2012 was a seismic year in pop music, a time when genres blurred, new stars ascended, and established artists reinvented themselves. It was a year that gave us inescapable earworms, thought-provoking anthems, and dance floor fillers that still resonate today. From weaponized teen pop to introspective indie rock, the musical landscape of 2012 was as diverse as it was captivating. Let’s take a journey back to explore some of the most defining 2012 Pop Songs that dominated the airwaves and continue to influence music today.
Carly Rae Jepsen, ‘Call Me Maybe’
Carly Rae Jepsen in a vibrant pop setting, promoting 'Call Me Maybe'
Image Credit: Vanessa Heins
In a year brimming with musical innovation, perhaps the most unexpected gift was “Call Me Maybe” by Carly Rae Jepsen. This infectious track became the quintessential 2012 pop song, a global phenomenon that transcended age and genre preferences. It was the universal pop anthem that everyone, genuinely, seemed to adore. Jepsen’s breakout hit is a masterclass in pop perfection, seamlessly blending disco guitar riffs, a Chic-inspired bassline, and Philly soul-esque synth strings. At its heart, “Call Me Maybe” is an effervescent testament to the exhilarating, and sometimes overwhelming, power of teenage hormones and burgeoning crushes. Its brilliance lies in its simplicity and relatability, capturing the giddy anticipation of a potential romance with an unforgettable hook that burrowed its way into the collective consciousness.
Kacey Musgraves, ‘Merry Go Round’
Kacey Musgraves performing country music on stage, highlighting her 'Merry Go Round' era
Image Credit: Courtesy of UMusic
From the bright lights of mainstream pop, we shift to the nuanced storytelling of country music with Kacey Musgraves’ “Merry Go Round.” As the debut single from this then-country “Next Big Thing,” “Merry Go Round” offered a starkly realistic, yet cleverly observant, perspective on small-town life. Musgraves didn’t shy away from portraying the inertia and ennui that can permeate seemingly idyllic communities. While the lyrical content paints a somewhat bleak picture of a life that feels like a never-ending, unexciting merry-go-round, the melody itself is undeniably gorgeous. This contrast between lyrical melancholy and musical beauty made “Merry Go Round” a standout track in 2012, signaling Musgraves’ arrival as a significant voice in contemporary country and a songwriter unafraid to explore the complexities of everyday life.
Deadmau5, ‘The Veldt’
Deadmau5, the EDM artist, in his signature mouse helmet, performing electronic music
Image Credit: Roger Kisby/Getty Images
Venturing into the electronic dance music (EDM) realm, Deadmau5’s “The Veldt” offered a more introspective and technologically themed soundscape. Featuring the vocals of Chris James, who Deadmau5 discovered on Twitter, this track explores the increasingly blurred lines between our physical and digital lives. James’s lyrics, “Happy life with the machines scattered around the room,” wryly celebrate the “digital family” that many were beginning to form in the age of interconnected devices. Meanwhile, Deadmau5, the robot-rodent EDM kingpin, masterfully manipulates his synthesizers, creating a soundscape that is both expansive and intimate. “The Veldt” is notable for its innovative creation, being perhaps the first charting single to be built from crowd-sourced lyrics and vocals, a testament to the evolving nature of music creation in the digital age and a precursor to future collaborative music projects online.
Superchunk, ‘This Summer’
Superchunk band members performing energetic indie rock music on stage
Image Credit: Jason Arthurs
For those seeking a dose of energetic indie rock, Superchunk’s “This Summer” delivered a perfect shot of youthful exuberance. These North Carolina indie-rock veterans, known for their enduring appeal, captured the essence of teenage freedom and summertime bliss. “This Summer” evokes the feeling of breaking free from routine, raiding the refrigerator for snacks, and heading straight for the beach with friends. It’s a sonic embodiment of school’s-out, storm-the-beach teenage fun – a gloriously messy mix of sand-in-your-Converse good times, sun-kissed shoulders, and the kind of well-honed guitar heat that can cut through even the strongest sunscreen. The track is a reminder of the simple joys of summer and the timeless appeal of energetic, guitar-driven indie rock.
Maroon 5 feat. Wiz Khalifa, ‘Payphone’
Maroon 5 band performing pop rock music, featuring Adam Levine on vocals
Image Credit: Courtesy of Universal Music Group
Maroon 5’s “Payphone,” featuring Wiz Khalifa, might have raised a few eyebrows with its seemingly outdated title in the smartphone era. Jokes about Adam Levine’s potential iPhone battery drain aside, the song became a massive hit, and for good reason. “Payphone” is a burst of pure, spun-sugar pop goodness, crafted with delicious hooks and a surprisingly cynical message lurking beneath its candied surface. While the melody and overall vibe are undeniably upbeat and catchy, the lyrics hint at a weariness with the tropes of love songs, with lines like, “One more f***ing love song, I’ll be sick.” Wiz Khalifa’s rap verse adds another layer to the track, making “Payphone” a surprisingly complex and layered 2012 pop song despite its outwardly radio-friendly sheen.
