15 L Songs Selected with No Rhyme or Reason | Playlist 🎧

“15 L Songs Selected with No Rhyme or Reason” features music by Black Atlass, Dua Lipa, Hayley Williams, Lil Uzi Vert & Selena Gomez. 

Ah, fun creating a playlist with limited criteria – freedom feels so free! After dropping some 15 G Songs Selected with No Rhyme or Reason, 13 P Songs Selected with No Rhyme or Reason, and 15 S Songs Selected with No Rhyme or Reason, it felt totally right to assemble another playlist with NO RHYME OR REASON.  Keeping things random, the letter of choice for the latest edition just happens to be L, hence, 15 L SONGS SELECTED WITH NO RHYME OR REASON.

Just as a reminder, the main criteria for 15 L SONGS SELECTED WITH NO RHYME OR REASON are that the title of the song must begin with the letter ‘L’ OR the word that begins with ‘L’ must be the first word of note. 15 L SONGS SELECTED WITH NO RHYME OR REASON features music courtesy of Black Atlass (“Lie to Me”), Dua Lipa (“Levitating”), Hayley Williams (“Leave it Alone”), Lil Uzi Vert (“Lo Mein”), and Selena Gomez (“Look at Her Now”) among others. Without further ado, join into this random L-song list which has NO RHYME OR REASON!

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1. Dua Lipa, “Levitating”

Future Nostalgia • Warner • 2020 

Dua Lipa is pretty awesome – that goes without saying! The Grammy-winning English pop artist delivered a certified bop on her self-titled debut album. Topping that brilliant pop album was a tall task.  That said, Lipa proved she was up for the challenge with her incredibly engaging, utterly consistent sophomore album, Future Nostalgia.  From start to finish, the English pop star is on autopilot.  Not only is she ‘on,’ but I dare you find a chorus that won’t get stuck in your head after listening!

“I believe that you’re for me, I feel it in our energy / I see us written in the stars / We can go wherever, so let’s do it now or never / Baby, nothing’s ever, ever too far.” Picking out the most accomplished, most fun songs on Future Nostalgia is tough – there’s literally an album’s worth of bops.  “Levitating” makes a compelling case among the crème de la crème, considering the ‘loving’ has the pop star rising/floating, defying gravity.  Every chorus is pretty amazing throughout Future Nostalgia, but “Levitating” hits especially hard:

“I got you, moonlight, you’re my starlight
I need you, all night, come on, dance with me
I’m levitating.”

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2. Hayley Williams, “Leave It Alone”

Petals for Armor • Atlantic • 2020

Hayley Williams is best known as the front woman of Paramore, a band that has had ample success critically and commercially. Paramore even did something that only a select few bands can tout – a Grammy win! Even with the success of the collective, Williams had a solo project in the works, hence, Petals for Armor.  In advance of the album, Williams released a couple of singles including debut solo single, “Simmer”. On 15 L SONGS SELECTION WITH NO RHYME OR REASON, we focus on the song, “Leave it Alone”.

“If you know love / You best prepare to grieve.” The thoughtfully penned “Leave it Alone,” produced by Taylor York, finds Hayley Williams totally consumed with grief.  The record has an extremely somber tone from the onset, instrumentally and lyrically. On the first verse, she sings, “‘Cause now that I want to live / Well everybody around me is dying / Now that I finally wanna live / The ones I love are dyin’.” Thinking about family members dying – people you care about leaving you – is totally depressing and overwhelming.  On the second verse, she’s further ‘triggered,’ providing a specific example of loss:

“You don’t remember my name somedays
Or that we’re related
It triggers my worry
Who else am I gonna lose before I am ready?
And who’s gonna lose me?”

The centerpiece of the record is the chorus, where “The truth’s a killer / But I can’t leave it alone…” “Leave it Alone” previously appeared on the playlist, 11 Solitary Songs That Are Totally Alone.

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3. Kane Brown & John Legend, “Last Time I Say Sorry”

“Last Time I Say Sorry” • Sony • 2020

On “Last Time I Say Sorry”, an unlikely duet occurs between country standout Kane Brown and Grammy-winning R&B musician, John Legend. Honestly, I NEVER expected the two to collaborate.  Does it work out? By my estimation, the record has its fair share of beautiful moments. Separately, both Legend and Brown sound quite nice.  Legend sings the first half of the first verse, with Brown following on the second half. Brown exhibits the most fitting tone for this record, not far-fetched considering this is his musical lane.

