BOY, These Songs Are About You, Part 6

Reading Time: 24 min read

BOY, These Songs Are About You, Part 6 features songs by Felix Jaehn & Cascada, Isaiah Rashad, Phoebe Bridgers, T.I., TEEKS, and Thin Lizzy.

“My BOY / Pretty like a sunrise / So strong / Gentle like a butterfly,”

Māori soul artist TEEKS sings soulfully, sweetly, and sensually. Oh, and he is pretty himself 🥵 😍. As for Phoebe Bridgers, she sings about those “Lost BOYS” who “never grow up, never go home…” Sexually fluid rapper Isaiah Rashad gets into the mix, too, and raises an eyebrow in the process: “See, maybe stay the night (Stay the night) / Then I could be your BOYFRIEND (Be your boyfriend) / And if that doesn’t work (Doesn’t) / Then I’ll just be your girlfriend.” 👀 The common thread between these songs by TEEKS, Phoebe, and Isaiah: B-O-Y(S). Sorry girls, but BOY, These Songs Are About You, Part 6 is a musical compendium about the crucial topic of BOYS!

BOY, These Songs Are About You, Part 6 is the sixth installment of my beloved boy-driven playlist series. Boys are beautiful… well, some of ‘em! It follows up BOY, These Songs Are About You (2023), Part 2 (2024), Part 3 (2025), Part 4 (2025), and Part 5 (2026). It is one of many playlists about those beloved, yet frustrating beings known as boys. BOY, These Songs Are About You, Part 6 features songs by Felix Jaehn & Cascada, Isaiah Rashad, Phoebe Bridgers, T.I., TEEKS, and Thin Lizzy. So, without further ado, let’s embrace the good and, unfortunately, the bad about boys through song!

~ Table of Contents ~

1. Felix Jaehn & Cascada, “boy you turn me”

2. Phoebe Bridgers, “Lost Boys”

3. TEEKS, “My Boy”

4. Isaiah Rashad, “BOY IN RED” (Ft. SZA)

5. Jeffrey Chan, “Rebound Boy”

6. FLETCHER, “Boy”

7. T.I., “DOPE BOYS ACADEMY” (Ft. T-Pain, Jeezy & 2 Chainz)

8. Bimini, “TANK TOP BUM BOYS”

9. Nick Hissom, “Hot Boy Things”

10. Trippie Redd & Young Thug, “Paperbag Boy”

11. siovo, “BABYBOY”

12. Matty M., “I Like Boys”

13. Jimmy Console, “Pussy Boy”

14. Leftöver Crack, “Gay Rude Boys Unite”

15. Thin Lizzy, “The Boys Are Back In Town”

BOY, These Songs Are About You, Series

1. Felix Jaehn & Cascada, “boy you turn me”

boy you turn me → Collaection GmbH → 2026

“Upside down / Boy, you turn me / Inside out / And ‘round and ‘round.”

Woo! Nonbinary and pansexual German DJ and record producer Felix Jaehn (he/she/they) and German dance project Cascada (Natalie Horler) join forces for a badass dance bop in “boy you turn me”. “Boy you turn me” sounds familiar, in some respects, for good reason. It samples a Diana Ross classic, “Upside Down”. “Boy you turn me” was written by Jaehn, Maegan Cottone, Georgia Meek, Troy Miller, and Xoro. Jaehn, Miller, Xoro, and Luca Eck produced it.

From a first listen, “boy you turn me” screams gay club. The thudding beat sets the tone – stomping right onto the dancefloor! It’s the house piano, robust bass line, and the driving, percussive, scintillating groove that propels this turning experience! The sound palette is vibrant. Besides the work that Felix and company contribute, Natalie Horler eats on vocals. Yes, it’s been nearly two decades since Cascada’s “Everytime We Touch” days, but Nat’s vocals still slap. She brings plenty of attitude to this fun joint. “I should know better by now,” she sings in the first verse, and adds in the second, “Baby, I’m not blind / Lovin’ you’s like rolling the dice.” Word. Later, in the third verse, Horler admits, “Baby, it’s all fun / ‘Til you take my heart and you run / Boy, you got me spun / Don’t let go, now I’m coming up.” Restless, in the pre-chorus, Natalie adds that she’s “Dancing on the edge / Of this chemical feeling / High heels on the ceiling.” Of course, the centerpiece is the chorus excerpted earlier. It expands:

“Said upside down, you’re turning me

You’re giving love instinctively

‘Round and ‘round, you’re turning me

I say to thee, respectfully.”