Justin Bieber, ‘Die in Your Arms’
Justin Bieber in a soulful pose, representing the R&B vibe of 'Die in Your Arms'
Image Credit: Darren Tieste/CPi
Justin Bieber, often associated with teen pop, showcased a different side of his artistry with “Die in Your Arms.” This track highlighted what has always been Bieber’s most potent musical weapon: his vocal tone. His soulful rasp, hinting at depths of longing that seemed beyond his young age, was deployed to wondrous effect in this throwback blue-eyed R&B single. The vibe and lilting melody of “Die in Your Arms” are reminiscent of prime-period Hall & Oates, evoking a classic, timeless feel. Bieber’s manager famously declared it “hater-proof,” and indeed, the song’s undeniable charm and Bieber’s mature vocal performance made it a standout track that appealed to a broader audience beyond his core fanbase.
The Wanted, ‘Glad You Came’
The Wanted boy band performing energetic pop music on stage
Image Credit: Lee Strickland
The Wanted, the Irish-English teen-pop group, pushed the boundaries of their genre with “Glad You Came.” These “naughty boys” flirted with a more mature, club-oriented sound, daring to raise the specter of underage drinking with lyrics like “Hand you another drink/Drink it if you can.” However, it was the unshakably catchy chorus that truly propelled “Glad You Came” to pop song prominence. Combined with blunt 4/4 beats and a salacious double-entendre in the title, the song became a guilty pleasure anthem of 2012. Its infectious energy and slightly edgy lyrics made it a favorite in clubs and on the radio, showcasing a more grown-up direction for the boy band genre.
Tanlines, ‘All of Me’
Tanlines indie pop duo performing electronic-infused music
Image Credit: Courtesy of True Panther
Brooklyn-based indie duo Tanlines brought a dose of “Mixed Emotions” to the 2012 pop landscape with their song “All of Me.” The title of their full-length debut album, Mixed Emotions, perfectly encapsulated the sonic and emotional complexity of their signature song. Driven by singer Eric Emm’s mournful yet captivating yelp, “All of Me” navigates the bittersweet terrain of relationships and feelings. Musically, the track takes Eighties dance pop through a series of witty and unexpected turns, from chant-like background vocals to a distinctive “steel drum” synth solo. Tanlines carved out a unique niche by blending indie sensibilities with danceable rhythms, making “All of Me” a standout track for those seeking pop music with a touch of indie sophistication.
The 2 Bears, ‘Bear Hug’
The 2 Bears, an electronic music duo, in a playful and colorful setting
Image Credit: Courtesy of Girlie Action
The 2 Bears, a club-centric side project featuring Joe Goddard of Hot Chip and Raf Rundell, injected pure fun and disco vibes into 2012 with “Bear Hug.” This collaboration is a joyful celebration of full-body contact and delightfully cheesy disco lyrics. “We’ve brought you all a gift/For maximum dance-floor uplift,” they chant over an irresistibly rubbery house groove, perfectly capturing the song’s intention. “Bear Hug” is pure, unadulterated dance floor energy, designed to uplift and get people moving. Its infectious groove and lighthearted lyrics made it a welcome addition to the 2012 pop music scene, proving that sometimes, the best pop songs are simply about having a good time.
Danny Brown, ‘Grown Up’
Danny Brown, a hip-hop artist, in a dynamic and expressive pose
Image Credit: Tim Mosenfelder/Getty Images
Switching gears to hip-hop, Danny Brown’s “Grown Up” offered a unique blend of self-aware humor and old-school nostalgia. Brown exults with delicious self-satisfaction in his transformation from underdog to Detroit’s top rap prospect since Eminem. Lines like, “Scribbled in my notebook and never did homework/Low attention span/Guess these Adderall worked,” showcase his witty and often self-deprecating lyrical style. Spiced with classic old-school scratching, “Grown Up” is a sunny hip-hop nostalgia trip, celebrating Brown’s journey and success with a playful and infectious energy. It stood out in 2012 for its unique personality and Brown’s distinctive, high-pitched delivery.
Craig Finn, ‘Rented Room’
Craig Finn, frontman of The Hold Steady, in a contemplative and storytelling pose
Image Credit: Mark Seliger
Craig Finn, the frontman of The Hold Steady, brought his narrative songwriting prowess to the forefront with “Rented Room.” This track tells the poignant story of a down-and-out metalhead stuck in a cheap motel after a breakup. Finn paints a vivid picture with lyrics like, “Playing records in a rented room/Hotter Than Hell into Bark at the Moon,” immersing listeners in the character’s world. But the darkest, most impactful element of this already somber story is the way Finn’s guitar seems to toll like a funeral bell, adding a layer of emotional weight and gravitas to the narrative. “Rented Room” showcases Finn’s talent for crafting compelling character-driven songs that resonate with raw human emotion, even within a seemingly simple rock song structure.