When Legend and Brown sing together, there are a couple of bumps in the road with the biggest bump at the onset, where Legend dominates, while Brown sings in a lower register.  This is an off-putting moment in my eyes, considering they’re singing the chorus, the centerpiece of the record:

“I won’t say I’m sorry over and over
Can’t just say I’m sorry, I’ve gotta show you
I won’t do it again; I’ll prove my love is true
I hope the last time I said sorry
Is the last time I’ll say sorry to you.”

Things improve when Brown ascends, and harmonies come into play. The songwriting is dedicated and repentant.  The production and sound embrace more of the pop end of country, which should please more casual listeners less dedicated to traditional country music. Ultimately, it’s a moderate success, not necessarily a resounding one; it has its fair share of moments.

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4. Selena Gomez, “Look at Her Now”

Rare • Interscope • 2020

Selena Gomez steps up her game on her sixth studio album, Rare, simultaneously conveying emotion and honesty and dropping pop bops. On such bop is “Look at Her Now”, a perfect fit for 15 L SONGS SELECTION WITH NO RHYME OR REASON. “Look at Her Now” checks off the usual boxes for a Selena Gomez record.  Vocally, she isn’t flashy, focusing more on gimmickry and subtlety.  Never a particular flashy vocalist, let alone ‘prodigious,’ she gives a respectable performance all in all.  Because “Look at Her Now” opts for a quicker tempo and embraces urban-electro-pop, the playful, gimmicky vocals served up are sufficient. 

Additionally, backing vocals and colorful harmonies that help make “Look at Her Now” satisfying.  The most satisfaction occurs on the repetitive chorus: “Mm-mm-mm… / Look at her now, watch her go.” “Look at Her Noow” won’t change your life, but it’s enjoyable, with lovely production by Ian Kirkpatrick, and a star-studded team of writers including Julia Michaels and Justin Tranter.

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5. Conan Gray, “Little League”

Kid Krow • Republic • 2020

“When we were younger / We didn’t know how it could be / We were the dumb, the wild, the free / Little League.” After much anticipation, Conan Gray released his highly anticipated debut album, Kid Krow, on March 20, 2020. Kid Krow marked a big milestone for the 21-year-old California-born artist, who gained attention early on as a YouTube personality. Ultimately, Gray is quite impressive throughout the course of the album, showing off compelling vocal and songwriting skills. Kid Krow, hence, is a must-hear pop album.  Fortunately for us, there’s an ‘L’ song (“Little League”) which we can include on our list of 15 L SONGS SELECTION WITH NO RHYME OR REASON!!!

On “Little League,” Conan Gray reminisces back on his younger days, wondering where the time went, what’s become of his friends, and such.  Often, when we are kids, we want to grow up as quick as possible.  Once you reach adulthood, you remember the memories and times of the past, and you long to return back to them, at least every so often.  That’s exactly what Conan does on “Little League,” a great preface for arguably the album’s crowning achievement, “The Story”, which concludes Kid Krow.

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6. Jhené Aiko, “Lightning & Thunder”

Ft. John Legend

Chilombo • Def Jam • 2020

“Been up since 6 doin’ rituals / Burning incense just to wish you well / Throw all my sense into wishing wells / Smelling your scent, I do miss you still.” Okay… Jhené Aiko released her third studio album, Chilombo, in 2020.  Regarding Chilombo, titled after her last name, Aiko told Carl Lamarre of Billboard, “In a sense, I am a like a volcano and this album is an eruption.” Fair enough.  While the album, as a whole, ends up being too long, Aiko does a nice job of expressing feelings in the aftermath of a breakup, healing, and ultimately, working towards moving forward.  On the ‘L’ song at hand, “Lightning & Thunder,” Aiko taps the soulful John Legend for the assist, singing about matters of the heart.

The collaboration with John Legend is a bit surprising and unexpected. Why? Legend tends to be an overt, powerhouse, where we associate Aiko being much more chill – cool, calm, and collected.  Surprisingly, the four-and-a-half-minute “Lightning & Thunder” is effective, with both vocalists meeting somewhere in the middle of two very distinct vocal approaches.  In addition to their respective, solo verses, they join forces on the final chorus and post-chorus, singing about their relationship/the plight of love:

“What kind of spell do you have me under?
Oh, what in the hell, I’m starting to, starting to wonder
Can’t help myself, lightning and thunder
… It’s just like lightning and thunder…”

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7. Tame Impala, “Lost in Yesterday”

The Slow Rush • Island • 2020

“And if it calls you, embrace it / If it holds you, erase it / Replace it.” “Lost in Yesterday” delivers the expected cues from a Tame Impala (Kevin Parker) record; idiomatic to the nth degree.  How so? Colorful production, and of course, those potent tenor pipes from Parker, particularly the falsetto.  He floats atop the busy backdrop, that also includes a driving, infectious groove that kicks some serious ass. Songwriting and theme also make the fourth single and eighth track from The Slow Rush (2020) captivating. “Lost in Yesterday” speaks to the power of the past and moving forward into the future.