Ooh-wee! A banger and bop through and through, Felix Jaehn and Cascada put in work on the irresistible “boy you turn me”.

Appears in 🔻:

~ Table of Contents ~

2. Phoebe Bridgers, “Lost Boys”

Lost Weekend → Dead Oceans → 2026

“This machine is killing me / I pretended it was make-believe.”

Noted, Phoebe Bridgers! The Grammy-winning queer singer-songwriter is back with album number three, Lost Weekend. Leading that lost weekend is the lead single and second track, “Lost Boys”. Bridgers composed the track alongside Christian Lee Hutson, Marshall Vore, Bo Burnham, and Alex G. She produced it with Tony Berg, Jack Antonoff, and Ethan Gruska, with additional production by Alex G.

“Lost Boys” runs about four and a quarter minutes. Rich in instrumentation, instrumental contributions arrive courtesy of the producers mentioned earlier, as well as Rob Moose, who performs and arranges the strings. Adding to the personnel are background vocals by some familiar names: Julien Baker and Lucy Dacus. So, beyond these stacked credits, how impressive is “Lost Boys?” Very impressive – it’s Phoebe Bridgers, after all! Bridgers sounds beautiful as she sings. She never forces things, singing with ease but expressively. That said, there are a few more assertive moments as the song progresses. The alternative aesthetic is in full force. Beyond lovely vocals, the theme and lyrics are captivating, while the melodiousness – the tunefulness – is indisputable. “On a motorbike, doing 90 in a 55 / To another life,” she sings in the first verse, and continues, “Where they make you cut your hair / Impatient with a rifle and your papers / Weightless but not scared.” Ooh, it’s easy to see where this is going… In the second verse, the lost boy, “Threw a tantrum with a 57 / And broke a rib / You told me you wish you were dead.” Oh, snap! But there’s atonement: “In a twin bed / Where all will be forgiven in an instant / Hands in each other’s hair / We are born again.” Word. The jam-packed musical accompaniment contributes greatly to how the song percolates, particularly during the centerpiece, the tuneful chorus: “Lost boys / Never grow up, never go home…” All told, Phoebe Bridgers brings the heat with “Lost Boys”. It’s well-rounded in just about every way: vocals, songwriting, and arrangement/production. What more can you ask for?

Appears in 🔻:

Striking Bops from July 2026

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3. TEEKS, “My Boy”

“My Boy” → Sony Music Entertainment New Zealand Ltd → 2026

“My boy / Pretty like a sunrise / So strong / Gentle like a butterfly.”

Aww, there’s nothing better than a great MLM (men loving men) song! Dashing, extremely talented Māori soul artist TEEKS (Te Karehana Toi) gives us a delectable, sensual bop with “My Boy”. In an Instagram post, he opens up about his sexuality, asserting thoughtfully, “Coming out publicly was never something I felt was important. My sense of identity comes from a culture rich in origin stories, lineage, connection to land and spirit.” In “My Boy,” his preference is no secret, characterizing his boy as not just a snack, but the whole damn meal. A “Body like Hercules”? “My Boy” was written by TEEKS, Sam Nakamura, M Basa, Josh Fountain, and Terence O’connor. Fountain, O’connor, and Vincent Pham produced it.

From the get-go, “My Boy” is the sugar honey iced tea. Not only does TEEKS characterize him as a masterpiece, but the performance, production, songwriting, and the whole shebang are giving masterpiece, too! TEEKS’ beautiful, distinct, soulful voice is like sex on the track. Just listening to him is more than enough to get you hot and bothered – in the mood to do naughty, nasty things. TEEK’s instrument is tailor-made for this ode to perfection, where “Those eyes / Cut me like a razor,” and he encourages the object of his affection to “Come open up on me / A new possibility / I’ll be your supplier / If you like the way it feels.” Oh, snap! The production also screams S Meets E, and then they X. It’s sleek, mind you, but it hearkens back to the soul of old. That is refreshing: warm keys, chill guitar, anchored by a robust bass line and simple yet potent groove that’s locked in. Oh, and we get some strings, too, upping the ante! “My Boy” is nothing short of delightful. The music speaks for itself.