Dwight Yoakam, ‘A Heart Like Mine’
Dwight Yoakam, a country music icon, in a traditional yet modern country style
Image Credit: Randee St. Nicholas
Dwight Yoakam, a torchbearer of traditional country music, surprised and delighted fans with “A Heart Like Mine.” For his first album of original material in seven years, Yoakam made the inspired decision to enlist Beck to produce a couple of tracks. The result, particularly in “A Heart Like Mine,” is a powerful and unexpected blend of genres. The song hits with the force of a linebacker, combining a ringing, clattering sound reminiscent of Buck Owens-style California country with the psychedelic edge of Sixties garage rock. This unexpected fusion of traditional and modern sounds made “A Heart Like Mine” a standout in Yoakam’s catalog and demonstrated his willingness to experiment while staying true to his country roots.
Teen, ‘Better’
Teen band, a four-member group, in a stylish and youthful indie pop image
Image Credit: Courtesy of The Windish Agency
Despite their name, Teen, a Brooklyn-based quartet of twentysomethings, tapped into youthful energy with their track “Better.” On “Better,” they channeled an adolescent spirit in the best sense, creating a soundscape of swirling keyboards over a muscular, driving beat. This combination gave the classic girl group sound a contemporary, low-fi makeover. The chorus, with its pure youthful bravado – “I’ll do it better than anybody else” – is infectious and empowering. “Better” showcased Teen’s ability to blend retro girl group influences with modern indie pop sensibilities, resulting in a track that was both nostalgic and fresh.
Muse, ‘Madness’
Muse band, known for their prog-rock sound, performing on stage with dramatic lighting
Image Credit: Gavin Bond
UK prog-rock titans Muse took a sonic detour with “Madness,” a track from their album The 2nd Law that leaned towards a more pop-oriented sound. Drawing comparisons to Radiohead’s Kid A, Muse explored electronic textures and a more restrained approach in “Madness.” The song features Matt Bellamy’s sweet, Bono-esque crooning, electronically manipulated backing vocals, and a deep, spacey bass wobble. Just when it threatens to float off into pure electronica, the signature Muse guitar riffs kick in, grounding the track and bringing it back to Earth. Chris Martin of Coldplay famously called “Madness” Muse’s best song ever, and many agreed, praising its successful blend of pop accessibility with Muse’s signature grandiosity.
Himanshu, ‘Womyn’
Himanshu Suri, also known as Heems, in a playful and thought-provoking pose
Image Credit: Roger Kisby/Getty Images
Himanshu Suri, known as Heems from Das Racist, delivered the year’s most endearingly goofy love song with “Womyn.” This track is a lighthearted and humorous ode to women, reeling off absurd, pseudo-scientific observations over a Bollywood-infused boom-bap beat. Lines like, “Women like to watch You’ve Got Mail with Meg Ryan and Tom Hanks/Women you’re great; on behalf of men, ‘Thanks!'” are delivered with a wink and a nudge. “Womyn” is intentionally foolish, playing on stereotypical “dude talk” about women, but it’s also self-aware and charmingly so. Its lightheartedness and catchy beat made it a memorable and unique track in 2012.
Icona Pop, ‘I Love It’
Icona Pop, the Swedish synth-pop duo, in a bold and energetic performance
Image Credit: Courtesy of The Windish Agency
Icona Pop, the Swedish synth-pop duo, unleashed the ultimate Euro-slut club jam of the summer with “I Love It.” This track became an anthem for letting loose and embracing unapologetic fun. The duo pouts about a difficult boyfriend with lyrics like, “You’re so damn hard to please/We gotta kill this switch/You’re from the Seventies/But I’m a Nineties bitch.” The song’s raw energy and defiant attitude resonated, especially with female audiences, making it a floor-filling, drink-spilling anthem of female empowerment and carefree abandon. “I Love It” was a cultural moment, solidifying Icona Pop’s place in the 2012 pop landscape.
Kendrick Lamar, ‘Swimming Pools (Drank)’
Kendrick Lamar, a leading hip-hop artist, in a thoughtful and artistic portrait
Image Credit: Dan Monick
Kendrick Lamar, the breakout rapper of the year, delivered a deeply introspective and complex track with “Swimming Pools (Drank).” This song is a woozy meditation on alcohol consumption, brilliantly capturing the inner conflict of someone grappling with drinking culture. The verses, shifting between slow-motion and hyperspeed delivery, mirror the arc of a bender, perfectly illustrating the highs and lows of intoxication. The groove, flow, and chorus all possess a liquid seductiveness, drawing the listener into the song’s intoxicating world. “Swimming Pools (Drank)” functions ironically as a fine drinking song, while simultaneously exploring the darker side of alcohol abuse and the pressures to conform to drinking culture.