Parker’s philosophy regarding the past is best summed up on the pre-chorus, where he sings: “So, if they call you, embrace them / If they hold you, erase them.” The key seems to be releasing the bad memories, and not letting them destroy you. Further confirmation of moving beyond the past occurs on the chorus, where Parker scolds all of us who keep returning to, well, YESTERDAY:

“And you’re gonna have to let it go someday
You’ve been diggin’ it up like Groundhog Day
‘Cause it might’ve been somethin’, don’t say
‘Cause it has to be lost in yesterday.”

“Lost in Yesterday” previously appeared on the playlist, 11 Compelling Songs That Are Totally Lost.

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8. Black Atlass, “Lie to Me”

“Lie to Me” • XO / Republic • 2020

In 2018, Canadian-bred, LA-based musician Alex Fleming, better known as Black Atlass, released his sophomore album, Pain & Pleasure.  Signed with XO, a subsidiary of Republic co-founded by The Weeknd, unsurprisingly, Fleming possesses many vocal similarities to him. After a two-year hiatus, Fleming returned with a compelling new single, “Lie to Me”.

“Lie to Me” has no shortage of pros.  First of all, the production is superb, courtesy of DANNYBOYSTYLES and Oligee.  They give Black Atlass a mighty backdrop to paint his colorful, expressive, and sexy vocal upon.  That mighty backdrop includes lush keyboards, synths, and anchoring beat.  Throw in a minor-key, and the vibe is absolutely electrifying on “Lie to Me.”

The production is awesome but so is Black Atlass. As aforementioned, he paints those stellar vocals atop the superb production work. He continues to showcase vocal similarities to The Weeknd, including a flawless falsetto that’s ripe AF.  The listener is most blessed on the chorus, where “lie to me” features that epic, falsetto treatment:

“So, lie to me
Lie to me
Lie to me babe
I’m feeling all that I can take
Lie to me
Lie to me
Lie to me babe
And my heart will never break.”

Besides the chorus, of course, there’s plenty of alluring moments in regard to songwriting.  Basically, Black Atlass is experiencing heartbreak, and as he sees his ex, well, he doesn’t want to know about her current relationship.  Therefore, she should – wait for it – LIE.  Clearly, he’s still in love with her. Fleming admits he is the blame for their break-up on the second verse, admitting “I fucked this up / You know I can be brave / I can be kind / I can be yours / Just give me time…”

It may have been two years since hearing from Black Atlass, but he returns with a bang on “Lie to Me.” His voice is absolutely amazing.  The songwriting and theme of the record are relatable, perfectly tailor to his strengths artistically.  Not enough people were listening to Alex Fleming in 2018.  More should tune in for his return in 2020. “Lie to Me” previously appeared on the playlist, Awesome Songs That Tickled My Fancy: February 2020.

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9. Pluko, “the lovely one”

“the lovely one” • Splendid Society • 2020

“I really wanted to step outside of my comfort zone for this one. I wanted to challenge myself to create a huge burst of emotion that still kind of felt like a ‘drop’ too,” 19-year old pluko comments regarding “the lovely one”. If you haven’t checked out this talented musician, who’s ascended from ‘bedroom producer’ to the ‘main stage,’ now is the time.  Electronic music naturally allows for more progressive spirit, something pluko captures on “the lovely one” more than many of his older colleagues. “This track was a huge breakthrough for me and my journey as an artist. After I wrote it, I felt as if I had just broken down a massive wall.” Breakthrough “the lovely one” is indeed!

“the lovely one” is nothing short of epic. Pluko absolutely wows on this instrumental record with colorful, sparkling production work.  Even being an instrumental cut, it follows a standard form that’s nearly identical to any pop song.  That said, this is definitely more of a multidimensional cut, particularly given the fact that the listener is treated to a variety of different, totally awe-inspiring sounds.  Furthermore, pluko does a bang-up job with contrast.   The best moment of the record occurs during the chorus/drop section.  Here, the rhythmic synths hit you right in the face, sounding as if they are going to pop right out and consume you.  Honestly, it one of the best and most distinct production touches I’ve heard in electronic music in some time.  All the while those synths attack, a hard-hitting beat anchors the record down.

When “the lovely one” was premiered, it was premiered via This Song is Sick.  Truthfully, the song is indeed sick.  Furthermore, so is pluko.  Honestly, no words were necessary considering the music of “the lovely one” speaks volumes all by itself.  Popping synths, banging drums, and a high level of musicianship makes “the lovely one” a certified bop.  “The lovely one” was previously selected among Awesome Songs That Tickled My Fancy: March 2020.

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10. Lil Uzi Vert, “Lo Mein”

Eternal Awake • Atlantic • 2020

“Yeah, chopstick came with a large lo mein / Extra clip in it, nigga, I ain’t got no aim / Balmain pocket filled with fresh romaine / And I stay with the cash like a XO chain.” Wow, that is a lot to take in, and that’s only half of the chorus! It should be noted, we’re NOT really listening to a song about lo mein itself… just clarifying! Grammy-nominated rapper Lil Uzi Vert is potent as hell on “Lo Mein.” The record ranks among the crème de la crème of his long-awaited, 2020 album, Eternal Atake.

“Lo Mein” kicks off with the aforementioned chorus, which begins enigmatically before the knocking backdrop is fully realized.  The chopstick referenced by Lil Uzi Vert is a gun, if you couldn’t quite decipher the lingo (he also mentions the ‘clip’).  Furthermore, Balmain is a lux brand, clearly not in my budget! Anyways, besides the sick chorus, the post-chorus is pretty rad, particularly the dripped-out ending end:

“When it come to the drip, not in front of me
Wearin’ Balenciaga on my jacket, my shirt
And my pants, and my socks, and my undies.” 

If any song is a prime fit for 15 L SONGS SELECTION WITH NO RHYME OR REASON, it’s this one.

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11. H.E.R., “Lost Souls”

Ft. DJ Scratch

I Used to Know Her • RCA • 2019

H.E.R. is special – understatement.  In a time where R&B hasn’t necessarily seen the level of notoriety it once enjoyed; she’s been one of the artists propelling the genre.  The accomplishments this young Grammy-winner has earned over two Grammy cycles (61^st and 62^nd Grammy Awards) is impressive.  Sure, she walked out empty handed during her second Grammys cycle with I Used to Know Her, but the fact that she was nominated twice consecutively in the big categories – awesomeness exemplified.  One of the standouts from I Used to Know Her not named “Hard Place” is “Lost Souls,” featuring DJ Scratch.   

The brief “Lost Souls” has Lauryn Hill written all over it.  For one, it samples Hill’s classic, “Lost Ones” from her 1998 masterpiece, The Miseducation of Lauryn Hill.  Besides the prominence of the sample, and that vintage 90s hip-hop sound, H.E.R. emulates Hill lyrically and in regard to how she performs the song.  “Confusing self-conscious with self-confidence,” she raps with attitude on the first verse, continuing, “So you monogamous, but body positive / Post pills you swallowing for a following / What he got to offer? He don’t see the kids that he fathering.” Like Ms. Hill, H.E.R. is woke AF lyrically.  It’s summed up brilliantly with the titular lyric, which appears on the chorus:

“A lost soul can’t lead the people, no
A lost soul can’t lead the people, nah
A lost soul can’t lead the people, no
A lost soul can’t lead the people, uh.”

“Lost Souls” previously appeared on the playlist, 11 Compelling Songs That Are Totally Lost.

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12. Harry Styles, “Lights Up”

Fine Line • Columbia • 2019

Did Harry Styles ‘come out’ when he released single “Lights Up” on October 11, 2019 (National Coming Out Day)? That is the question surrounding the single. Regardless of how Styles identifies sexually, “Lights Up,” is quite the intriguing record. The British heartthrob went against the grain on his promo single from his sophomore album, Fine Line, and it boded well for him.

“Lights Up” contrasts most of the songs that appeared on Harry Styles’ debut album, self-titled solo debut album. “Lights Up” has elements of vintage and retro, led by the robust bass line and the keyboards.  Still, there are also some modern cues, including the sleekness of the vocal production and some programming as well.  The record possesses a great groove, and fine production work courtesy of Tyler Johnson. Vocally, Styles remains a force, sounding absolutely marvelous, as he makes it clear he will “Shine, step into the light” and notably, ‘never go back.’

Honestly, it’s the lyrics, the accompanying music video, and the significance of October 11, 2019 that add to the speculation regarding Styles’ sexuality.  Does he care? Probably not.  There does seem to be elements of bisexuality implied in the music video, while the lyrics seem to be ‘open-minded’ without specifically addressing sexuality.  But the chorus seems to ‘open the door’:

“All the lights couldn’t put out the dark
Runnin’ through my heart
Lights up and they know who you are
Know who you are
Do you know who you are? (Oh).”

