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Ah, it’s time to select the best songs of month: AWESOME SONGS THAT TICKLED MY FANCY IN MARCH 2020! All of the songs on Awesome Songs That Tickled My Fancy in March 2020 were released as singles or as an album track in March 2020, or whereabouts. Musicians that made our ears perk up in the month of March include Bright Eyes (“Persona Non Grata”), Childish Gambino (“53.49”), Demi Lovato (“I Love Me”), The Chicks (“Gaslighter”), and J Balvin (“Blanco”) among others. Without further ado, here are Awesome Songs That Tickled My Fancy in March 2020.
1. Childish Gambino, “53.49”
3.15.20 • mcDJ Recording / RCA • 2020
Then, he contrasts, singing absolutely gorgeously on the chorus.
“There is love in every moment Under the sun, boy I did what I wanted to There is love in every moment Under the sun, boy You do what you wanna do.”
On the first chorus he showcases restraint, while the second finds him digging in, flaunting that otherworldly grit and ripe falsetto. Ultimately, on “53.49,” Glovers speaks about how great his life is. “53.49” = Awesomeness exemplified.
2. Demi Lovato, “I Love Me”
“I Love Me” • Island • 2020
The biggest takeaway, as aforementioned, is about empowerment – embracing self-love. “‘Cause I’m a black belt when I’m beating up on myself / But I’m an expert at giving love to somebody else,” she sings on the pre-chorus, continuing, “I, me, myself, and I don’t see eye to eye / Me, myself and I.” That’s such a potent, incredibly relatable point. On the chorus, she expounds further, as she works beyond being “my own worst critic” and towards “…When I love me is enough.” Ultimately, Lovato slays on “I Love Me,” keeping it 100, balancing a relatable message and an infectious pop gem. “I Love Me” previously appeared on the playlist, 11 Empowering Songs About Loving Yourself.
3. J Balvin, “Blanco”
Colores • Universal Music • 2020
“To any net I score (goal) / Like Cristiano Ronaldo / Throw me the beat that I deliver (pew, pew) / Hands up, this is an assault / This is not mass, but I came in white…” That’s definitely electrifying stuff right there! J Balvin concludes Colores with the fiery banger. “Blanco” shines thanks to its hip-hop sensibilities (within the Urbano Latino umbrella). The production by Sky Rompiendo and Dee Mad is minimalist yet potent, while Balvin never has any shortage of swagger, let alone sex appeal. Exhibit A: “For real, made in Medellín, eh / I give it to you without you having to ask for it.”
4. Bright Eyes, “Persona Non Grata”
“Persona Non Grata” • Dead Oceans • 2020
First and foremost, Conor Oberst is true to self throughout “Persona Non Grata.” What does that mean? Well, ultimately, listeners experience the vocal style and songwriting style they’ve been accustomed to and come to love throughout his lengthy career. Once you hear Oberst sing, you almost instantly know it’s him, considering his tone of voice and delivery. That’s the case on “Personal Non Grata” – he’s instantly recognizable. Furthermore, the lyricism is emotional, poetic, and quite engaging. Take the first verse: “Getting dressed for a date / Put on blue aftershave / Wore a kilt like a Celt / Hid the weight that I felt.” Worth noting about the Celt lyric is the use of bagpipes – Pretty cool ‘tone poem’ element in that regard.
Of course, the kilt/Celt lyric is only one lyrical excerpt. There are so many more gems on this brilliant, thoughtfully penned record, which references the disenfranchised, spirituality/hypocrisy, and of course, politics. President Donald Trump is never explicitly mentioned, but his presence is clearly perceptible throughout. Additionally, “Persona Non Grata” is well produced, beyond the aforementioned bagpipes. Bright Eyes makes a strong comeback to say the least.
5. The Chicks, “Gaslighter”
Gaslighter • Columbia • 2020
“Gaslighter, denier / Doin’ anything to get your ass farther / Gaslighter, big timer / Repeating all the mistakes of your father.” “Gaslighter” is an electrifying country record, plain and simple –#LIT. Opening with powerful, piercing harmonized vocals, the tone is set early on by The Chicks. Set in a major key, producer Jack Antonoff constructs a potent, country/folk backdrop for the girls to ‘do work’ on.