Miguel, ‘Adorn’
Miguel, a contemporary R&B artist, in a sensual and soulful performance
Image Credit: Timothy Saccenti
Miguel brought a dose of pure, unadulterated sensuality to 2012 R&B with “Adorn.” This baby-making slow jam sounds both incredibly modern and deeply rooted in soul tradition. Miguel establishes himself as a master of his craft, delivering a performance that is both smooth and passionate. From the way he lets his tongue linger over the “ll-l-let you” hook to the overall silky production, “Adorn” is a masterclass in contemporary R&B seduction. Miguel’s arrival on the scene with “Adorn” marked him as a significant force in the genre, capable of crafting timeless and deeply evocative love songs.
Bruce Springsteen, ‘We Take Care Of Our Own’
Bruce Springsteen, "The Boss," performing with his E Street Band, in an anthemic rock style
Image Credit: Courtesy of Sony Music
Bruce Springsteen, “The Boss,” delivered a powerful and thought-provoking anthem with “We Take Care Of Our Own.” Initially sounding like straightforward jingoism, closer listening reveals a more nuanced and critical message. The song is a double-edged sword, acting as both a critique and a challenge to American ideals. Lines like, “From the shotgun shack to the Superdome/There ain’t no help, the cavalry stayed home,” directly invoke the aftermath of Hurricane Katrina, highlighting systemic failures and broken promises. “We Take Care Of Our Own” is a powerful statement, preaching to both the choir and the unconverted, urging listeners to reflect on the realities of American society and the responsibility of collective care.
Low Cut Connie, ‘Boozophilia’
Low Cut Connie band, known for their rock and roll energy, performing live on stage
Image Credit: Courtesy of Big Hassle Publicity
Low Cut Connie injected a shot of old-fashioned, piano-slapping rock & roll with a punk-rock spirit into 2012 with “Boozophilia.” Imagine Jerry Lee Lewis having a religious experience at a Replacements show, and you’re getting close to the vibe of this track. “Boozophilia” is a skunky, slippery ode to lowbrow kicks, celebrating dive bars and drunken nights from Philly to the South Side of Chicago. You can almost smell the cheap beer emanating from its raw, energetic sound. The song is a raucous and unapologetic celebration of rock and roll’s more rebellious and unrefined side, a welcome jolt of pure energy in the 2012 musical landscape.
The Beach Boys, ‘That’s Why God Made The Radio’
The Beach Boys, iconic surf rock band, in a nostalgic and sunny group photo
Image Credit: Jakubaszek/Redferns via Getty Images
The Beach Boys, surf rock legends, returned with a nostalgic and sun-drenched offering in “That’s Why God Made The Radio.” This track is a hymn to a deity who sounds suspiciously like Phil Spector, celebrating the power of rock and roll and its connection to love and youthful romance. “He waved his hand, gave us rock & roll/The soundtrack of falling in love,” the lyrics proclaim, perfectly capturing the song’s sentimental and celebratory tone. The Beach Boys’ signature Sistine-ceiling harmonies are in full effect, making “That’s Why God Made The Radio” a nostalgic and heartwarming reminder of their enduring musical legacy.
Grizzly Bear, ‘Yet Again’
Grizzly Bear band, known for their indie folk rock, in a sophisticated and artistic group portrait
Image Credit: Anne-Helene Lebrun / Redferns via Getty Images
Grizzly Bear, the Brooklyn-based indie rock band, delivered a concise and powerful statement with “Yet Again.” This track encapsulates everything that makes them great, condensed into five taut minutes. Lead singer Ed Droste’s tender tenor shines on what may be his most eloquently yearning melody to date, perfectly contrasting with the band’s restless, underlying musical electricity. The song builds tension and emotion before exploding in a richly cathartic feedback freakout at the end. “Yet Again” is a testament to Grizzly Bear’s ability to craft complex and emotionally resonant indie rock that is both beautiful and powerful.
Grimes, ‘Oblivion’
Grimes, an electronic pop artist, in an ethereal and otherworldly image
Image Credit: Courtesy of The Windish Agency
Grimes, the electro-pop savant Claire Boucher, achieved a breakthrough with “Oblivion.” On this track, Grimes juxtaposes sugar-dust vocals over a thwunking synth loop, creating a sound that is initially dreamy and ethereal. However, a closer listen to the lyrics reveals a darker, more unsettling undercurrent. Lines like, “I never walk alone after dark. . . . /Someone could break your neck/Coming up behind you and you’d never have a clue,” introduce a chilling sense of vulnerability and danger. The catchiness of “Oblivion” only enhances its unsettling quality, making it a uniquely captivating and slightly unsettling 2012 pop song.
A$AP Rocky, ‘Goldie’
A$AP Rocky, a stylish hip-hop artist, in a luxurious and confident pose
Image Credit: Brock Fetch
A$AP Rocky, the master of style, delivered the year’s best sex’n’drugs’n’luxury-goods bragfest with “Goldie.” Rapped with a wink and a playful swagger, “Goldie” makes magic in the details. From the wicked, metallic groove to the punch-line non sequiturs like, “Got a condo out in space/Open up your legs, tell me how it taste,” the song is full of memorable moments. Even the way his voice jumps up a couple of octaves on the word “dick” adds to the track’s playful and irreverent charm. “Goldie” solidified A$AP Rocky’s reputation as a new master of style in hip-hop, showcasing his charisma and lyrical dexterity.
The Lumineers, ‘Ho Hey’
The Lumineers, an American folk rock band, in a rustic and Americana-inspired setting
Image Credit: Mark Sink
The Lumineers introduced themselves to America with “Ho Hey,” a track that drew comparisons to Mumford & Sons. Complete with roots-rock barn-stomp, chain-gang choir vocals, and lyrics about waiting for a girl in Chinatown, “Ho Hey” became an instant folk-pop anthem. Colorado kid Wesley Schultz’s heart-on-sleeve delivery of lines like, “I don’t know where I belong. . . ./I know I can write a song,” resonated with listeners seeking authenticity and raw emotion in their music. “Ho Hey” established The Lumineers as a major force in the 2012 folk-pop revival.
Psy, ‘Gangnam Style’
Psy, the South Korean pop sensation, performing the iconic "Gangnam Style" horse dance
Image Credit: Marco Del Grande/The Sydney Morning Herald/Fairfax Media via Getty Images
Psy, the South Korean sensation, unleashed a global phenomenon with “Gangnam Style.” Seoul Brother Number One invented a dance craze and conquered America, becoming a viral sensation unlike anything seen before. “Gangnam Style” exploded on YouTube and became a Top 10 hit in numerous countries, including the US, where “sexy laaadaaays” recognized a monster beat when they heard one. The song’s infectious energy, humorous music video, and undeniably catchy chorus transcended language barriers, making “Gangnam Style” a true global pop culture moment and one of the most defining 2012 pop songs.
Japandroids, ‘The House That Heaven Built’
Japandroids, an indie rock duo, performing with raw energy and passion
Image Credit: Leigh Righton
Japandroids, a Vancouver-based duo, delivered the year’s most fist-pumping indie-rock anthem with “The House That Heaven Built.” This scorcher of a track evokes the energy of Bruce Springsteen with a sore throat and his underpants on fire, delivering raw, unadulterated rock and roll. Amid atomic-buzz-saw chords and a raggedly catchy hook, Brian King rails against a “lifeless life,” culminating in the defiant chorus, “If they try to slow you down, tell ’em all to go to hell.” “The House That Heaven Built” is a cathartic and energetic burst of indie rock perfection, perfect for letting loose and embracing raw, unbridled energy.
Randy Newman, ‘I’m Dreaming’
Randy Newman, a veteran singer-songwriter, in a classic and satirical pose
Image Credit: Chris Felver/Getty Images
Randy Newman, the master of satire, stirred controversy and conversation with “I’m Dreaming.” “I’m dreaming of a white president,” Newman sings in a mush-mouthed Bing Crosby-esque style, delivering a line that was deliberately provocative and designed to spark debate. Judging by the YouTube comments, many listeners missed the joke entirely, highlighting the song’s satirical nature. “I’m Dreaming” is classic Newman, in the vein of “Short People,” offering a very funny, deceptively breezy take on a painful truth about a segment of the American electorate and the complexities of race and politics.
Skrillex feat. Sirah, ‘Bangarang’
Skrillex, a dubstep and EDM pioneer, in a high-energy performance with dynamic lighting
Image Credit: Courtesy of Atlantic Records
Skrillex, a pioneer of dubstep and EDM, pushed boundaries and divided purists with “Bangarang,” featuring Sirah. For some dubstep aficionados, “Bangarang” was their “Judaaaaas!” moment, signaling a move towards a more mainstream, populist sound. For the rest of the world, it was speaker-blasting thud-funk, unapologetically obvious and proud of it. “Bangarang” rewired Daft Punk in the same way Daft Punk rewired Chic, creating a frenetic and high-energy track designed for maximum impact. Skrillex threw down the populist gauntlet for EDM, embracing all-out superstar-DJ flash and solidifying his position as a leading figure in the genre’s mainstream explosion.
Donald Fagen, “Weather in My Head’
Donald Fagen, co-founder of Steely Dan, in a smooth and sophisticated portrait
Image Credit: Danny Clinch
Donald Fagen, the master of smooth cynicism from Steely Dan, delivered a perfectly manicured and casually sleek R&B groove with “Weather in My Head.” The track features Fagen’s signature wry lyrics, tinged with a hint of ecological optimism. Lines like, “They may fix the weather in the world, just like Mr. Gore said,” showcase his sardonic wit and observational humor. However, as the title suggests, the “weather” in Mr. Fagen’s head remains stormy, reflecting a more personal and internal sense of unease. “Weather in My Head” is a testament to Fagen’s enduring songwriting prowess and his ability to blend smooth musicality with sharp, insightful lyrics.
Leonard Cohen, ‘Going Home’
Leonard Cohen, a legendary singer-songwriter, in a contemplative and wise portrait
Image Credit: Courtesy of Sony Music
Leonard Cohen, the legendary folk-poet, confronted mortality with characteristic wisdom and grace in “Going Home.” At 78 years old, Cohen sings from the perspective of God himself, who reminds the “lazy bastard living in a suit” that it will soon be time to go home forever. Cohen’s voice rumbles with ancient wisdom, as background harmonies and a restful organ create a serene and contemplative soundscape. “Going Home” is a profound and moving reflection on life, death, and the acceptance of one’s own mortality, delivered with Cohen’s signature gravitas and poetic sensibility.
Beach House, ‘Other People’
Beach House, a dream pop duo, in a minimalist and atmospheric performance
Image Credit: Liz Flyntz
Beach House, the Baltimore dream-pop duo, continued to refine their gorgeous minimalism with “Other People.” Victoria Legrand’s cryptic and ethereal vocals ponder love and relationships over vaporous organ chords, creating a mesmerizing and otherworldly atmosphere. The song’s masterful use of space and silence is particularly striking. At one point, everything drops away except for the delicate sound of a drumstick hitting a cymbal, creating a moment of sonic purity and surprise. “Other People” showcases Beach House’s ability to create immersive and emotionally resonant soundscapes with minimal instrumentation, making it a standout track in their discography and the 2012 dream-pop scene.
The Rolling Stones, ‘Doom and Gloom’
The Rolling Stones, rock and roll icons, in a timeless and rebellious group photo
Image Credit: Rankin
The Rolling Stones, rock and roll legends, returned after seven years with “Doom and Gloom,” a track that delivered the kind of apocalypse-blues kick-in-the-teeth only they could provide. “Doom and Gloom” is “Start Me Up” stripped raw and reimagined for a near-future filled with zombies, war, and environmental chaos. Mick Jagger stretches out the word “screw” with a menacing growl, sounding like he’s slowly tightening a screw into the very fabric of the world. “Doom and Gloom” proved that The Rolling Stones could still deliver relevant and powerful rock and roll, even after decades in the business, tapping into contemporary anxieties with their signature swagger and grit.
Kitty Pryde, ‘Okay Cupid’
Kitty Pryde, a teen rapper, in a youthful and internet-savvy pose
Image Credit: Roger Kisby/Getty Images
Kitty Pryde, the suburban teen-rap every-girl, captured the angst and boredom of adolescence in “Okay Cupid.” Pryde went viral with this homemade mumblecore hit, rapping in the voice of a bored kid from Florida. The song is full of wit and relatable details of mall-rat life, like waiting for boyfriend’s drunk-dials at 3:30 a.m. and lines like “It’s my party, couldn’t cry if I wanted to.” “Okay Cupid” resonated with a generation coming of age online, capturing the специфиcs of teenage life in the digital age with humor and authenticity.
Van Halen, ‘Stay Frosty’
Van Halen, legendary rock band, in a high-energy performance featuring Eddie Van Halen
Image Credit: Robert Yeager
Van Halen’s reunion was validated by “Stay Frosty,” a single that proved the band still had the magic. Diamond Dave Lee Roth rides the Van Halen brothers’ flashiest riffs in decades, delivering one-liners with the wisdom of a strip-club Zen master. From “You want to be a monk, you got to cook a lot of rice” to “Look beyond that kung-fu fighting/God is love, but get it in writing,” Roth’s lyrics are as playful and unpredictable as ever. “Stay Frosty” showcased Van Halen’s enduring musical prowess and Diamond Dave’s undiminished charisma, proving they could still deliver high-octane rock and roll after all these years.
Usher, ‘Climax’
Usher, a contemporary R&B superstar, in a sophisticated and emotional performance
Image Credit: Francesco Carrozzini
Usher, known for his ear for contemporary sounds, teamed up with Diplo for “Climax,” a move that proved to be one of his savviest ever. Jumping on a Diplo beat for this track brought out a stunning sensitivity in Usher’s vocals. The understated electro production allows Usher’s voice to take center stage, conveying the raw emotion of the lyrics about a harsh breakup. Despite the lyrical content’s sadness, Usher’s heavenly delivery and the song’s ethereal production create a paradoxical sense of beauty and heartbreak. “Climax” demonstrated Usher’s ability to evolve and experiment while maintaining his status as an R&B superstar.
The Vaccines, ‘Teenage Icon’
The Vaccines, a British indie rock band, in a cool and retro-inspired group shot
Image Credit: Nicky J. Sims/Redferns
The Vaccines, a London-based indie rock band, injected humor and self-deprecation into their Strokes-tight tunes with “Teenage Icon.” Justin Young sings against itchy, breakneck guitar riffs, adding to the rich canon of punk-rock songs about being a poseur. Lines like, “I had a photo where John Lennon may have stood/Or so I’m told,” showcase the band’s witty and self-aware approach. “Teenage Icon” is an undeniably catchy punk-rock song that doesn’t take itself too seriously, adding a refreshing dose of humor to the 2012 indie rock landscape.
Mumford & Sons, ‘I Will Wait’
Mumford & Sons, a folk rock band, with Marcus Mumford leading on banjo
Image Credit: Courtesy of Big Hassle
Mumford & Sons, known for their soaring folk-rock anthems, delivered “I Will Wait,” a track with scope and ambition rarely seen in 2012 rock music. Blending Bono-esque vocals with banjos and old-timey folk instrumentation, Mumford & Sons created a signature sound that resonated with a massive audience. “I Will Wait” explores themes of isolation and road-weary longing, proving that music can be soul-wrenchingly heavy without relying on amps or power chords. The song’s emotional depth and anthemic quality cemented Mumford & Sons’ place as a leading force in contemporary folk rock.
Fiona Apple, ‘Hot Knife’
Image Credit: Courtesy of Epic Publicity
Fiona Apple, the enigmatic singer-songwriter, delivered an experimental and sensual track with “Hot Knife.” Over chattering jungle drums and rolling jazz piano, Apple’s multitracked vocals scat, murmur, and holler a double-entendre: “I’m a hot knife, he’s a pad of butter.” The song explores themes of rhythm, sensuality, and primal urges, with Apple sounding like a mythic blues Eve who has just tasted forbidden fruit and is thoroughly enjoying it. “Hot Knife” is a uniquely captivating and experimental track, showcasing Apple’s artistic fearlessness and unconventional approach to pop music.
fun., ‘Some Nights’
fun. band, known for their anthemic pop rock, in a vibrant and energetic group shot
Image Credit: Rahav Segev/Getty Images
fun. followed up their massive hit “We Are Young” with another skywriting anthem, “Some Nights.” This track, even more tinged with lush melancholy than its predecessor, resonated with young-adult angst and relatable anxieties. Lines like, “I try twice as hard and I’m half as liked,” capture the feelings of inadequacy and striving that many experience in their early twenties. Despite the melancholic undertones, the martial beat and sky-high vocal charge of “Some Nights” still managed to make entropy feel awesome, creating another stadium-ready anthem for fun.
First Aid Kit, ‘Emmylou’
First Aid Kit, Swedish sister folk duo, in a harmonizing and Americana-inspired setting
Image Credit: Courtesy of Cobracamanda Publicity
First Aid Kit, the Swedish sister duo, paid tribute to country music legends with “Emmylou.” “I’ll be your Emmylou and I’ll be your June/If you’ll be my Gram and my Johnny, too,” they sing in stunning harmony, name-checking iconic country music partnerships: Gram Parsons and Emmylou Harris, June Carter and Johnny Cash. “Emmylou” is a beautiful and heartfelt tribute to American musical heritage, delivered with the sisters’ signature harmonies and folk-infused sound. It served as a reminder of the enduring power of classic country and the universal appeal of heartfelt songwriting.
Bob Dylan, ‘Pay in Blood’
Bob Dylan, a legendary folk and rock icon, in a weathered and iconic portrait
Image Credit: Courtesy of Sony Music
Bob Dylan, the iconic singer-songwriter, unleashed one of his most vicious and politically charged songs ever with “Pay in Blood.” Conjuring a demonic figure – military brass, politician, CEO – Dylan delivers lines like, “Our nation must be saved and freed,” explaining the ominous deal with “I pay in blood, but not my own.” The guitars glint like a switchblade, adding to the song’s menacing and confrontational atmosphere. “Pay in Blood” is a powerful and unsettling commentary on power, corruption, and the cost of war, delivered with Dylan’s signature cryptic and poetic lyrics.
Jack White, ‘Sixteen Saltines’
Jack White, a rock musician and guitarist, in a raw and energetic performance
Image Credit: Jo McCaughey
Jack White, the king of frisky, loud, and utterly unhinged rock and roll, delivered “Sixteen Saltines.” This track unleashes White’s most aggressive riffs since “Seven Nation Army,” reaching up into his wiggiest falsetto to testify about being under a demon lady’s sexual spell. Lines like, “Spike heels make a hole in a lifeboat,” are delivered with gleeful abandon, suggesting a delight in going down with the ship. “Sixteen Saltines” is pure, unadulterated Jack White energy, a raw and electrifying blast of rock and roll intensity.
Bruce Springsteen, ‘Rocky Ground’
Bruce Springsteen, "The Boss," performing live with a gospel choir, in a soulful rock style
Image Credit: Courtesy of Sony Music
Bruce Springsteen, once again, showcased his musical versatility with “Rocky Ground.” This track is a bold melding of church hymn, plain-folks lament, and hip-hop protest. “Rocky Ground” is a somber assessment of America’s state of equality, exploring themes of struggle, faith, and resilience. Live performances of the song saw Springsteen turn up the light and promise, transforming it into a more uplifting and hopeful anthem. “Rocky Ground” demonstrated Springsteen’s willingness to experiment with genres and his continued commitment to addressing social issues in his music.
Kanye West feat. Big Sean, Pusha T and 2 Chainz, ‘Mercy’
Kanye West, a hip-hop innovator, in a creative and dynamic performance
Image Credit: W. VanDerper
Kanye West, often conflicted and introspective, took a backseat and let loose with “Mercy.” Featuring Big Sean, Pusha T, and 2 Chainz, “Mercy” is pure, unadulterated fun. The track is a catchy and nonsensical celebration of cars and women, built over old reggae samples and deep bass stabs. “Mercy” is designed to be less about deep meaning and more about pure, uninhibited enjoyment. The message is simple: stop thinking, start bouncing. “Mercy” showcased a lighter, more playful side of Kanye West and his collaborators.
Neil Young and Crazy Horse, ‘Ramada Inn’
Neil Young, a folk and rock legend, performing with his band Crazy Horse, in a raw and authentic style
Image Credit: Danny Clinch
Neil Young and Crazy Horse delivered an epic and sprawling track with “Ramada Inn.” Clocking in at 17 minutes, “Ramada Inn” is on the scale of classics like “Like a Hurricane,” surveying a long-term relationship in the wake of grown children. The song explores the toll of time and drinking, the power of love to almost save the day, and the revelatory nature of a road trip without a clear resolution. “Every morning comes the sun,” Young sings, with the guitars playing on and on, creating a sprawling and emotionally resonant musical journey. “Ramada Inn” is a testament to Neil Young’s enduring songwriting and Crazy Horse’s raw, expansive sound.
Frank Ocean, ‘Thinkin Bout You’
Frank Ocean, a contemporary R&B artist, in a soulful and introspective portrait
Image Credit: C Flanigan/FilmMagic
Frank Ocean delivered the year’s deepest and most emotionally resonant love song with “Thinkin Bout You.” The song’s subtle gender-flipping in the opening verse immediately grabbed attention, but the rest of the lyrics are even more profound and moving. Lines like, “Since you think I don’t love you, I just thought you were cute, that’s why I kissed you,” are delivered with raw honesty and vulnerability. The leap into aching falsetto a moment later is universally relatable, capturing the raw emotion of love and longing. “Thinkin Bout You” solidified Frank Ocean’s status as a major voice in contemporary R&B, capable of crafting deeply personal and universally resonant songs.
Passion Pit, ‘Take a Walk’
Passion Pit, an electro-pop band, in a vibrant and colorful performance
Image Credit: Courtesy of Sony Music
Passion Pit delivered a synth-pop gem with “Take a Walk,” a song that resonated deeply in the context of the Great Recession. Lines like, “My partner called to say the pension funds were gone,” capture the barely suppressed panic and economic anxieties of the time. However, the bright, upwardly mobile chorus kicks in, reminding listeners of the power of pop songs to provide solace and escape in difficult times. “Take a Walk” is a poignant and relatable song about economic hardship, elevated by Passion Pit’s signature upbeat synth-pop sound, proving why pop songs exist: to help mute the pain and offer a glimmer of hope.
Taylor Swift, ‘We Are Never Ever Getting Back Together’
Taylor Swift, a pop superstar, in a playful and confident performance
Image Credit: Sandra Mu/Getty Images
Taylor Swift, the reigning queen of pop songwriting, teamed up with Swedish pop maestro Max Martin for “We Are Never Ever Getting Back Together.” The result was a perfect three-minute teen tantrum about country girls getting mad at high-strung indie boys. The song topped the charts at lightning speed, becoming an instant stadium-chant breakup anthem. While ostensibly about a specific ex-boyfriend, “We Are Never Ever Getting Back Together” was perhaps more about Swift’s massive, raging-cowgirl audience and her ascent to the pinnacle of the music world. The song solidified Swift’s pop dominance and showcased her ability to craft infectious and relatable breakup anthems that resonated with millions.
Alabama Shakes, ‘Hold On’
Alabama Shakes, a blues rock band, with Brittany Howard leading on vocals, in a soulful performance
Image Credit: Pieter M. van Hattem / Contour by Getty Images
Alabama Shakes, fronted by the powerhouse vocalist Brittany Howard, delivered a raw and soulful performance with “Hold On.” In a year dominated by spectacle and over-the-top divas, Alabama Shakes offered a refreshing return to authentic, rootsy rock and soul. Brittany Howard, a twentysomething from Athens, Alabama, reincarnated the ghost of Sixties rock and soul without resorting to histrionics or imitation. Lines like, “Bless my heart, bless my soul/Didn’t think I’d make it to 22 years old,” are delivered with a husky, moaning-in-the-moonlight drawl, riding a groove steeped in Muscle Shoals and Stax-Volt influences. “Hold On” is a battle cry against failure, a testament to resilience and determination in the face of steep odds, resonating deeply in a year when many were struggling. In 2012, that was a lot of us.