“Lights Up” previously appeared on numerous playlists: 11 Awesome Songs That Tickled My Fancy in October 2019, 12 Interesting Songs That Reference Bisexuality, and A Compendium Comprised of 100 Notable LGBTQ+ Songs.

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13. Camila Cabello, “Living Proof”

Romance • Epic • 2019

The release of “Living Proof”  corresponded with the official announcement of Romance, the sophomore album by Grammy-nominated pop sensation Camila Cabello. “Living Proof” appears as the second track on the LP. The production by Mattman & Robin is sleek on this urban pop joint featuring dynamic synths and pummeling, rhythmic drums. Shifting to the songwriting, the topic of choice is love, romance, and sex.

The best moment is undoubtedly the chorus, where Cabello delivers some of the most impressive falsetto of her career:

“Where did you come from baby?
And were you sent to save me?
Ooh, there’s a God in every move
Ooh, and you’re the living proof
The way you hands can’t shake me
Soft to the touch like, baby
Ooh, there’s God in every move
Ooh, and you’re the living proof.”

Cabello excels at being sultry and sexy, and “Living Proof” is no different.  She also manages to throw in some blasphemy, further accentuating the suggestive, sensual nature of this single.  On the first verse, she sings, “I wanna study every inch of you / ‘Til you trust me to make the angels come through.” Wow.  On the second verse, she’s a bit more devilish, as she sings, “Show your demons, and I might show you mine.” Of course, on the pre-chorus, sex and religion co-exist seamlessly: “Like a choir singing, ‘Hallelujah,’ / When my body’s crashin’ right into you.” “Living Proof” previously appeared on the monthly best of playlist, 11 Awesome Songs That Tickled My Fancy in November 2019.

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14. MGMT, “Little Dark Age”

Little Dark Age • Columbia • 2018

“Breathing in the dark / Lying on its side / The ruins of the day / Painted with a scar…” Poetic lyricism to say the least.  The thrilling “Little Dark Age” commences with alluring, mysterious synths, which serve as the pre-cursor to a sick, infectious, alt-pop groove.  The production (MGMT, Patrick Wimberly, and Dave Fridmann) is among the best features MGMT highlight from their comeback album, Little Dark Age.  Even so, vocally, Andrew VanWyngarden quickly proves he hasn’t missed a beat, sounding as tuned-in as ever.  And, as aforementioned, the lyrics are poetic and quite captivating.

“…And the more I straighten out / The less it wants to try / The feelings start to rot / One wink at a time.” Throughout “Little Dark Ages,” VanWyngarden compellingly delivers the ‘frightening,’ poetic lyrics.  While he never forces things, he sounds more assertive compared to the past, which suits the lyrical content and theme.  Ultimately, “Little Dark Age” is a fine track – well-rounded and creative through and through.  “Little Dark Age” appeared on two, dark-centric playlists: 18 Light & Dark Songs, In Three Phases and, more recently, 17 Thrilling Songs Infused with Darkness.

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15. Sturgill Simpson, “Life of Sin”

Metamodern Sounds in Country Music • High Top Mountain • 2014

Sturgill Simpson had a pretty sweet run in the 2010s.  In 2014, he delivered one of the most critically acclaimed country albums of the decade with Metamodern Sounds in Country Music.  A Grammy-nominated album, Simpson would win the Grammy for Best Country Album for another excellent country album, A Sailor’s Guide to Earth, which was also nominated for Album of the Year.  But the focus is Metamodern Sounds in Country Music, specifically the second track on the album, “Life of Sin.”

On the intentionally vintage, retro country joint, Sturgill Simpson “Thank(s) God for this here life of sin.” His honesty is appreciated throughout the course of the record, apparent from the jump.

“Well, lately things have been a little more complicated
Quality of life has got me down
Well, sex is cheap, and talk is overrated
And the boys and me are still working on the sound.”

That’s only the beginning of the laments for Simpson.  Love comes into play, as does the bottle, with Simpson adding, “But the paranoia is slowly creepin’ in / I keep drinkin’ myself silly.” Of course, the self-hatred is quite relatable when he asserts, “Every morning when I rise look in the mirror and despise / The sight of everything and all that I’ve become.” Been there Sturgill, been there! This is a modern, old-school country record at its best. “Life of Sin” previously appeared on the sinful playlist, 12 Thrilling, But Utterly Sinful Songs.

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[Photo Credits: Atlantic, Brent Faulkner, Columbia, Def Jam, Epic, High Top Mountain, Interscope, Island, The Musical Hype, Pixabay, Republic, Sony, Splendid Society, Warner]

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