Appears in 🔻:

Striking Bops from July 2026

~ Table of Contents ~

4. Isaiah Rashad, “BOY IN RED” (Ft. SZA)

IT’S BEEN AWFUL → Top Dawg Entertainment / Warner Records Inc. → 2026

“Ayy, baby, come inside (Come inside) / I wanna play some fire shit (Fire) / And if you have the time (Have the time) / Then maybe you can slide with me.”

Oh, snap 🫰! Rapper Isaiah Rashad (Isaiah Rashad McClain) tapped his Grammy-winning label mate, SZA (Solana Rowe), for the assist on some “fire shit” in his single, “BOY IN RED”. “BOY IN RED” is the fourth track from his third studio album, IT’S BEEN AWFUL, released in 2026. The album debuted respectably at number 18 on the Billboard 200 but exited the charts quickly. Rashad, SZA, Keem the Cipher (Timothy Hakeem Vance), Justus Yearous, and Julian Asuaje composed it while Keem the Cipher and Fantom Power produced it. “BOY IN RED” samples the 1966 song “Didn’t Want to Have to Do It” by The Lovin’ Spoonful.

Isaiah Rashad draws first blood on the distinct “BOY IN RED.” He sets the tone early in the first verse. He raises eyebrows as well, asserting he can be either a boyfriend or a girlfriend: “See, maybe stay the night (Stay the night) / Then I could be your boyfriend (Be your boyfriend) / And if that doesn’t work (Doesn’t) / Then I’ll just be your girlfriend.” He identifies as sexually fluid, so take those lyrics however you would like. Rashad performs the chorus and post-choruses.

“Back and forth, late nights beside you

I don’t know no pain; I’m here kissing nirvana

…Do you really want my love?”

SZA takes the reins in the second verse, complementing Rashad superbly. Not only do her radiant pipes fit perfectly, but she also responds to Rashad’s desires. “You been out with your boys / Feeling horny, annoyed,” she sings and continues, “Now you want me again / Play, coy, I’ve been driving your boat / Blowing all of your steam / Glad you let me in.” Oh, snap 🫰, again! In the chorus that follows, SZA sings with him, selectively, while Rashad remains solo in the post-chorus. In the final verse, the duo sings together – a repeat of the first verse. They conclude the song singing the centerpiece, the chorus. All told, “BOY IN RED” is a unique, dazzling duet by Isaiah Rashad and SZA. The full magic of the track reveals itself after a couple of listens.

Appears in 🔻:

Isaiah Rashad & SZA, BOY IN RED: Dazzling Duets No. 30 (2026)

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5. Jeffrey Chan, “Rebound Boy”

Boys Like Us: The Afters → Jeffrey Chan → 2026

“Another week goes by, I hadn’t heard from you…”

Uh-oh! It’s giving a red flag 🚩! Please, continue. “Now what the hell I’d do was it me or was it you?” Those matters of the heart are always so pesky, aren’t they?! Even so, Los Angeles-based, Sydney-raised gay pop artist Jeffrey Chan brings the heat on “Rebound Boy”. “Rebound Boy” is the eighth track on Chan’s 2026 album, Boys Like Us: The Afters. Chan and Jonah Bru wrote and produced it.

It’s easy to sink one’s teeth into “Rebound Boy.” How so? It begins with the danceable, exuberant production. The synths are vibrant, while the beat is punchy – a catalyst for hitting the dance floor. Even with colorful keys and a mean groove fueling the fire, the star of the show is Jeffrey Chan, period. Like the groove, his rich baritone packs a mean punch 🤛. Unfortunately, Chan’s getting the short end of the stick from this boy! Jeffrey is into him, but the man DOES NOT reciprocate! Ugh! “And I can’t play pretend that we’re not more than friends,” he asserts in the pre-chorus. Of course, the centerpiece, the chorus, lays it out there loud and clear: “I’m just your rebound boy.” Yep, appears that way, Jeffrey! His loss, though! As the song progresses, there’s more evidence of this lack of care, where “A passing moment and no thought left in your head / You might as well be dead, you’re just leaving me on read.” Relatable to the nth degree. If you haven’t been on a dating app and been left on read and ghosted, you must be extremely fine shyt. Thankfully, our handsome and talented Aussie won’t play the fool: “I won’t chase you again, cause I know how this ends.” Although it’s a shitty situation, one experienced far too often 😏, “Rebound Boy” is an enjoyable, well-rounded gay pop joint.

