Tate McRae Is Finally On The Other Side

A stark heel turn from the burn-the-house-down “TIT FOR TAT,” McRae seems to have finally reached the glass-half-full stage of the break up, and wears it with the maturity of a much older woman.

Finally, someone who understands the electronic-music-implications of Joshua Tree. It isn’t just a place for acoustic guitars and “Hey Ho” music, it’s an acid trip waiting to happen, just like this song.

Leave it to Tems to make the words “big daddy” sound like beautiful poetry. But despite her gorgeous delivery, she still gets dirty: “You may look like you're breathing, but you're dead to me” is an immediate contender for Bar of the Year.

A genre-less, expansive listening experience; one minute Absolutely is taking us to church, the next we’re waltzing in a Victorian-era mansion. Someone needs to tap the well that ran through Raye and Absolutely’s childhood home, because that water runs deep with talent.

General rule of thumb: if a Bree Runway song has “Hot” in the title, it’s bound to be a smash. Here, she marries Afrobeats with her signature brand of electronic hip-hop, resulting in an instant club hit.

Enough with the Rick Owens’ shout outs — more rappers should be bragging about their “Ann Demeuler” ‘fits.

Love to see Leigh-Anne embracing her Caribbean roots on this track. Hidden under the catchy, radio-friendly melody is an honest exploration of boundaries that you don’t often hear in songs of this magnitude anymore.

Having spent the majority of her career surrounded by artists like Lady Gaga, Justin Bieber, and Rihanna, it’s safe to say the choreographer knows how to make a hit. Don’t let the grungy, underground production fool you: this track has the mainstream appeal of all her former colleagues combined.