are some pleasant moments on this hit and miss EP.

Show You Love (Kato ft. Sigala & Hailee Steinfeld)

Digital Farm Animals collaborators Sigala and Hailee Steinfeld have joined forces with Kato for their new record Show You Love, and frankly it feels like a bit of a warzone. Steinfeld's vocals are as reliable as ever, but the electronics here jar, they don't sound quite right, like the bassline and the synths don't quite work together, and I can't quite pick out how.

What is Love? (La'Porsha Renae)

La'Porsha Renae, the incumbent runner-up on American Idol and owner of what's got to be the most American name I've ever heard in my life, has released What Is Love, and it's the teens thesis of eighties arena power ballads; sparse synths, loud drums and powerhouse vocals. It's a shame there's not more of this about.

Rocks (Life of Dillon)

Now I like this. Life of Dillon's Rocks is a laidback jam, and it sounds like a bunch of blokes messing about in a studio with some guitars and a drumkit; it doesn't sound forced in any way, and it's relaxing to listen to. More please.

Chasing Colors (Marshmello & Ookay ft. Noah Cyrus)

Marshmello and Ookay have roped in Noah Cyrus for Chasing Colours, a squeaky cacophony of vivid vocals and ridiculous sound effects. (And that's just Noah!) It's too noisy for our liking, and we think that if Marshmello wanted Noah on one of his records he could have just remixed Make Me (Cry) from issue 21oh, he has.

I'm a Lady (Meghan Trainor)

And the award for the biggest, most patronising statement of the bleeding obvious this week goes to Meghan Trainor, with her new track I'm a Lady; you wait ages for a release from this woman and then all she turns up with is a perfunctory piece from an upcoming motion picture, specifically Smurfs: The Lost Village soundtrack, which plays like something Dana International might have sung in the weeks following her sex change.

Be Easy (Mr Sanka)

Mmm… Mr Sanka released Be Easy this week, and frankly I wish all records were as easy to listen to as this. With the exception of an almost steady stream of percussion, the song builds up from a lazy hum to a delicious breakdown at the end; having two lots of vocals doesn't quite add anything to it however, and we do wish it didn't have an 8-bit collapse at the end though.

Sushi King (Niki & The Dove)

This column don't half review some weird stuff! Niki & the Dove's new release, Sushi King – we wonder if Niki was paid any money to plug a particular restaurant with that name – is a weird record, and the peculiar, snaky, heavily effected vocal is an odd touch, but it doesn't quite make the record any more interesting.

One In A Million (Olsson)

Now this isn't bad at all. Olsson's new record, One in a Million, is a commanding record with an almost military swagger to it, though the softly sung vocals don't quite sound appropriate for the driving beat behind it and the descending 'oh, oh, oh, oh's don't take long to start grating. Otherwise we look forward to more.

There's a Honey (Pale Waves)

There's a Honey is Pale Waves' Début single, released on the 20th, though you'd be hard-pressed to know it given that the phrase does not appear in the song's lyrics. The song plays like an attempt to mimic the boisterous dance-pop of the early eighties, but it comes across too anaemic to do a proper job. Still, let's see what else they have to offer.

Charm Assault (Ride); Home Is A Feeling (Ride)

Ah, nice to hear a bit of nineties nostalgia every now and again. I know Lush reformed a couple of years ago, and I was gutted to discover that one of them had left the band, causing its implosion. Ride, on the other hand, reformed in 2014 and haven't dissolved yet; given that their new singles – Charm Assault on the 21st and Home Is A Feeling on the 22nd – are a blistering condemnation of today's leaders (think Showaddywaddy covering Bob Dylan) and a gorgeous, dreamy three minutes that could engulf you if it wanted to, we hope this shoegazing outfit stick around for a little longer.

Bad Karma (RIVRS)

Now this isn't a bad record at all. RIVRS' Bad Karma is a stirring record, intended as a gigantic up yours towards a former boyfriend, with the initial vocoded chorus an unusual but effective touch providing a rationed amount of bile, and it does work. What doesn't work, however, is the oversized chorus after the first verse, which sticks out like a sore thumb.