Appears in 🔻:

Jeffrey Chan, Rebound Boy: Beaming with Pride No. 53 (2026)

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6. FLETCHER, “Boy”

Would You Still Love Me If You Really Knew Me? → Snapback Entertainment LLC / UMG Recordings, Inc. → 2025

“I’ve been sitting on a secret / And I don’t think I can keep it anymore.”

Uh-oh… FLETCHER (Cari Fletcher), what is it? “I kissed a boy.” What!? The shock! The awe! Holy shit, girl! Cue up the mind-blown 🤯, speechless 😶, and wow 😮 emojis. This wouldn’t be surprising for someone who identifies as heterosexual, of course. But FLETCHER has identified as a queer artist, focused on female relationships, so hearing about her dating/falling for/ and kissing a “Boy” is surprising. FLETCHER also seemed anxious about releasing the fifth track from her third album, Would You Still Love Me If You Really Knew Me?. “Boy” was written by FLETCHER, Jennifer Decliveo, and Shane McAnally. FLETCHER and Decliveo produced it.

“Boy” begins abruptly with FLETCHER singing without an instrumental introduction. Early on, you can tell she’s getting down to business. She sings in a calm, cool, and collected fashion initially. She is reflective, transparent, and incredibly vulnerable; that makes this performance quite special. The melodies are beautiful as she opens up about this surprising life event. “We were counting down, the music stopped / We were waiting for the ball to drop,” she sings in the pre-chorus, and continues, “I closed my eyes, and I leaned in / I kissed a boy.” In the second verse, which is more developed than the first with more instrumental ideas and vocal harmonies, she addresses the potential fallout: “I’ll admit I don’t know how to label it /… You can think that I’m a hypocrite, that’s cool / I’m just following my heart, is what it is / And only time will tell.” If anything, she deserves credit for her honesty – it takes courage. The chorus is the centerpiece – the section to beat:

“And I know it’s not what you wanted to hear

And it wasn’t on your bingo card this year

Well, it wasn’t on mine

I fell in love

And it wasn’t with who I thought it would be

And I’m scared to think of what you’ll think of me

His lips were soft

I had no choice, I kissed a boy.”

The boy sounds enticing, to say the least… I love how the outro, aka the final chorus, brings things back down, reiterating the shocking happening. All told, “Boy” is a beautiful and incredibly vulnerable song. Yes, it’s a departure for FLETCHER, but ultimately, this talented queer artist/woman has the right to fall in love with whoever she desires, no matter how surprising or unexpected it might be.

Appears in 🔻:

FLETCHER, Boy: Beaming with Pride No. 65 (2026)

~ Table of Contents ~

7. T.I., “DOPE BOYS ACADEMY” (Ft. T-Pain, Jeezy & 2 Chainz)

KILL THE KING → Grand Hustle LLC / EMPIRE → 2026

“You gettin’ money? (Gettin’ money) / You fuckin’ ‘round with them dope boys.”

F-f-fuck yeah, BOYYY! What happens when T.I. (Clifford Harris), T-Pain (Faheem Najm), Jeezy (Jay Jenkins), and 2 Chainz (Tauheed Epps) collaborate? A fuckin’ rap banger, of course! “DOPE BOYS ACADEMY” is the eighth track from T.I.’s 12^th, and purportedly, final studio album, KILL THE KING, released in 2026. All of the contributing artists composed “DOPE BOYS ACADEMY.” DJ Montay, Big Oomp, Jared McGriff, big korey, and Shonte Renee produced it.

T-Pain draws first blood on “DOPE BOYS ACADEMY,” performing the chorus. “Hey, me and my niggas gettin’ money (We gettin’ money) / You fuckin’ with the dope boys (Dope boys, yeah),” he sings. Woo! It’s nothing brand-new – rappers have been bragging for a long time – but the tone is set. T.I., the lead artist, performs the first verse. He touts his fit, including Dickies, and spits about money, drip, and, of course, hustling. “Man, all we need is some boiling water and some baking soda / And a couple J’s, we get to rollin’, then we taking over,” he raps and continues, “We getting paid on the daily, the hustle is all we know / Like if they come and raid today, then fuck it, we gotta go.” Jeezy arrives in the second verse, keeping the dope-ness alive and ready to sell… “I’m talking so much white, kitchen looking like it’s heaven,” he asserts, and adds, “Glass bags and the scale, gas stove on hell (Hell).” That’s not even the half of Jeezy’s hustle! 2 Chainz gets into the mix with the third and final verse. Drugs appear as well, but how about some contrast from those scales: “Backseat recline like it’s a lawn chair / Yellow chinchilla look like it’s blonde hair / My lady got a fat ass, I leave my palm there.” T-Pain is the final voice heard, concluding “DOPE BOYS ACADEMY” with a “Hey.” Word. With a malicious, minor-key backdrop supporting them, T.I., T-Pain, Jeezy, and 2 Chainz drop a mean, dope-fueled rap banger with “DOPE BOYS ACADEMY.”