“Gaslighter” seems to be about a failing relationship that includes deception and most pertinent to Natalie Maines, divorce. “You thought I wouldn’t see it if you put it in my face / Give you all my money, you’ll gladly walk away,” she sings on the second verse, continuing, “You think it’s justifiable, I think it’s pretty cruel / And you know you lie best when you lie to you.” The rest of the chorus, excerpted earlier, goes something like this:
“Gaslighter, you broke me You’re sorry, but where’s my apology? Gaslighter, you liar.”
Plain and simple, “Gaslighter” is the blueprint for executing a comeback. The Chicks have always been known for their attitude, and they exhibit plenty of attitude throughout this three-and-a-half-minute bop. Angry Natalie Maines is the best in all honesty. Fancy tickled!
6. John Legend, “Actions”
“Actions” • Sony • 2020
“Actions” is short but incredibly sweet. Produced by Oak, he masterfully captures a classic sound, assisted by two awesome samples: “The Edge” (David McCallum) and “The Next Episode” (Dr. Dre featuring Kurupt, Nate Dogg, and Snoop Dogg). Sure, “The Next Episode” can be characterized as ‘old-school’ hip-hop considering it’s 2020, but regardless, it’s refreshing to hear. The star of the show is John Legend, who, to reiterate, sings like an absolute champ. He never has to force things, sounding naturally compelling, nuanced, and potent. The focus is L-O-V-E, with Legend placing emphasis on showing as opposed to telling. This is best exhibited on the chorus which tweaks/transforms the old saying, actions speak louder than words:
“Actions, speak louder than, speak louder than, speak louder than love songs The melodies they carry on Actions, speak louder than, speak louder than, speak louder than love songs I’ve been doing it all wrong.”
Ultimately, once more, John Legend delivers a surefire winner. “Actions” is well-rounded in every sense of the word. The vocals are elite, the production is classic yet refreshing, and the songwriting is entertaining with the chorus being catchy. Call it what it is, a bop. Totally tickled fancy!
7. Ellie Goulding, “Worry About Me”
Ft. Blackbear
“Worry About Me” • Polydor • 2020
While Goulding is clearly the star, and needs no further support, blackbear brings a welcome contrast, with his distinct melodic/pop-rap and sung vocals.
“She said, ‘Why you gotta hit me on some I don’t know shit? I am not your property; who led you to that notion? Action speakin’ louder than whatever you been smokin’ You don’t gotta try and fix somebody that ain’t broken.”
The songwriting is memorable and well-rounded. No, “Worry About Me” is by no means the deepest song ever written, but it’s enjoyable and relatable. “I thought I need you to feel safe,” she sings on the first verse, “But now that I’ve been through it, I’m stuck in a good place.” The chorus, in all its repetitive simplicity, is terrific.
“You can worry ‘bout this You can worry ‘bout that You can worry ‘bout she…”
All in all, worrisome or not, “Worry About Me” is another bop for Ellie Goulding. It checks off boxes in regard to vocals, production, and songwriting as far as relatability and interesting subject matter. Furthermore, it fits the criteria for this playlist considering its use of the word and theme, worry. “Worry About Me” previously appeared on the playlist, 11 Songs Filled with Overwhelming Worries.
8. Katy Perry, “Never Worn White”
“Never Worn White” • Capitol • 2020
“Never Worn White” is beautifully executed overall. Johan Carlsson does a nice job setting up Katy Perry with lovely production – nothing to crazy. “Never Worn White” musically is anchored by piano and strings – gentler, more radiant sounds. Of course, Perry herself actually sounds more alluring and compelling than she has in some time. Perhaps she’s never been the most technically gifted vocalist, but the way she uses her instrument here – the expressiveness and nuances – are pretty sweet. Listening to “Never Worn White,” I believe what she has to sell – the authenticity is clear and present. Particularly impressive is how she truly rises to the occasion towards the end of the record, ‘bringing it on home.’
It’s easy to be more authentic when the subject matter is mature. “Never Worn White” is about a committed, dedicated relationship, with matrimony in mind. “Thank God that you were man enough to come,” Perry sings on the pre-chorus, continuing, “Answer my prayers / You asked the question, I said, ‘Yes’ / But I’m scared.” Of course, the centerpiece is the following chorus, where Perry wants to be the best version of herself to her future husband:
“‘Cause I’ve never worn white But I wanna get it right Yeah, I really wanna try with you No, I’ve never worn white But I’m standin’ here tonight ‘Cause I really wanna say, “I do” I do.”
After swinging and missing on singles like “Small Talk” and “Harleys in Hawaii”, Perry ‘comes up’ on “Never Worn White”; I love the authenticity she exhibits.
9. Isaac Dunbar, “Scorton’s Creek”
“Scorton’s Creek” • RCA • 2020
“Scorton’s Creek” continues to showcase the genius of the wunderkind. Written by himself, he produces alongside Drew Pearson. The backdrop is alluring and well-rounded by all means, featuring a dreamy, lush sound matching the love-centric theme. “Let’s go to the tennis court / And take some pictures once more / I’d love to sneak a peek of you while you’re posing.” Young Isaac seems to sing about falling in love, and all the reactions he has towards the person he’s in love with, or how he envisions the relationship. Unfortunately, he also seems to understand the plight of love, crushing, and such at the end clearly:
“I don’t wanna say goodbye I fear you love somebody else But there’s no way that you can control how you feel So, I’ll just have to learn between what’s fake and real.”
With each and every Isaac Dunbar release, listeners hear a rising star. Furthermore, Dunbar continues to let us into his life, including an excellent coming of age song like “Scorton’s Creek.” Short but potent, once more, Dunbar delivers vocally, emotionally, and thematically.
10. Bazzi, “Young & Alive”
“Young & Alive” • 2020
Bazzi’s approach is one that is drenched in swagger. His melodic lines tend to be rhythmic, influenced by hip-hop, incorporating a pop-rap sensibility. Furthermore, like many contemporary rappers and singers, there’s no obligation to censor anything. Andrew casually throws in f-bombs, and they totally fit the chill, youthful vibe. The first utterance of fuck occurs on the chorus, which appears at the top of the track:
“Ridin’ my bike like I’m too young to drive Careless and free like it’s 2005 Had to chill the fuck out, take a trip outside To have fun with my friends like I’m young and alive.”
The lyrics are reminiscent, further evidenced throughout the other sections of the song. On the first verse, in another instance of ‘fuckery,’ Bazzi sings, innocently, “We ain’t gotta fuck or nothing / We could hold hands or somethin’.” The same innocence turns into more on the pre-chorus, as he sings, “But when the night gets late and we’re too fucked up / Please don’t tell your mom, don’t wanna mess this up.” Beyond the colorful lyrics and easy-going performance, the backdrop supporting Bazzi is pretty strong, further bringing out the best of him – in a mellow sort of way.
Relatively simple, Bazzi has a good thing going for him on “Young & Alive.” He doesn’t seem to take himself too seriously, and that’s part of the charm. Adding to the charm are the reminiscent vibes, easy-going, swagger-laden vocals, and pleasant production work. “Young & Alive” may not cease aging, but it will certainly take you back in the day.
11. Pluko, “the lovely one”
“the lovely one” • Splendid Society • 2020
“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.
12. The Killers, “Caution”
Imploding the Mirage • Island • 2020
“Caution” commences enigmatically, with pads and slow-moving, restrained vocals by Brandon Flowers on the intro. “And there is nothing / I want to do / There is nothing / I want to give…” This unexpected, atmospheric start definitely makes the ears tune in – seeing where the band is going with this one. Of course, they don’t disappoint! Soon enough, “Caution” embraces groove, a quick tempo, increased dynamics, and those signature expressive, powerful vocals by Flowers (This is the point of the song where the ‘radio edit’ starts, FYI). You could say, The Killers are definitely true to self.
As always, Flowers sings with incredible confidence, showcasing his personality, and he has some great, narrative-driven lyrics to work with. “Let me introduce you to the featherweight queen,” he sings on the first verse, continuing, “She got Hollywood eyes, but she can’t shoot what she sees.” On the second verse, the lyrics continue to be descriptive – thoughtfully penned: “Never had a diamond on the sole of her shoes / Just blacktop white trash straight out of the news.” Wow. Of course, the centerpiece is the chorus, excerpted at the top, continues as follows:
“If I don’t get out, out of this town I just might be the one who finally burns it down I’m throwin’ caution I’m throwin’ caution.”
Where are Brandon Flowers and The Killers “throwin’ caution” to on “Caution?” Why the wind, of course. Ultimately, it’s a fantastic preview to Imploding the Mirage. Why does it work so well? Great production (Jonathan Rado and Shawn Everett), top-notch vocals, and well-rounded, memorable songwriting. This is an alternative bop, period. Fancy T-I-C-K-L-E-D!
13. Kiana Ledé, “Forfeit.”
Ft. Lucky Daye
Kiki • Republic • 2020
Why is “Forfeit.” such a gem? First and foremost, she has a terrific instrument to work with – her voice is gorgeous. Besides being able to sing well technically, she also infuses ample personality into her performance on “Forfeit.” “Forfeit.” is a record that naturally lends itself to personality, given the angry sentiment of the lyrics, exemplified by the aforementioned excerpt from the chorus. The chorus itself continues:
“…Don’t front when you can’t back it up It’s about time we wrap this shit up, mmm Say something now Say something now, yeah.”
Of course, that doesn’t even tackle the anger Kiana Ledé serves up on the verses. She’s definitely explicit about things. “You better forfeit,” she sings on the first verse, adding, “Keep fuckin’ with my vibes / And I can assure you it won’t end how you like.” Day-um! On the second verse, she goes on to sing, “You must be some kinda fucked up / To be talkin’ to me crazy.” Again, day-um, and it doesn’t stop there. And hey, we even failed to mention the guest spot by Grammy-nominated R&B sensation, Lucky Daye.
All things seem to be working for Kiana Ledé. Again, you are looking at, rather listening to, a star, particularly on “Forfeit.” In addition to the award-winning aggressive lyricism and top-notch vocal performance, Ledé has a lush backdrop (Boston, Mike Woods, Patrick McManus, and Roark Bailey) to work with, led by the soulful guitars. Furthermore, that slow tempo further amplifies the aggressiveness. All in all, this is a superb R&B record.
14. Adam Lambert, “Roses”
Ft. Nile Rodgers
Velvet • More is More • 2020
Lambert is a bit upset on “Roses” though. Why? Well, he received ROSES but sans emotion –matters of the heart!
“And all that I got was roses Don’t mean a thing without emotions Baby, just do it right, focus ‘Cause I just needed your love tonight, tonight, tonight.”
Basically, Lambert wants more of an emotional connection, so much so that on the second verse he asks, “Is it love or are we just fuckin’? / Tell me, baby, you can’t keep me waiting.”
15. Bad Bunny, “Si Veo a Tu Mamá”
YHLQMDLG • Rimas Entertainment • 2020
“I don’t know why the hell I fool myself / Saying I forgot you, when I miss you…” “Si Veo a Tu Mamá” commences YHLQMDLG brightly and energetically in a major key. On this sleekly produced number (Subelo NEO and Elikai), it’s the classic scenario of ‘I’m not over my ex.’ As to be expected, Bad Bunny references missing the sex early on, as well as letting lots of things in life fall by the wayside because of his depression essentially.
“I still love you But I know it’s a mistake Because you don’t love me anymore And without you, I do better And if I see your mom I ask her about you To see if you have someone Someone that makes you happy.”
“Si Veo a Tu Mamá” previously appeared on the playlist, 15 S Songs Selected with No Rhyme or Reason.
[Photo Credits: Bazzi, Brent Faulkner, Capitol, Columbia, Dead Oceans, Island, mcDJ Recording, More is More, The Musical Hype, Pixabay, Polydor, RCA, Republic, Rimas Entertainment, Splendid Society, Sony, Universal Music]
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