Open Your Eyes (Sam Feldt ft. Hook N Sling)

He of insidious cover versions of nineties classics Sam Feldt has collaborated with Galantis irritant Hook N Sling for a track called Open Your Eyes, and while we don't like the roadkill effect over the vocals in the third verse (there are bits of vocal all over the place), it is an enjoyable mix of tropical guitar strums (not unlike, it's got to be said, like those from Are You With Me from a few years ago) and driving synths that wouldn't feel out of place in a festival line-up, and we expect it to do well.

Breathe (Soleima ft. Hoodboi)

Breathe is Soleima's new record featuring Hoodboi, and it's a succulent stew of submersible beats on which Soleima's child-like, almost angelic vocals softly beat you into an almost aqueous trance, with Hoodboi's synths (and, unusually, guitars) a nice touch. We look forward to hearing some more.

I Know Something That's Gonna Break Your Heart (Sondre Lerche)

If you wondered what they listened to in Norway, look no further than I Know Something That's Gonna Break Your Heart by Sondre Lerche; if you wondered what people with ears listened to in Norway, look much further, because this sounds like an angry toddler kicking a synthesiser to death.

Can I Sit Next to You (Spoon)

Not to be confused with Dave Spoon or the late Mark Spoon (of Jam & Spoon), Spoon the band have released Can I Sit Next to You this week, and we find it so monotonous we were actually able to stick it on and forget it was playing. It comes across like four minutes of a long, excruciating, O Superman-esque eight minute grind; by the end of two, you wished it was over.

Burning Echoes (Storme)

We were very surprised to find Storme described as sporting "a crystal-clear vocal reminiscent of fellow Swede Robyn". We find her voice to be more akin to that of Kate Bush ourselves. Anyway, her new release is Burning Echoes, and whatever her vocals sound like, they are the perfect fit for the breath-taking landscape they survey. We wish the vocals in the third verse would make their mind up as to whether they want to be spoken word or not, but otherwise we wish this the very best of luck.

Haunting (Sulene)

Sulene released Haunting on the 22nd of February, and it's a bit bland really – the verses are sparse, and are almost acapella; while Sulene's vocals flitter like fireflies, it's the sort of flittering not even David Attenborough himself could make interesting. We listen to these records, so you don't have to.

We Will Be (Wilkinson ft. Matt Wills)

Not to be confused with Matt Willis, Matt Wills is the featured artist on Wilkinson's new record We Will Be, and I want to know how long Wilkinson's been playing that iniquitous squeaky synth for, since it's about as appropriate as polyvinyl acetate on a billboard; both give a dastardly, stringy, ruinous effect. All Goes Wrong (issue 13) could only manage a measly #65 and this is far weaker, so I've little hope.

Good Day (Yellow Claw ft. DJ Snake & Elliphant)

One thing that gets on this reviewer's tits more than perhaps anything else is heavily affected acapella sections; we found the introduction to 24K Magic (issue 15) truly excruciating. It is abominable, therefore, that the introduction to Good Day – a collaboration between Yellow Claw, DJ Snake and Elliphant – manages to be even more annoying than that; by the time you've finished listening to the two long verses and choruses, the long instrumental section at the end is schadenfreude. We listen to these records, so you don't have to.

Stay (Zedd ft. Alessia Cara)

One of the reasons we search for titles where the name matches if you exclude the brackets is to search for any titles we might have missed on a previous search. And in our searches for the string "Stay" we found one; we missed Fever's cover version of Stayin' Alive ft. Tippa Irie from issue 8, from back when we didn't review previous charting over versions properly. Oops.

Anyway, Zedd's new record, released on the 23rd and featuring vocals from Alessia Cara, is called Stay, and it gets right on my nerves. A synthesised chorus would work well here; so would Cara singing on her own. Together, it sounds a bit disjointed, and there's too much going on. Whoever's idea it was to stick a ticking clock over the second chorus needs being poleaxed. In addition, the humming which begins and ends the record sounds insincere spliced, and it gives a horrible synthetic feel to the record.


This will be the last issue in which I review the week's new releases for quite a while, because I have the triple whammy of exams later in the year, my father's cancer and my mental health deteriorating. Something has to give. I will still be keeping the charts section up, and I will still be reviewing any records which turn up in the red area.

An interesting occurrence this week. Sia has three records right next to each other in the charts; The Greatest ft. Kendrick Lamar, Cheap Thrills and Move Your Body at #63, #64 and #65. I reckon the last time someone had three entries in a three-rung block like that was when Justin Bieber was in at #1, #2 and #3 with Sorry, Love Yourself and What Do You Mean in early 2016.

    1. Shape Of You
      (Ed Sheeran)
    1. How Would You Feel (Paean)
      (Ed Sheeran)
    1. Human
      (Rag'n'Bone Man)
    1. Castle On the Hill
      (Ed Sheeran)
    1. Chained To the Rhythm
      (Katy Perry ft. Skip Marley)
    1. You Don't Know Me
      (Jax Jones & Raye)
    1. I Don't Wanna Live Forever
      (Zayn & Taylor Swift)
    1. Paris
      (Chainsmokers ft. Emily Warren)
    1. It Ain't Me
      (Kygo ft. Selena Gomez)
    1. Touch
      (Little Mix)
    1. Be the One
      (Dua Lipa)
    1. Call On Me
    1. Giants
      (Take That)
    1. September Song
      (JP Cooper)
    1. Rockabye
      (Clean Bandit ft. Anne-Marie & Sean Paul)
    1. Scared to Be Lonely
      (Martin Garrix ft. Dua Lipa)
    1. Big For Your Boots
    1. No Lie
      (Sean Paul ft. Dua Lipa)
    1. I Feel It Coming
      (Weeknd ft. Daft Punk)
    1. Skin
      (Rag'n'Bone Man)
    1. Ciao Adios
    1. Say You Won't Let Go
      (James Arthur)
    1. Sexual
      (Neiked ft. Dyo)
    1. I Would Like
      (Zara Larsson)
    1. Run Up
      (Major Lazer ft. PartyNextDoor & Nicki Minaj)
    1. Text From Your Ex
      (Tinie Tempah ft. Tinashe)
    1. Starboy
      (Weeknd ft. Daft Punk)
    1. Now and Later
      (Sage the Gemini)
    1. Something Just Like This
      (Chainsmokers ft. Coldplay)
    1. Cold
      (Maroon 5 ft. Future)
    1. Bad Things
      (Machine Gun Kelly ft. Camila Cabello)
    1. Closer
      (Chainsmokers ft. Halsey)
    1. Shout Out to My Ex
      (Little Mix)
    1. Don't Leave
      (Snakehips ft. MØ
    1. Love
      (Lana Del Rey)
    1. Don't Wanna Know
      (Maroon 5 ft. Kendrick Lamar)
    1. All Night
      (Vamps ft. Matoma)
    1. Believer
      (Imagine Dragons)
    1. Starving
      (Hailee Steinfeld ft. Grey & Zedd)
    1. 24K Magic
      (Bruno Mars)
    1. Can't Stop the Feeling
      (Justin Timberlake)
    1. Heavy
      (Linkin Park ft. Kiiara)
    1. By Your Side
      (Jonas Blue ft. Raye)
    1. Love Me Now
      (John Legend)
    1. The Mack
      (Nevada ft. Mark Morrison & Fetty Wap)
    1. Issues
      (Julia Michaels)
    1. Rich Boy
    1. The Greatest
      (Sia ft. Kendrick Lamar)
    1. Love On Me
      (Galantis & Hook N Sling)
    1. Let Me Love You
      (DJ Snake ft. Justin Bieber)
    1. Shining
      (DJ Khaled ft. Beyonce & Jay Z)
    1. After the Afterparty
      (Charli XCX ft. Lil Yachty)
    1. Samantha
      (Dave ft. J Hus)
    1. Not in Love
      (M.O ft. Kent Jones)
    1. Mercy
      (Shawn Mendes)
    1. Cold Water
      (Major Lazer ft. Justin Bieber & MØ)
    1. My Way
      (Calvin Harris)
    1. Don't Let Me Down
      (Chainsmokers ft. Daya)
    1. So Good
      (Zara Larsson ft. Ty Dolla $ign)
    1. Should've Been Me
      (Naughty Boy ft. Kyla & Popcaan)
    1. Dirty Laundry
      (All Time Low)
    1. Love My Life
      (Robbie Williams)
    1. In the Name of Love
      (Martin Garrix)
    1. I Love You (Axwell /\ Ingrosso ft. Kid Ink) • Only One (Sigala & Digital Farm Animals) • So Good (Zara Larsson) • Don't Kill My Vibe (Sigrid) • Million Reasons (Lady Gaga) • I Got You (Bebe Rexha)

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