~ Table of Contents ~

8. Bimini, “TANK TOP BUM BOYS”

“TANK TOP BUM BOYS” → BRAIN ROT RECORDS → 2026

“Fuck racists! / Fuck Reform! / Fuck TERFs!”

Ooh-wee! Bimini (they/them) said what they said! These are the first lyrics of their short but potent and unapologetic single, “TANK TOP BUM BOYS”. So, where did this infamous homophobic title originate? Why, former British prime minister Boris Johnson. Yikes! The nonbinary artist uses the offensive reference as fuel for the fire. A prime example: “Fuck you, Boris Johnson.” Damn! “TANK TOP BUM BOYS” was written by Bimini and producer L-Vis 1990 (James Connolly).

In this boisterous protest anthem, Bimini doesn’t hold back. In the lyrics excerpted above, zero fucks are given… well, actually, there are four of them. The point is loud and clear: EQUALITY FOR EVERYONE. “I wanna live in a world where I can walk down the street in a tank top,” they talk-sing, and continue, “I wanna live in a world where everybody’s equal.” Amen! Anger is encouraged over the wrongs happening. Among the ‘progressive’ talking points are “Defund the police,” “Eat the rich,” “Stop the war,” “Free Palestine… the Congo…. Everybody in this fucking world.” Expectedly, freedom of gender expression and sexuality are encouraged: “Everybody should be trans, everybody should be gay /… Everybody is… a TANK TOP BUM BOY.” Noted. Bimini asserts, “Take it to the streets.” Word. All told, “TANK TOP BUM BOYS” is an authentic and passionate protest anthem against myopic conservatives, homophobes, and warmongers. Bimini’s prudent message is to let people live freely without judgment and not ruin their lives. There is space for everyone in this great big world.

Appears in 🔻:

Striking Bops from June 2026

~ Table of Contents ~

9. Nick Hissom, “Hot Boy Things”

Hot Boy Things (EP) → Nick Hissom → 2026

“Saw an animal in your eyes, I believe it / Tore my clothes off with your smile, I could feel it.”

So, would we describe that as smile fucking? Just curious, Nick Hissom 🤭. On “Hot Boy Things”, he exemplifies his hot boy era. The song was written by Hissom, Elyon, Midian (Midian Mathers), Timothy Skyler, Sam Solomon, and Devyn Kelly. Hissom and Elyon produced it. “Hot Boy Things” is enticing. A better word is horny or lustful. In the pre-chorus, Nick is fantasizing about what’s going to go down later… *Hint* it’s sex! And if that wasn’t enough of a hint, see the second verse: “Slide up in it, make it mine.” Hmm… In the chorus, he gets nasty with it… without profanity or slang:

“Love it when you talk like that (That)

Tell me all the hot boy things

Crazy how you look like that (That)

Love what’s underneath your jeans

Love it when you talk like that (That)

Tell me all the hot boy things

Never met a boy so bad (Bad)

Love it how you make me scream.”

You love what’s underneath his jeans, Nick? You love it how he makes you scream, Nick? Ooh-wee! In the bridge, he has questions for this purported hot boy. “Have you got what it takes?” He asks, and continues, “Are you ‘workin’ round the clock,’ boy? / Am I keeping you late?” Fueled by a dark, minor-key electronic/urban-sounding backdrop, Nick Hissom gets down and dirty. The bedroom is front and center, and that, my friends, is pretty doggone hot! Serving up playful, breathy vocals, sometimes talk-sung, “Hot Boy Things” is a surefire queer pop bop!

