13 More Songs Where It’s All in a Kiss

Reading Time: 18 min read

13 More Songs Where It’s All in a Kiss features songs by ADONXS, Artemas, Enrique Iglesias & Whitney Houston, Olly Alexander, Reneé Rapp, and Steam.

Again, I say, Never underestimate the power of a kiss, mwah 😘! There is a reason why so many songs have been written about kisses and kissing – it’s potent and relatable. In the past, on The Musical Hype, I’ve compiled a couple of playlists where the kisses dominate: 17 Songs Where the Kisses are Everything (2018), Kisses: An Intriguing Compendium of Kiss Songs (2021), and 13 Songs Where It’s All in a Kiss 😘 (2023). Ooh-wee, that’s a lot of kissing! Now, we’re back with ANOTHA ONE in 13 More Songs Where It’s All in a Kiss. 13 More Songs Where It’s All in a Kiss features songs by ADONXS, Artemas, Enrique Iglesias & Whitney Houston, Olly Alexander, Reneé Rapp, and Steam. With the latest musical compendium centered on kissing and kisses, have the kisses ever felt sweeter? Absolutely not!

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1. Joji, “PIXELATED KISSES”	2. Aisho Nakajima & Yohji Igarashi, “I Kissed A Boy”	3. Artemas, “I like the way you kiss me”
4. Reneé Rapp, “Kiss It Kiss It”	5. ADONXS, “Kiss Kiss Goodbye”	6. Olly Alexander, “When We Kiss”
7. Usher, “Kissing Strangers”	8. John Conlin, “Kissing Other Girls”	9. Gregory Dillon, “Burning Kisses”
10. Jill Sobule, “I Kissed a Girl”	11. Enrique Iglesias & Whitney Houston, “Could I Have This Kiss Forever”	12. Red Hot Chili Peppers, “Suck My Kiss”
13. Steam, “Na Na Hey Hey Kiss Him Goodbye”

1. Joji, “PIXELATED KISSES”

Piss In The Wind » Palace Creek / Virgin Music » 2026

According to Joji (George Miller), “Pixelated kisses got me goin’ insane.” Ooh-wee! “PIXELATED KISSES”, the opening track from his 2026 album, Piss In The Wind, is intriguing. It all begins with the heavy-handed, distorted backdrop. This is one of the biggest surprises regarding the song and sets the record up for success. Joji sings with his familiar, cool, calm, and collected approach. His voice remains mesmerizing. “Waiting for the signal, baby, never make a sound,” he sings in the chorus, and adds, “If you never hear from me, all the satellites are down.” That explains the pixelation, I suppose. The only other section is the post-chorus, where he asserts, “Falling through the atmosphere right now / Baby, are you really down?” The melody is tuneful throughout. Sweet background vocals accentuate Joji’s lead vocals. No, there is not much song where “PIXELATED KISSES” is concerned, but what Joji serves up is a surefire vibe. That vibe carries ample weight on this striking joint.

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2. Aisho Nakajima & Yohji Igarashi, “I Kissed A Boy”

“I Kissed a Boy” » Aisho Nakajima » 2025

“Boy / I see the way you’re looking at me / So dangerously.”

Sigh, can’t relate, Aisho Nakajima! The Japanese 🇯🇵 singer-songwriter is incredibly handsome – stunning! Regardless, he gets butterflies and questions acting on his feelings. “Will I regret it if I made a move tonight? / Tonight, I want it,” he sings, and adds, “And what if I like you? / What if I feel for you?” Boys liking boys… uh-oh. Of course, you know what happens: “I Kissed A Boy”. Nakajima, who lends his beautiful, marvelous, and nuanced vocals to the track, collaborates with Japanese 🇯🇵 DJ and producer Yohji Igarashi. Not only are the results gay, but, most importantly, ear-catching and striking to the nth degree!

