August 25th, 2013. This date is etched in pop culture history, marking the MTV VMAs performance where Miley Cyrus fully embraced her new persona, a transformation that sparked countless memes, think pieces, and headlines. The image of a scantily clad Cyrus twerking against Robin Thicke during their performance is arguably the defining pop image of 2013. It was a moment laden with sexual and racial complexities, a sensational spectacle that saw the collision of Thicke’s controversial summer hit and Cyrus’s aggressive bid for pop dominance.
The performance felt jarring, a calculated move towards provocation.
However, earlier that same day, in the quiet hours before the VMA spectacle, a different kind of event unfolded. Miley Cyrus’s Vevo account quietly released the audio for “Wrecking Ball.” I recall vividly where I was when I first listened to it: headphones on in my den, eager to hear what the artist behind one of 2013’s catchiest party anthems had in store. I knew it was a ballad, but little else. (Unbeknownst to me, Dr. Luke, the acclaimed and often controversial producer, was at the helm). Cyrus’s raw vocal delivery immediately struck me. The polished, almost manufactured sheen I expected was absent, replaced by a vulnerability that was genuinely surprising. Then, the chorus exploded – a powerful wave of piano and synth that completely floored me. For the next three minutes, the song captivated me, compelling me to hit replay the instant it ended.
It felt powerfully desperate, but in a way that resonated deeply.
miley2
Miley Cyrus performing “Wrecking Ball” in 2013, showcasing the raw emotion and vocal power that defined the song.
Initially, I hesitated to dedicate this essay to a pop song.
This might seem contradictory, especially considering my recent deep dive into the year of pop music and my growing appreciation for the genre’s infectious appeal. Choosing a pop song as the year’s best can seem almost too predictable. Pop songs are designed to be universal anthems, crafted for broad appeal. When selecting a “song of the year,” pop music inherently holds a strong advantage, even before personal biases come into play. Why not instead champion an overlooked gem or an unconventional track, rather than a song that dominated airwaves and conversations throughout the year?
In the spirit of transparency, my choice of “Wrecking Ball” is rooted in a desire for reclamation. I want to reclaim this exceptional pop song from the overwhelming “Miley Cyrus” narrative. While the song is undoubtedly powerful enough to stand on its own, the surrounding pop culture discourse about Cyrus often overshadowed, and at times even conflicted with, a genuine appreciation for “Wrecking Ball”. My relationship with pop’s sensationalism is complex. It can be a potent tool to amplify a song, but it can quickly devolve into a distracting sideshow. As compelling as “Miley Cyrus” was as a pop figure, there were moments when I felt her persona threatened to eclipse “Wrecking Ball,” and I feel a need to advocate for the song as something separate, something uniquely ours.
Furthermore, it’s about reclaiming the song from Terry Richardson, a director whose work often feels exploitative. Richardson’s lens has a disturbing tendency to transform young women into objects of exploitation, and the “Wrecking Ball” music video, with its overt symbolism, is a prime example. While the connection between physical and emotional vulnerability is valid, Richardson was unequivocally the wrong choice to portray such intimacy. The song’s inherent vulnerability was lost amidst shallow, meme-generating imagery – the sledgehammer licking, the naked wrecking ball ride. Even the marginally better alternate video struggles to escape its shadow as a superficial nod to Sinead O’Connor, Cyrus’s then-perceived rival.
It’s important to note that Cyrus is not a passive figure in Richardson’s vision; she is reportedly very aware of the image she projects. However, this doesn’t alleviate the discomfort many feel with Richardson’s exploitative visual style.
Ironically, Richardson’s video played a significant role in the song’s success. “Wrecking Ball” topped the Billboard Hot 100, fueled by massive YouTube and Vevo streams. By year’s end, it became the most-watched music video of 2013, amassing over 400 million views. Cyrus’s headline-grabbing antics undoubtedly kept Bangerz‘s standout ballad in the public eye. This highlights my dilemma: how can we separate “Wrecking Ball’s” cultural impact from its sensationalist context when that context was undeniably crucial to its success?
Allow me to attempt to do just that, because “Wrecking Ball,” at its core, is truly remarkable.
The power of “Wrecking Ball” lies first and foremost in Cyrus’s voice. Despite the song’s grand chorus, it’s her vocal performance that resonates most profoundly.
The brilliance of Cyrus’s vocals is in her phrasing, particularly the way she initiates and concludes each line. There’s a breathlessness, as if you can hear her straining to gather the energy to start each lyric, only to almost lose steam by the end. Her Southern twang subtly surfaces at just the right moments, adding a raw, slightly unhinged quality to the melody’s sharp turns and emotional peaks and valleys.
When the chorus hits, it’s a full-force emotional release. Primal and forceful, her voice edges towards breaking with each note, as if she’s fighting for breath. The song’s vocal apex, however, arrives during the bridge. The drums recede, leaving Cyrus alone with piano and strings. “I never meant to start a war / I just wanted you to let me in / and instead of using force / I guess I should have let you win.” The rhyme is simple, almost cliché, but the emotional chasm between “in” and “win” is vast, and Cyrus conveys this perfectly. She punctuates the end of each line with tiny, heart-wrenching vocal cracks, conveying a deep sense of defeat.
This is raw pain. Cyrus’s vocal performance embodies the agony and ache within every lyric. It’s not just the grit and sorrow you hear in her voice; it’s as if you can taste the lingering bitterness of heartbreak. “Love as war” is a common trope in pop music, but rarely does a vocalist so convincingly wear the wounds of that battle as Cyrus does in “Wrecking Ball.”
The song’s composition is a masterful blend of minimalism and maximalism. Prior to this, Katy Perry’s “Teenage Dream” was my favorite Dr. Luke production. While stylistically different, “Wrecking Ball” shares a similar quiet-loud-quiet structure. The verses are built upon a simple, echoing piano line, sparingly adding a second piano for harmony, allowing Cyrus’s voice to carry the emotional weight. But the chorus is an overwhelming sonic experience. It’s nearly impossible to dissect the layers – piano, synths, strings, drums, perhaps even more. Regardless of its construction, it’s perfect – the auditory equivalent of a wrecking ball itself, hitting the listener with full force each time the chorus returns.
There’s a compelling tension between the song’s feverish intensity and quiet introspection, which perfectly captures the essence of the lyrics. “Wrecking Ball” isn’t high poetry, but it’s concise, impactful, and brutally efficient. It achieves a lot with very little. The song needs to convey the initial rush of new love, the shattering impact of its collapse, and the slow burn of regret. Most pop songs struggle to convincingly portray even one of these emotions. “Wrecking Ball,” however, navigates all of them, injecting genuine feeling into phrases we’ve heard countless times. “I will always want you” – countless pop songs express a similar sentiment. But how many resonate with the raw power of “Wrecking Ball”? Very few.
That’s the hallmark of exceptional pop songs. They reframe the familiar, making it feel new and deeply personal, allowing us to connect the music directly to our own experiences. Sometimes, the entanglement of pop music and celebrity culture makes this connection incredibly challenging. Perhaps that’s “Wrecking Ball’s” greatest achievement: it’s a song so powerful that the more I listen, the less I perceive “Miley Cyrus” and the more I hear universal human emotion. I hear my own heartaches and regrets. I hear the unspoken pain of friends navigating heartbreak. I hear the anger and helplessness anyone feels when something precious breaks, and the catharsis of singing that pain out loud. It’s an anthem for anyone who has loved too intensely and been broken in return. It belongs to all of us.
Here are 24 more of my top songs of 2013, with brief reflections on why they resonated with me that year:
Young Galaxy’s “New Summer,” a track that perfectly encapsulates youthful optimism amidst uncertainty.
2. Young Galaxy – “New Summer” Radiantly nostalgic, “New Summer” perfectly captures the bittersweet feeling of youthful hope in the face of impending challenges. It features what might be the most magical chord progression of the year, subtly shifting the chorus melody at the song’s climax, creating a sense of repeated emotional release.
Vampire Weekend’s “Ya Hey,” a standout track from “Modern Vampires of the City,” showcasing effortless melodies and lyrical depth.
3. Vampire Weekend – “Ya Hey” From an album brimming with seemingly effortless melodies, “Ya Hey” was the song I found myself humming most throughout 2013. It encapsulates everything that makes Modern Vampires of the City great – the sonic experimentation, the confident swagger, the nuanced subtlety – into one remarkable track.
Daft Punk’s “Get Lucky,” the global party anthem of 2013, featuring Pharrell Williams and Nile Rodgers.
4. Daft Punk – “Get Lucky” The definitive global party song of the year, “Get Lucky” is so effortlessly smooth and infectious that it was universally irresistible. It leaves you wanting more in the best way possible, compelling you to hit “repeat” the moment the synth outro fades, hoping for just a little more of its magic.
Arcade Fire’s “Afterlife,” a heart-stirring anthem known for its powerful build-up and emotional resonance.
5. Arcade Fire – “Afterlife” Arcade Fire consistently delivers exceptional penultimate tracks on their albums. Every Arcade Fire album features a peak moment right before the end (“Rebellion,” “No Cars Go,” “Sprawl II”), and Reflektor’s heart-stirring “Afterlife” continued this tradition. The moment the horns enter is consistently powerful and moving.
Fall Out Boy’s “My Songs Know What You Did In the Dark (Light ‘Em Up),” a brasher and edgier return for the pop-punk band.
6. Fall Out Boy – “My Songs Know What You Did In the Dark (Light ‘Em Up)” Despite being used everywhere from sporting events to news commercials, “My Songs” never lost its impact for me. It’s one of the most daring and bold tracks the pop-punk veterans have ever recorded, its tightly wound intensity unfolding over three concise minutes.
Kanye West’s “New Slaves,” a minimalist yet powerfully furious track from “Yeezus.”
7. Kanye West – “New Slaves” Kanye’s bold tweet about the second verse of “New Slaves” being the “best rap verse of all time” might seem excessive, mirroring the song’s brilliantly minimalist yet furious nature. However, it’s hard to find another 90 seconds in 2013 as thrillingly unhinged and epically angry as that second verse.
Haim’s “The Wire,” blending classic rock influences with a modern pop sensibility, driven by the sisters’ vocal harmonies.
8. Haim – “The Wire” The Eagles comparisons are inevitable, but the real magic of “The Wire” lies in the Haim sisters’ voices. They transform into staccato instruments, creating harmonies that are incredibly difficult for male vocalists to replicate without sounding comical.
Chvrches’ “The Mother We Share,” a synth-pop gem with Lauren Mayberry’s clear and captivating vocals at its core.
9. Chvrches – “The Mother We Share” Following The Knife’s evolution into experimental electronic music, it was only a matter of time before someone cleverly adopted their sound. What elevates Chvrches and “The Mother We Share” is Lauren Mayberry’s distinct vocal clarity. She embodies the vulnerable human element at the heart of a pristine synth-pop machine.
Justin Timberlake’s “Mirrors,” a power ballad with a memorable guitar riff and Timberlake’s strong vocal performance.
10. Justin Timberlake – “Mirrors” “Mirrors” features the most effective outro on The 20/20 Experience, and the song itself is a powerhouse ballad. While the lyrics might not withstand deep scrutiny, the song miraculously sells its self-centeredness as profound love, thanks to the iconic guitar riff, powerful drums, and Timberlake’s committed vocal delivery.
Miley Cyrus’ “We Can’t Stop,” the controversial party anthem that walked the line between scandal and mainstream appeal.
11. Miley Cyrus – “We Can’t Stop” Breaking my usual “one song per artist” rule, I must acknowledge the other half of Miley’s pop dominance in 2013. “We Can’t Stop” is brilliant in its calculated flirtation with scandal without fully committing. The lyrical ambiguity (“Miley” or “molly?”) and suggestive scenarios create a hedonistic vibe while remaining just PG-13 enough for mass pop appeal.
Superchunk’s “Me & You and Jackie Mittoo,” a no-frills celebration of life and loss in just over two minutes.
12. Superchunk – “Me & You and Jackie Mittoo” “I hate music, what is it worth? / Can’t bring anyone back to this earth, / or fill in the space between all of the notes, / but I got nothing else so I guess here we go.” This might be my favorite lyric of the year, and the rest of “Jackie Mittoo” lives up to this sentiment in a concise, two-minute burst of life-affirming energy.
Beyonce’s “XO,” a powerful ballad that captures the excitement and vulnerability of romance.
13. Beyonce – “XO” 2013 was a strong year for power ballads, but Beyoncé’s “XO” made a late-year impact. It perfectly captures the nervous excitement and delicate tension of new romance, and its expansive soundscape is epic enough to almost make you forget Ryan Tedder’s involvement.
David Bowie’s “Love is Lost (Hello Steve Reich Mix),” remixed by James Murphy, injecting new energy into Bowie’s later work.
14. David Bowie – “Love is Lost (Hello Steve Reich Mix)” David Bowie’s The Next Day felt like a career retrospective, solid but lacking in new hits. It wasn’t until James Murphy remixed “Love is Lost,” stretching it into a ten-minute hand-clapping epic, that Bowie’s new material finally achieved the excitement I’d hoped for.
Yeah Yeah Yeahs’ “Despair,” a ballad from “Mosquito” that celebrates sadness and emotional depth.
15. Yeah Yeah Yeahs – “Despair” Mosquito was a disappointing album overall, but it did yield two excellent singles. While I appreciate the gospel-infused “Sacrilege,” I’m drawn to “Despair,” a ballad that embraces sadness as a core human emotion and paradoxically finds joy within it.
Ten more standout songs from 2013:
16. Sky Ferreira – “You’re Not the One”
17. Dog Day – “Before Us”
18. Paramore – “Still Into You”
19. Basia Bulat – “Tall Tall Shadow”
20. Phoenix – “S.O.S. In Bel Air”
21. Icona Pop – “All Night”
22. Drake – “Hold On We’re Going Home”
23. Tegan and Sara – “Now I’m All Messed Up”
24. Savages – “She Will”
25. Lorde – “Royals”
Listen to 24 of these 25 tracks in this Rdio playlist (adding “XO” when available):