Appears in 🔻:

~ Table of Contents ~

10. Trippie Redd & Young Thug, “Paperbag Boy”

“Paperbag Boy” → 1400 Entertainment, Inc. / 10K Projects / Atlantic Recording Corp. → 2026

“He talk down on me, then he met his end / I’m capital B, I stomp a fucking ant.”

Yikes! Trippie Redd (Michael Lamar White II) is not the one to fuck around with, judging by this threat. Anyway, what happens when you pair him with Young Thug (Jeffery Lamar Williams) on the same track? Fire, of course. Also, cockiness, confidence, and giving zero fucks (you read that excerpted lyric, right?). Both rappers bring mad energy on the single, “Paperbag Boy”. Trippie Redd and Young Thug wrote “Paperbag Boy,” while J-Bone, southboy, trisstt, and rprpxrprp produced it.

Trippie Redd takes center stage at the start of “Paperbag Boy.” The rapper exudes no shortage of confidence – he’s H-I-M! After a short introduction, he performs the chorus and first verse, then returns with the second chorus. The chorus is the crème de la crème, unsurprisingly.

“Paper bag boy, rubber band man

Paper bag boy, rubber band man

I’m a tycoon, you a damn fan

Suicide doors, I feel alive again (Yeah)

You gon’ die poor, that’s the way it is

You gon’ die, whore, that’s the way it ends (Yeah)

Bitch, it’s only me, I don’t need friends

I’m overly T, bitch, I can’t comprehend.”

Without a doubt, Trippie believes he’s the shit. Speaking of shit, in the first verse, he’s on some real shit. Bragging, “I’m a real deal stepper, that .50’ll blatt ya,” he adds, “I’m with six bad hoes, blowin’ dope in the black truck.” What more can you say but, holy shit! Young Thug puts his two cents in on the second verse, matching TR’s energy. “Layin’ in a ball player bed, 4 P.M. / I done fucked this ho ‘cause I’m ballin’ out the gym,” he boasts. Also, memorably, he proclaims towards the end of his verse, “Realize I’m duffle bag boy livin’ now.” Ooh-wee! Trippie Redd gives us the coda, concluding with the unforgettable chorus. Ultimately, “Paperbag Boy” is a banger. Both rappers are cocky and confident, backed by a hard-nosed backdrop with a trunk-rattling beat. No new territory is covered – we’ve heard such flexes many times – but the track still goes hard.

~ Table of Contents ~

11. siovo, “BABYBOY”

für immer: babyboy → siovo → 2026

“Wär’s nicht schön, einmal frei zu sein?”

siovo sings in the first verse of the gorgeous pop ballad, “BABYBOY”. Our handsome and talented queer German Gen-Z singer-songwriter adds, “Wie ein Engel zu fall’n und das nicht ganz allein / Doch so war’n wir nie, deine Philophobie / Kratzt dir immer deine Flügel ab.” Um, that sounds beautiful, but what does it all mean in English? Well, something along the lines of:

“Wouldn’t it be nice to be free—just for once?

To fall like an angel—and not entirely alone.

But that was never us; your philophobia

Always scrapes your wings right off.”

One keyword makes it clear what siovo is getting at: philophobia, the fear of falling in love. Adding another dimension, we are referencing MLM – same-sex relationships. “BABYBOY” was written by siovo and producer Thorsten Schroth.

“BABYBOY” commences with a warm organ, one of the many striking instrumental sounds. As gorgeous as the accompaniment is, the star of the show is siovo. He delivers expressive, nuanced vocals during the first verse, excerpted earlier. His tone is buttery smooth, and he sings with incredible sincerity. I love the punch that is added with the pummeling drums, intensifying the desire and the emotions. Notably, those hard-hitting drums drop out temporarily during the pre-chorus, reentering after a brief hiatus in the chorus. During this pre-chorus, the listener is treated to the radiance of keyboards, lush strings, and most of all, siovo’s ripe, sugary-sweet falsetto. “Spiel mit mir, ich seh’, was du nicht siehst [Play with me— I see what you don’t see.],” he sings, and concludes, “Mach mich blind, ich lieb’, was du nicht auch genauso liebst, mh [Make me blind, I love what you don’t love in return, mh].” The chorus is the crème de la crème, where siovo ups the ante with more overt vocals:

“Ich geh’ hart oder heim, aber wenn du mir schreibst

Stirbt ein weiterer Teil von mir ab (Stirbt ein weiterer Teil)

Ich hab’ das teuerste Fell, aber wenn du für mich fällst

Mach’ ich mich heute Abend noch nackt

Ich wär so gern Babyboy, dein Babyboy

Auch für eine Nacht, für immer dein

Babyboy, dein Babyboy

Was immer du machst (Was immer du machst).”