Aisho Nakajima is accompanied by a cool, enigmatic, and reflective-sounding backdrop initially. With an awesome sound palette, “I Kissed A Boy” is sleekly produced. Music on fleek! What makes the accompaniment so sweet are the colorful, picturesque keys, pads, synths, anchored by a strong beat. When that boy kiss occurs, it signals a great change of groove with a quicker tempo beginning about the one-minute mark. Expectedly, Nakajima enjoys the experience. “You made it feel so good / You made it feel so right / I keep replaying it in my head.” Woo! If you’ve experienced a passionate kiss, or more 😈, you DEFINITELY replay the experience. Of course, given the sexuality factor, it’s not as simple as boy like boy… “Too weak for your games / Masc and DL / Promise I’ll hush / I won’t tell.” Masculine and down low… that’s a lot of internalized homophobia! Even though it’s complicated, Aisho can’t shake him. “Staring intensely / Got me all sweating,” he asserts, and adds, “When you’re around I’m just a boy / Losing track of time.” D-d-damn! Could “I Kissed A Boy” have been published in my Beaming with Pride column? Yes, of course it could! But, queer songs aren’t merely reserved for one column, and this collaboration between Aisho Nakajima and Yohji Igarashi is s-s-steamy, steamy – perfect for the bedroom come midnight! If you haven’t heard this gay little, sensual bop, you are totally missing out on some surefire titillation! Love, it’s universal and contagious!

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3. Artemas, “I like the way you kiss me”

yustyna » Artemas » 2024

“I like the way you kiss me, I can tell you miss me / I can tell it hits, hits, hits, hits.”

English-Cypriot singer, songwriter, and producer Artemas (Artemas Diamandis) released a surefire bop with the infectious “I like the way you kiss me”, a highlight from his mixtape, yustyna. Artemas penned this ‘NSA’ record with Jesse Fink and his fellow producers, Kevin White and Daintree. “I like the way you kiss me” is ‘anti-romance’ – rather, perceived anti-romance – at its best. In the chorus, Artemas continues, “Not tryna be romantic, I’ll hit it from the back / Just so you don’t get attached.” Still, by the time the first verse arrives, he asserts, “You take the heat, and with such grace / You say we’re done, but here you stay.” Hmm, sounds like more than sex… “Said you’re scared I’ll let you down… / Stick around and you’ll find out.” Still, in the second verse, one wonders what kind of scene he’s getting at, particularly since he asks, “Can we make it loud?” Regardless, Artemas is proud of his baby, attached or nah. “I like the way you kiss me” is something Artemas should be proud of given the energy he brings and the colorful, driving sound.

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4. Reneé Rapp, “Kiss It Kiss It”

BITE ME » Interscope » 2025

“I met a girl out on the Eastside / I took her ass back to the Valley though.”

Oh, you did, Reneé Rapp? 😈 Rapp continues in the first verse of “Kiss It Kiss It”, “She asked me how I like my breakfast / I told her, ‘Hot on the bedroom floor.’ Oh, snap! Better yet, holy shit! Clearly, it’s going down on the fifth track from Rapp’s sophomore album, BITE ME. Rapp co-wrote “Kiss” with Alexander 23, Omer Fedi, and Ali Tamposi. Fedi, Alexander 23, and Vaughn Oliver produced it.

“Kiss It Kiss It” features an awesome groove, with drums, bass, and warm guitar sounds. Rapp delivers smooth and playful vocals. At times, her performance sounds dreamy. The melodies are simple but memorable. I love her playful moments, including the likes of, “I think we almost made a baby / I mean, we can’t, but we came so close,” and “Like / God / Damn / Goddamn, goddamn, goddamn, goddamn,” which precedes the second chorus. Interestingly, the verses are set in a minor key. The chorus shifts to a brighter, parallel major. Unsurprisingly, the chorus is the crème de la crème – the crowning achievement.

“You’re gonna kill me if you kiss it like that

Got me in tears and not because I’m sad

Top of the morning, let me pull your hair back

Like, come on and kiss it, kiss it

You’re gonna kill me if you kiss it like that

No, I don’t mind a little disrespect

Talking is boring, let me throw your hair back

Like, come on and kiss it, kiss it.”

I adore Rapp’s falsetto during the chorus. It’s another win on a #winning track! The bridge, although brief, distinguishes itself from the verses and chorus: “Come on and kiss it, kiss it / Come on and kiss it right now / Might have to bury me before I leave without.” Ooh-la-la, Reneé! All told, “Kiss It Kiss It” is a surefire bop from the talented Reneé Rapp. Rapp and her girlfriend are not innocent in the least, judging by these sexcapades!

Appears in 🔻:

Reneé Rapp, Kiss It Kiss It: Beaming with Pride No. 25 (2026)

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5. ADONXS, “Kiss Kiss Goodbye”

“Kiss Kiss Goodbye” » Warner Music Czech Republic s.r.o. » 2025

“Oh, you seemed so holy, it almost fooled me / Truly, when you said you love me, it almost moved me.”

Oh, snap, ADONXS! The dashing 😍, deep-voiced, openly gay Slovak singer (real name, Adam Pavlovčin) piques our ears with his Eurovision Song Contest 2025 single, “Kiss Kiss Goodbye”. Pavlovčin wrote “Kiss Kiss Goodbye” with CHAiLD (LUX), Maella, and Ines Coulon. Ronald Janeček, George Masters-Clark, and Lorenzo Calvo produced it. As the title and the excerpted lyrics from the pre-chorus suggest, matters of the heart play a sizable role. In the first verse, ADONXS mentions two kisses representing love and desperation. “There’s no other place to hide / Only one survives, when the night arrives / Will you be my ride or die?” In the second verse, before asking the same question, he sings, “Caught in a motion, you’re wearing me out / Tainted devotion, heart on the ground.” The section to beat, the centerpiece, is the chorus:

“Kiss, kiss goodbye (Kiss, kiss goodbye)

Kiss, kiss goodbye (Kiss, kiss goodbye)

Now keep your half apologies, drunken apathy

Over and over again

Kiss, kiss.”

ADONXS is fierce AF throughout “Kiss Kiss Goodbye.” His robust bass voice is the sugar, honey iced tea. The melodies he brings to life with his voice, including some falsetto, are nicely contoured and tuneful to the nth degree. The musical backdrop is sleekly produced. Set in a minor key, the dramatic, choral, and orchestral music cues are epic. The keyboards, synths, and programming are top-notch, too. “Kiss Kiss Goodbye” is not an overtly queer song, but it feels like a necessary addition to an ever-growing queer music catalog. ADONXS slays!

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6. Olly Alexander, “When We Kiss”

Polari » Universal Music Operations Limited » 2025

“Lie next to me / We can make a choice, change our destiny (When we kiss).”

The words that Olly Alexander sings that pique the most interest are lie (as in bed) and kiss. Those lyrics from “When We Kiss” suggest an intimate experience. We love sex! “When We Kiss” is the ninth track from Polari, the first album credited under Alexander (formerly Years & Years). The song features incredibly sleek production work by Danny L Harle. The warm, pulsating synths and danceable beat are big-time selling points. Another big-time selling point? The smooth, dare I say ‘sexy’ vocals by Olly Alexander. “When We Kiss” has its sexy moments without crossing the line.

The song isn’t primarily about sex, however. Matters of the heart drive the narrative. Yes, kisses are involved, but Olly seems to be trying to salvage the relationship. “Hold onto me / There’s something here worth saving,” he sings in the first verse. In the second, he has questions about the state of their relationship: “Ooh, I can’t tell if this is ending or beginning / Ooh, and I’ll do anything to keep the embers burning / Ooh, how do we come so far from who we used to be?” The centerpiece is the chorus where Olly states the power is in his partner’s hands. “How can we justify / The love we left behind,” he sings, continuing, “How did it ever come to this / Tears in your eyes when we kiss.” To reiterate, there is kissing – an element of intimacy. But, this couple seems to be at a crossroads – they’ve got to figure things out. “When We Kiss” gives Olly Alexander another B-O-P, PERIOD!

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7. Usher, “Kissing Strangers”

COMING HOME » HighValleys&LowPeaks, LLC /mega /gamma.»

“Is it messed up I hoped you would be here / Only so I could act like I don’t care?”

Oh, snap! Usher (Usher Raymond IV, b. 1978) is a consummate hitmaker. In his heyday, he kept R&B relevant on the pop charts. While Mr. Raymond is past his most lucrative prime, on his 2024 Grammy-nominated album, COMING HOME, he proved he’s still got that Midas touch. One of the best moments from COMING HOME is the fifth track, “Kissing Strangers”. Usher, Ryan Daly, Jonny Price, James John Abrahart Jr., and Busbee (Michael James Ryan Busbee, 1976 – 2019) wrote “Kissing Strangers.” Daly and Busbee produced it.

“Kissing Strangers” thrives on its warm, vibrant production. All of the musical accompaniment shines, but the drum programming truly cooks. Still, the star of the show is Usher, who wows with his ultra-smooth vocals. Although firmly planted in his forties when “Kissing Strangers” was recorded, he still sounds as youthful as ever. Beyond the magnificence of his pipes, the vocal production is terrific, too. Usher masterfully brings the rhythmic melodies to life. Both verses yield some incredible moments. So does the pre-chorus, where the singer asserts, “Got some new fingertips on the back of my neck / Gotta try to pretend, gotta try to forget / Somehow, but how?” The section to beat, however, is the marvelous chorus.

“How we go from strangers kissin’ to kissin’ strangers?

From not knowing your name to wishin’ I could erase it?

Tryna forget with somebody new

That I’m missin’ you…”

Beyond the chorus, there is the bridge, which distinguishes itself from the verses and chorus. The plight of love continues to plague Raymond: “Still see your face / In everybody, everybody (Yeah, yeah, yeah) / Can’t fill that space / With anybody, anybody.” Upon the return of the chorus, I love Usher’s ad-libs. All told, “Kissing Strangers” is an R&B banger that deserved far more attention. Usher does his big one!

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8. John Conlin, “Kissing Other Girls”

“Kissing Other Girls” » John Conlin » 2024

“Don’t you know you make me / Cry just a little / Die just a little / Say we’re just DL, noncommittal / So superficial, caught in your middle / It hurts / I know you’re kissing other girls.”

That is a bummer, John Conlin. What isn’t a bummer is the authenticity and sheer excellence that is “Kissing Other Girls”. It was penned by the handsome and talented Toronto pop singer/songwriter. He produced this must-hear gem alongside Jamesfromtheinternet. The sound is ‘to die for.’ The instrumental backdrop includes warm pads and synths that concoct a surefire vibe. Conlin serves up gorgeous vocals, tuneful melodies, and reflective, questioning lyrics. The situation is one where he and his ‘boyfriend’ are on two different pages. John seems comfortable with the relationship while the nameless boyfriend is DL and still partakes in heterosexual experiences. “I’ve been on my knees praying / That I take up space inside your head,” Conlin sings in the first verse, continuing, “Two dimensional, you fuck across the hall, baby.” He’s not fucking other guys, either: “Your rust on the straight blade / It cuts, badly both ways…” Conlin, singing angelically, continues to voice his sadness over the state of their ‘relationship.’ He asks, “Am I just a phase / Just a body you play.” Understanding his partner, he asserts, “And when you, can’t finish [with her, presumably] you picture me.” Ooh-wee! The bridge separates it from the verses and chorus yet continues the theme of John’s boyfriend/partner/FWB struggling with his sexuality. The situation isn’t ideal, yet, common where homophobia – external and internal – runs rampant. “Kissing Other Girls” is the cat’s meow – the sugar honey iced tea! Get it, John!

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9. Gregory Dillon, “Burning Kisses”

Heaven Hates Me » 444 Sounds » 2024

“Every night, every day / It’s a spell I’m under / And there you were glistening.”

Oh, snap, Gregory Dillon (Gregory Dillon Scherer). The hot, synthpop rebel strikes again! This time, he’s damned and gonna dance, baby! His words… mostly! “Burning Kisses” marks another surefire vibe from Dillon. It appears as the second track from his 2024 debut album, Heaven Hates Me. Dillon and LeyeT (Angela Mukul) composed this fierce synthpop joint. Arthur Besna produced it, kicking ass and taking names in the process.

Part of the charm of this damned musical experience is the cinematic elements. It begins dramatically. Besides those cinematic effects (bar chimes), Gregory puts his best foot forward with gorgeous, nuanced vocals. The use of chant, sung in Latin, is epic (“Oscula Ignis”). Face it, this man is a beast – in the most gifted and handsome way possible. Adding to the allure of “Burning Kisses” are the dramatic, tuneful melodies. After setting the tone, a perfectly timed “damn” marks a pivotal moment of “Burning Kisses,” setting up a kick-ass drop. The groove be groovin’ hard! The ‘blasphemous,’ damned lyrics are everything:

“Praise to the damned if I’m damned, then I’m gonna dance

Chained to your hands as I fall down to wonderland

Crave another taste take me like a saint

Chained to your hands if I’m damned, then I’m gonna dance.”

Ooh-wee. Being damned never felt better in this instance, not to mention more danceable! Dillon delivers more music bullets. Lust fuels the fire: “Baby, you’re the reason I’m in so deep / Burning kisses look I’m down on my knees.” Deep? Down on my knees? Given the tenor of “Burning Kisses”, and his admission of being damned and frankly not giving a damn, I doubt he’s on his knees for prayer. This joint by Gregory Dillon is the sugar honey iced tea!

Appears in 🔻:

Gregory Dillon, Burning Kisses: Beaming with Pride No. 65 (2024)

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10. Jill Sobule, “I Kissed a Girl”

Jill Sobule » Atlantic Recording Corporation » 1995

“So, we laughed, compared notes / We had a drink, we had a smoke / She took off her overcoat…”

Okay, so, what happened next, Jill Sobule? Why, “I Kissed a Girl”, of course! “I Kissed a Girl” is the seventh track from the deceased (😥) musician’s 1995 self-titled album. What did she and her friend, Jenny, compare notes about? Their questionable boyfriends include Brad, who is “dumb as a box of hammers,” and Larry, whom Jill believes, “I think I can do better.” Oh, snap! Sobule wrote the bi-curious/gay gem with Robin Eaton. Brad Jones and Eaton produced it. “Kissed” impacted the pop charts modestly, peaking at number 67 on the Billboard Hot 100. “I Kissed a Girl” not only satisfies because of its queerness (“They can have their diamonds / And we’ll have our pearls” 🤭), but also its musicianship. The sound is eclectic, with country, folk, pop, and rock sensibilities. The groove is particularly satisfying. There is an awesome, distorted, and mean-sounding guitar solo that appears toward the end of the song. Sobule delivers beautiful, playful, and tongue-in-cheek vocals. As the song progresses, it sounds like her vocal performance grows even more confident and more dynamic. Still, it is those queer lyrics that catch our ears. After Jenny tells her boyfriend she’ll be late, she feels guilty, considering, she’s kissing Jill. “Then I looked at you, you had guilt in your eyes,” Sobule sings in the second verse, expanding on the rendezvous, continuing, “But it only lasted a little while / And then I felt your hand above my knee.” Oh, snap! While Sobule acknowledges kissing “a girl won’t change the world,” she’s glad she did and admits, after kissing a girl for the first time, “Won’t be the last time.” Word. Rest in peace, Jill Sobule. You left an LGBTQ+ gem for the ages with “I Kissed a Girl”.

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11. Enrique Iglesias & Whitney Houston, “Could I Have This Kiss Forever”

Enrique » Interscope » 1999

“Dame un beso para siempre.”

What do those Spanish lyrics mean? “Give me a kiss forever.” That lines up with the title and theme of the Enrique Iglesias (b. 1975) and Whitney Houston (1963 – 2012) duet, “Could I Have This Kiss Forever”. Although Iglesias and Houston seem like an unlikely pairing on paper, they conjure up some magic on “Kiss,” the seventh track from Iglesias’s 1999 album, Enrique. Hall of Fame Songwriter Diane Warren (b. 1956) wrote “Kiss,” while producer extraordinaire David Foster (b. 1949) produced it. “Could I Have This Kiss Forever” marked the fourth single from Enrique. While it failed to reach the top 40 of the pop charts, it spent 19 weeks on the Billboard Hot 100 and peaked at number 52.

Whitney Houston performs the brief spoken intro, excerpted earlier, performed exclusively in Spanish. Enrique Iglesias performs the first verse, performed in English. He sings beautifully and expressively. “Over and over, I look in your eyes,” he asserts, and continues, he asserts, and continues, “You are all I desire / You have captured me.” Houston follows with the pre-chorus, matching his beautiful tone with her own refined pipes. She and Iglesias join forces in the chorus, in all its Latin pop glory.

“Could I hold you for a lifetime?

Could I look into your eyes?

Could I have this night to share this night together?

Could I hold you close beside me?

Could I hold you for all time?

Could I, could I, could I have this kiss forever?”

Just before the chorus, there is an unexpected curveball: a key change. It’s odd at first, but as the song progresses, it grows on you and is one of the reasons why “Kiss” ends up sounding distinct. Houston takes the reins in the second verse (back in the original key), as well as the pre-chorus that follows. “I want to hold you (Hold you),” she sings, and adds, “And touch you and taste you (Hold you) / And make you want no one but me.” Once more, she and Enrique sing together in the chorus. Houston and Iglesias bring the heat on the bridge, where they assert, “I don’t want any night to go by / Without you by my side…” After one final, powerful collaborative chorus, Iglesias and Houston perform an interlude in Spanglish, concluding with the outro, which fittingly asks, “Could I have this kiss forever?” All in all, Enrique Iglesias and Whitney Houston conjure up something special with “Could I Have This Kiss Forever”. Backed by a sweet, rhythmic Latin pop/adult contemporary backdrop, these two fantastic pop musicians shine. Once-in-a-lifetime? You bet! R.I.P. Whitney!

Appears in:

Enrique Iglesias & Whitney Houston, Could I Have This Kiss Forever: Dazzling Duets No. 28 (2025)

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12. Red Hot Chili Peppers, “Suck My Kiss”

Blood Sugar Sex Magik » Warner » 1991

“Shoulda been, coulda been, shoulda been dead / If I didn’t get the message goin’ to my head.”

Anthony Kiedis is honest and transparent in “Suck My Kiss”. The Red Hot Chili Peppers frontman adds in the first verse of the Blood Sugar Sex Magik highlight, “I am what I am / Most motherfuckers don’t give a damn.” Ooh-wee, Anthony! For good measure, he drops the MF bomb later in the verse. As intriguing as his swearing is, the sexual nature of “Suck My Kiss” is most captivating.

“Someone full of fun do me ‘til I’m well done / Little Bo Peep comin’ from my stun gun.” Dirty! It doesn’t stop with comin’ either. In the second verse, he playfully sings, “Chicka chicka dee, do me like a banshee.” A banshee screams, which is what Anthony wants her to do when they’re having sex. Horny as albeit, he wants some badly: “Hit me, you can’t hurt me, suck my kiss / Kiss me, please pervert me, stick with this.” Damn! Besides the entertaining lyrics and Kiedis’ terrific vocals, the music is fantastic. The band is in the pocket with their infectious, funky brand of rock. The drums (Chad Smith) groove hard, the bass (Flea) is active, funky, and robust, while John Frusciante kills it on guitar. RHCP constructed a gem. Rick Rubin poured in his expertise in the production seat. “Suck My Kiss” is one of the most badass, ‘sucking’ songs of all time!

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13. Steam, “Na Na Hey Hey Kiss Him Goodbye”

60’s Gold » Universal Music Enterprises / UMG Recordings, Inc. » 2006

“Na-na-na-na, na-na-na-na, hey, hey, hey, goodbye.”

One word: ICONIC! Those lyrics hail from the beloved Steam classic, “Na Na Hey Hey Kiss Him Goodbye”. We most often sing those goodbye lyrics at a sporting event as we send the losers on their way home, ha-ha-ha 😈! “Na Na Hey Hey Kiss Him Goodbye” marked the Steam’s sole top 40 hit. It’s a bummer they had no more substantial hits. Still, “Na Na…” spent two weeks at number one on the Billboard Hot 100 at the end of 1969. Gary DeCarlo (1942 – 2017), the lead singer, Paul Leka (1943 – 2011), and Dale Frashuer (1939 – 1998) wrote the song. Leka produced it. The most famous part is the chorus, performed by gang vocals, which is tuneful and memorable to the nth degree.

Still, “Na Na Hey Hey Kiss Him Goodbye” is more than its chorus. The infectious groove is one of the biggest selling points. This groove is a surefire catalyst for your body movement of choice. And those psychedelic pop/rock sounds… well, they are sure a vibe! The energy is electrifying from the jump, with the chorus rightfully kicking things off. Gary DeCarlo does a fine job performing the lead vocals during the verses. While we talk less about the verses, generally, they are also noteworthy and tuneful. The vocals are kinder and gentler, contrasting the more dynamic chorus. “He’ll never love you the way that I love you,” DeCarlo sings in the first verse, and concludes, “‘Cause if he did, no, no, he wouldn’t make you cry.” Word. The second verse is penned similarly – this dude is not the one, baby! In the pre-chorus, DeCarlo pleads his case: “He might be thrillin’ baby but a-my love /… So doggone willin’, so kiss him / Go on and kiss him goodbye.” Woo! A four-minute-plus song, much of the ending of “Na Na Hey Hey Kiss Him Goodbye” focuses on that irresistible groove and, of course, that irresistible chorus. The outro finds DeCarlo riffin’, leading with the background vocals faithfully reiterating that ever-unforgettable refrain. Yeah, they only had one hit, but Steam ensured their sole hit kicked ass and took names!

Appears in:

Steam, Na Na Hey Hey Kiss Him Goodbye: 1 Hit WONDERful No. 7 (2026)

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13 More Songs Where It’s All in a Kiss (2026) [📷: Brent Faulkner / The Musical Hype; 444 Sounds, Aisho Nakajima, Artemas, Atlantic Recording Corporation, Interscope, John Conlin, Palace Creek, UMG Recordings, Inc., Universal Music Enterprises, Universal Music Operations Limited, Virgin Music, Warner, Warner Music Czech Republic s.r.o.; Amanda Regnel, cottonbro studio, Daniel Duarte, Dealakshmii, Ketut Subiyanto, Kool Shooters, Lamar Belina, Maddu Ogeda, Victoria Strelka_ph from Pexels; Gordon Johnson, Kate from Pixabay]

13 More Songs Where It’s All in a Kiss | Playlist

Published by the musical hype on April 17, 2026April 17, 2026