The titular lyric is key, as siovo tells him, “I’d love to be your baby boy.” I love it when he belts the titular lyric in English. He gives his all at the end of the chorus, post-chorus, and later on, remains locked in about being his baby boy during the outro. If you have experienced such desire – crushed on that boy you knew you couldn’t have – you can feel his longing and passion. During the second verse, siovo is more assertive vocally: “Give me every single one of your kisses, until I suffocate on them.” Ooh-wee! All told, “BABYBOY” is a fantastic record from siovo. He sings beautifully; the theme and lyrics are sensual, relatable, and thoughtful, while the production is a chef’s kiss. No further analysis or commentary is necessary as the music speaks for itself.

Appears in 🔻:

siovo, BABYBOY: Beaming with Pride No. 46 (2026)

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12. Matty M., “I Like Boys”

“I Like Boys” → Matty M. → 2025

“I like BOYS, I like BOYS / Dance with me tonight.”

Hell yeah, Matty M. (Matthias März)! Boys are the best… in many ways. They do have their shitty qualities, though… Not to be a buzzkill or cockblocker! Anyway, “I Like Boys” is one of many G-A-Y, MLM bops by März. “Move your body, shake it free / This is how we’re meant to be.” Ah, the freedom for boys to dance with other boys, without judgment. And do more, of course 😈! Ooh-wee, that is gay, indeed, and we wouldn’t have it any other way!

Not only do “I Like Boys” 🤭, but I also like the sleek production served up on the track. It’s giving, y’all! There’s nothing like a badass, hard-hitting, danceable beat, colorful synths, and a fat bass line. The instrumental is perfect fuel for the fire to sing about loving those B-O-Y-S! The vocals eat, as do the lyrics. No, it’s not a traditional powerhouse performance, but it’s powerful, given the desire, lust, and yearning! The vocals are assertive. “Shake your body to the beat / Boy, you make my heart skip beats,” he sings, and continues, “Dance with me in the neon lights / I like boys all through the boys.” Oh, snap! As “I Like Boys” progresses, the vocals grow even more passionate, screaming, “I LIKE BOYS.” If there was any doubt, Matty M. makes it crystal clear on this highly entertaining gay dance-pop banger, “I Like Boys”. What more is there to say? Best to experience this one by listening and dancing… preferably with a hot boy!

Appears in 🔻:

Matty M., I Like Boys: Beaming with Pride No. 10 (2026)

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13. Jimmy Console, “Pussy Boy”

Frisky EP → Sweet Lad Records → 2017

“Scratch my back / Get behind / This little pussy / Is gonna ride, ride, ride.”

Oh, snap, Jimmy Console 👀! The gay electronic pop musician from Cali doesn’t hold back or sugarcoat anything on “Pussy Boy”. The sex is sexing hard! Console embraces his role as a bottom, evidenced earlier, as well as his proclamation, “I’m your pussy boy / The best you’ll ever breed.” Console composed the fifth track from his 2017 EP, Frisky.

“Pussy Boy” features a hypnotic, musical backdrop, set in a minor key. The keyboard riff is particularly striking. Beyond the keys, the beat is nothing short of infectious. Matching the looped, mesmerizing backdrop are playful vocals by Jimmy Console. Sometimes, he sings. Sometimes, he talks, titillating as he touts his bussy. Consistently, he keeps it gay and sexually charged. “I’m gonna lick that stick / ‘Til the cream comes out,” he sings, and adds, “I’m gonna suck that dick / I’m your pussy boy.” No explanation necessary, honestly – it’s clear what he wants! Ultimately, on the pleasure-filled “Pussy Boy”, the gay club is alive and well. As for ‘gay sex,’ there’s no doubt Jimmy Console couldn’t be prouder to be who he is. Plus, sex-positivity is all the rage!

Appears in 🔻:

Jimmy Console, Pussy Boy: Beaming with Pride No. 21 (2026)

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14. Leftöver Crack, “Gay Rude Boys Unite”

Mediocre Generica → Hellcat → 2001

“Unity? Ha! You’re such a saint today / You may be antiracist / But then you’re antigay.”

Facts, Leftöver Crack! The punk/ska/crust punk band never shies away from socially and politically charged topics. Homophobia was the choice for “Gay Rude Boys Unite”, the fifth track from their 2001 album, Mediocre Generica. Infuriated by the double standard, frontman Stza (Scott Sturgeon), asserts in the second verse, “You know I’m not PC: / I’ll shoot your kid at school / ‘Cause he’s gonna grow up to be / A fuckin’ asshole just like you.” Oh, snap! Ara Babajian (drums), Alec Baillie (bass, d. 2020), and Stza (vocals) wrote “Gay Rude Boys Unite.” Ezra Kire played guitar in Leftöver Crack at the time (Sturgeon is the only original member still in the band). With a brief duration running well under three minutes, Leftöver Crack has plenty to say, sing, and play!

“You can celebrate your unity / Till every gay is dead / But why don’t you stop your fronting / With real unity instead?” Preach, Stza, preach! He is assertive and at times, aggressive with his vocal performance. Sometimes he shouts, while at other times, he’s more melodic. Punk to the nth degree, the energy is a constant on “Gay Rude Boys Unite.” Notably, the verses have a cleaner, lighter instrumental sound – more ska-like. The chorus, however, is heavier and more in your face. Rich, distorted, driving guitars and bass bring the heat. Those drums pummel something fierce, too. Stza keeps the same energy, crying foul to these hypocritical homophobes!

“Intolerant society rears its ugly face

You’re turning the hardcore music

Into a homophobic disgrace

The gay one, the straight one

The white, tan, yellow, and black

The gay rude boys and girls (Yeah-yeah)

Are gonna take the dance hall back!”

Ooh-wee, right the fuck on, Leftöver Crack! In the third and final verse, Stza continues to promote authentic unity, stating, “racist, sexist homophobes / And piggies gotta pay,” and urging everybody to “Get out of your fuckin’ seat / And jam out to the faggot rhythm / Crack-rocksteady beat.” In the context of “Gay Rude Boys Unite”, the f-slur appears to be reclaimed. This song is rad 🤘, and the message endures!

Appears in 🔻:

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15. Thin Lizzy, “The Boys Are Back In Town”

Jailbreak → Mercury Records Limited → 1976

“The boys are back in town, the boys are back in town.”

Does this song need any introduction? Nope! Irish rock band Thin Lizzy are best-known for their once-in-a-lifetime hit, “The Boys Are Back In Town”. “The Boys Are Back In Town” is the sixth track from their sixth studio album, Jailbreak. At the time, Thin Lizzy was composed of vocalist and bassist Phil Lynott (1949 – 1986), guitarist Scott Gorham, guitarist Brian Robertson, and drummer/percussionist Brian Downey. In the United States, the band charted twice on the pop charts. Only “Boys” landed in the top 40, reaching number 12 on the Billboard Hot 100. Therefore, in the United States, they are classified as a one-hit wonder. They had more success beyond the states, however. Lynott wrote “The Boys Are Back In Town” while John Alcock produced it.

“Guess who just got back today? / Them wild-eyed boys that’d been away.” Ooh-wee! Phil Lynott brings plenty of personality and spirit to “The Boys Are Back In Town.” His voice sounds commanding, bringing the rhythmic, tuneful melodies and memorable lyrics to life. There are memories galore, including “That chick… she was cool, she was red hot.” Perhaps even more memorable, in the second verse, is “That time over at Johnny’s place / Well, this chick got up, and she slapped Johnny’s face / Man, we just fell about the place.” I bet that was a big ole LOL 😂! A third and final verse brings more fun, where it “Won’t be long till summer comes / Now that the boys are here again.” Absolutely! Of course, the most fun part of “The Boys Are Back In Town” is the chorus, which is the earworm of all earworms, excerpted earlier. It’s not all Phil’s singing and lyrics, though! The band also keeps the same energy, with their hard-rocking riffs and dynamic sounds galore. They bring some serious punch and solidify those summery vibes for any time of the year. One iconic instrumental moment can’t be neglected: the guitar solo by Scott Gorham and Brian Robertson 🎸 🤘. No further analysis is necessary. The excellence of “The Boys Are Back In Town” speaks for itself!

Appears in 🔻: