Striking Bops from February 2026 | Playlist

Striking Bops from February 2026 features songs by Bentley Robles, Bleachers, Don Toliver, Feng, John Summit, Noah Kahan, Peaches, and Spilata.

It’s time! Time for what? Why, monthly round-up time! It’s time to acknowledge the best songs of the month – the striking bops! All the songs that appear on Striking Bops from February 2026 were released as singles or album tracks in late January 2026 or February 2026 [P.S. I did make a few exceptions in this particular edition where I missed a few great songs released in the middle of January ‘26]. Musicians who served up the Striking Bops from February 2026 include Bentley Robles & Frankie Grande, Bleachers, Don Toliver, Feng, John Summit, Noah Kahan, Peaches, and Spilata. So, without further ado, here are those rock-solid, Striking Bops from February 2026!

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1. Al Green & RAYE, “Perfect Day”	2. Artemas, “professional heartbreaker”	3. Bentley Robles & Frankie Grande, “Phantom Feelings”
4. Bleachers, “you and forever”	5. Brent Faiyaz, “other side.”	6. Charlie Puth, “Cry” (Ft. Kenny G)
7. Dermot Kennedy, “Funeral”	8. Don Toliver, “Body”	9. Feng, “J*b”
10. Fcukers, “Beatback”	11. John Summit, “LIGHTS GO OUT”	12. Joji, “Last of a Dying Breed”
13. Labrinth, “Debris”	14. Melanie Martinez, “POSSESSION”	15. MUNA, “Dancing On The Wall”
16. Noah Kahan, “The Great Divide”	17. Peaches, “No Lube So Rude”	18. Ryan Cassata & The Taxpayers, “We Don’t Fuck With Cops”
19. Sasha Keable, “tell me what you want”	20. sombr, “Homewrecker”	21. Spilata, “The Cuntiest”
22. Tame Impala & JENNIE, “Dracula – JENNIE Remix”	23. The Red Clay Strays, “If I Didn’t Know You”	24. Victoria Monét, “Let Me”
25. ZAYN, “Die For Me”	Striking Bops 2026

 

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1. Al Green & RAYE, “Perfect Day”

To Love Somebody (EP) » Fat Possum » 2026

That is nothing short of sweet, Al Green (b. 1946)! After an extended hiatus, the legendary soul and gospel musician returned epically in 2023 with “Perfect Day”.  Although Green covered the 1972 Lou Reed gem (R.I.P.), he made “Perfect Day” his own. With the release of his To Love Somebody (EP) in 2026, Green released a duet version featuring the high-flying vocals of Grammy-nominated British singer-songwriter, RAYE (Rachel Keen). This remixed edition is nothing short of dazzling!

With Al Green at the helm, the soulfulness is lit! Matthew Johnson and Bruce Watson give the iconic musician a soulful, lush production.  The palette of sounds is utterly stupendous, including guitar (Will Sexton), gospel-tinged organ (Reverend Charles Hodges), and a string quartet.   The retro soul sounds refreshing in the 2020s rather than anachronistic. Beyond the amazing accompaniment, the star of the show is Al Green.  His vocal performance is compelling – strong to the nth degree. 77, when the cover was originally recorded, he doesn’t miss a beat, wowing with his once-in-a-lifetime, distinct voice.  In the first verse, he makes this rock classic sound brand-new, reincarnated as a Memphis soul cut, of course.  The chorus, excerpted earlier, is where his bread is truly buttered.  RAYE takes the reins during the second verse, replacing Green’s verse in his original cover.  Listening to her sing, she confirms just how brilliant she is as a vocalist.  Her nuances are elegant, sophisticated, and spot-on.  I love how she never forces things, delivering a playful performance that oozes with soulfulness, even with coolness, playfulness, and restraint.  There is an element of talk-singing, which ups the ante with Keen never needing to deliver gospel histrionics. Beyond her lead in the second verse, her background vocals, accompanying herself and the Rev, contribute greatly to the marvelous, utterly sublime nature of this cover.  Those higher vocals – ooh-wee, they’re nice, RAYE!  While Green and RAYE never have a huge collaborative moment where both let ‘er rip simultaneously, this duet version of “Perfect Day” gives soul enthusiasts even more to sink their teeth into.

Appears in:

Al Green & RAYE, Perfect Day: Dazzling Duets No. 7 (2026)

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2. Artemas, “professional heartbreaker”

“professional heartbreaker” » Artemas » 2026

Oh, snap! Gen-Z English pop singer-songwriter Artemas (Artemas Diamandis) brings a darkness, edge, and sensualness to his music that is simply irresistible.  Single after single and tape after tape, Diamandis finds a new way to make sex even sexier and more intense. The momentum continues strongly with “professional heartbreaker” which he wrote and produced himself.

“Professional heartbreaker” commences with a mysterious, noisy, instrumental intro. The groove and sound are dark and unsettling. The drums go hard, while the bass line is intense and driving. Artemas sings in something of an eerie falsetto initially, performing the chorus, excerpted earlier, and continues, “You don’t know a thing about true heartbreak / You’re a heartbreaker.” Artemas sings in his middle register during the verse.  As always, the lyrics are dark, emotional, and striking. “She fit right in my pocket, she was sweet… / I thought she was the woman of my dreams,” he sings, and adds, “Before she broke my heart, I forgot she’s just as bad as me / She’s a professional heartbreaker.” Later on, Artemas delivers his clearest vocals during the bridge, where he asserts, “It was real what I felt for you / It was real till I found out the truth / What are you? Some kind of professional heartbreaker?” The final chorus marks one of the best, with clearer vocals than the preceding chorus. Artemas returns to performing in an undertone in the outro, again asking, “What are you? Some kind of professional heartbreaker.” All told, “professional heartbreaker” is another strong dark alternative pop gem from Artemas.

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3. Bentley Robles & Frankie Grande, “Phantom Feelings”

Olympus  » Bentley Robles / ONErpm  » 2026

So, what happens when you pair the talented, yellow-haired, tatted Bentley Robles and the fearless, theatrical Frankie Grande on the same track? “Phantom Feelings”, of course! Between these two gifted fellas, you get an infectious, irresistible, and unforgettable gay pop duet.  This sugar, honey, iced tea is serving, PERIOD! Robles and Grande came to slay on the penultimate track from the former’s debut album, Olympus. Robles wrote “Phantom Feelings” alongside producer FLORIO (Dominic Florio).  There is no way you don’t leave gagged with this one! Also, upping the ante is a spectacular music video with independent musicians sharing their feelings at Flopstars Anonymous.

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“Phantom Feelings” gets off to a captivating start with a colorful, enigmatic wall of sound. After hearing the song in its entirety, the intro makes perfect sense as an excerpt from the epic chorus.  Following the striking intro, “Phantom Feelings” settles into sleek dance-pop. Bentley Robles draws first blood, singing the first verse radiantly.  His tone is spot-on, and his sincerity is undisputed as you lean into every note and lyric he utters.  The melody is tuneful, catching the ears and engaging the first time you hear it. From there, the listener is blessed with a soaring chorus.  The sound is gargantuan, filled with energy, passion, and even more tunefulness. Frankie Grande delivers his solo moment in the second verse. This includes dropping an f-bomb 🫢.  It fits perfectly as he keeps the same energy as his partner in crime.  Like Bentley, the vocals are giving sheer excellence, with Grande complementing and contrasting Robles.  Following another powerful chorus, the bridge distinguishes itself from the rest of the song. Here, our handsome and talented fellas trade lines, leading to the grandest chorus of them all.  The synergy is incredible, with Grande’s theatrical ad-libs coming off marvelously. Without a doubt, “Phantom Feelings” is a surefire pop bop! Bentley Robles and Frankie Grande ate and left no crumbs with their expressive and passionate vocal performance.  Their vocal chemistry is incredibly impressive, especially during the bridge and the outgoing chorus.

Appears in:

Bentley Robles & Frankie Grande, Phantom Feelings: Dazzling Duets No. 6 (2026)

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4. Bleachers, “you and forever”

everyone for ten minutes » Dirty Hit » 2026

Those lyrics are intense, Bleachers.  We’d expect no less from the ever-prolific Jack Antonoff.  The lyricism is thought-provoking throughout “you and forever”. Even so, a four-letter word plays a crucial role: LOVE. “You and forever” serves as the promo single and the fifth track from the project’s fifth studio album, everyone for ten minutes. Antonoff wrote and produced the intriguing record.

“You and forever” commences with what sounds like harmonized a cappella vocals. These recur throughout.  As it settles in, the record evolves into a driving, rhythmic groove. I adore the build-ups that occur throughout. Sigh, there is nothing like a powerful crescendo and music that hits you right in the chest!  Additional elements that earn “you and forever” high marks from a musical perspective include the lovely harmonic progression.  Also, at the end, our ears are blessed with beautiful saxophone harmonies (Zem Audu). Of course, Jack Antonoff is the star of the show.  He contributes a strong vocal performance that is assertive, authentic, and passionate.  “Well, walking with a ghost that shit was tearing me to shreds,” he sings in the second verse, and adds, “I had never known my name until you spoke it from your chest.” Aww, the feels! During the intense refrain, we get an f-bomb for good measure:

“So damn, the bastards called it out

Everyone they stop from doing just an inch of good

They hate themselves, forever war, it paves their hell

Fuck everything that I’ve been told ‘cause I just saw the heavens open up.”

In the chorus, it should come as no surprise that you and forever are the priorities. The power of love despite the craziness of life… or something like that.  All in all, Bleachers returns superbly with the well-written, well-produced, and well-performed “you and forever”.

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5. Brent Faiyaz, “other side.”

Icon » ISO Supremacy / UnitedMasters LLC » 2026

Ooh-la-la, Brent Faiyaz (Christopher Brent Wood)! He continues singing in the first verse of “other side.”, “I move and breathe (Hah) / To make sure you feel special being mine, oh, mine.” “Other side.” is the fifth track from his third studio album, Icon. Faiyaz co-wrote the song with producers benny blanco and Jonah Roy. “Other side.” is groovy from the get-go. This is a well-produced contemporary R&B cut with some neo-soul and alternative R&B vibes. Faiyaz sings fabulously, never under- or over- singing. He brings a mean falsetto to his lead vocals beginning in the second verse. “The perks that come when I’m your man,” he sings, and continues, “You don’t have to deal with nothing on your own, whoa, girl, ooh.” Ooh, indeed! The melodies are tuneful. The falsetto background vocals are everything during the chorus.

“If you really love it here (Love it, baby)

Then won’t you tell me all the time? (All the time, ooh)

Girl, you know I love it here (I love the life)

You’re the only thing I like (Oh)

(Girl, you) You must be from the other side (Other side)

‘Cause I saw you in my dreams last night (You were in my dreams)

You must be from the other side (Girl, I saw you)

‘Cause I saw you in my dreams last night.”

Faiyaz also excels in the ad-libs department. I love the call and response during the bridge (“The other night I saw you…”).  All told, Brent Faiyaz does his big one on “other side.”.

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6. Charlie Puth, “Cry” (Ft. Kenny G)

Whatever’s Clever! » Atlantic Records Group LLC » 2026

Noted, Charlie Puth.  On “Cry”, the Grammy-nominated, perfect-pitched pop singer-songwriter enlists the services of a smooth jazz legend, soprano saxophonist Kenny G (b. 1956)! “Cry” is the third track from Puth’s fourth studio album, Whatever’s Clever!  Puth penned the striking single alongside Kenny G and BloodPop®.  Puth and BloodPop® produced it.

 

“Cry” features gorgeous music accompaniment.  The sound is calm, cool, and collected, yet also rhythmic.  There is a soulful-pop, blue-eyed soul vibe that hearkens back to the 1980s.  This sophisticated, adult contemporary sound suits Charlie Puth perfectly.  He’s a millennial through and through, and, as a thirtysomething married man, this feels right up his alley.  He sings radiantly, with ease, yet still packs a sizable punch. The verses and pre-chorus are tuneful and feature memorable lyrics. “Like my father, but he told me,” Charlie sings in the first verse, and continues, “‘Whatever hurt you come across / You better get up when you fall down.’” Word. In the second verse, he supportively asserts, “From the pressure that consumes you (Consumes you) / Oh, I know you’ve seen it all / But know that you can always call me.” The section to beat, however, is the chorus, which is the crowning achievement.

“It’s not for nothin’, feelin’ somethin’

You know everybody cries

Cry, cry, cry (Cry)

It doesn’t matter, you don’t have to ever keep it all inside (Inside)

Cry, cry, cry (Cry, cry).”

Amen, brother! Even more than the verses, the chorus is irresistible. Kenny G brings the heat with a divine, ultra-smooth soprano saxophone solo during the instrumental bridge.  Beyond his saxophone-ing, there are some celestial, tinkling keys.  In the final chorus, Puth expands his performance with some higher ad-libs.  Kenny G also continues soloing like the smooth jazz god he is.  Delightful, “Cry” has a compelling argument as the best single from Whatever’s Clever.

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7. Dermot Kennedy, “Funeral”

The Weight of the Woods » Riggins Recording / Interscope / Island » 2026

Um, okay.  So, Dermot Kennedy, where is that? Dublin, Ireland.  That tracks! Kennedy is from Rathcoole, County Dublin, Ireland. Location aside, the talented Irish singer-songwriter shines on “Funeral”, the promo single and the fourth track from Kennedy’s third studio album, The Weight of the Woods. Sure, the title sounds morbid, but this is a funeral you can definitely get behind.  “We set a fire to our sorrow / And watched the hurt go up in flames.” Word! Kennedy wrote “Funeral” with Aldae, Carrie K, and producer Gabe Simon.

“Funeral” commences with an enigmatic organ-like patch. Soon enough, drums enter the mix and establish the tempo.  Do you know who else enters the mix? Why Dermot Kennedy, with his clear, expressive, and radiant vocals!  Kennedy maintains poise during the first verse (“Not even poetry can fix this / Right now, we both need more than words”), and later, the second (“Grief is such a solid promise / Joy just leaves you in the rain / Sadness waits down in the lobby / Solace stood you up again”). The pen is nothing short of impeccable and thought-provoking. During the chorus, Kennedy ups the ante, giving his all with every gritty note.  It’s a thing of utter beauty.  Basically, what I’m saying is, my guy does his big one during the centerpiece of the song! The section is tuneful, with even more memorable lyrics.

“We held a funeral for heartache

We buried trouble in the grass

We didn’t bother buying roses

‘Cause we ain’t ever going back

I don’t know nothing ‘bout tomorrow

I barely know about today

We set a fire to our sorrow

And watched the hurt go up in flames.”

By the time the second chorus arrives, “it’s on like Donkey Kong” until the end of the song. Dermot is turned up, and it is easy to lean on every sincere lyric and note that he sings. On the bridge, he proclaims, “Oh, no-no / We ain’t never going back.”  The Irishman does the damn thing on “Funeral”, no cap! Epic vocals,  memorable songwriting, tuneful melodies, and sound production.  What more could you ask for?!

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8. Don Toliver, “Body”

OCTANE » Cactus Jack / Donnway & Co / Atlantic Records » 2026

Ooh-wee! Don Toliver (Caleb Toliver) kicks off “Body” with a bang… or the desire for a bang, judging by the lyrics. Is that Don singing? More on that momentarily. “Body” is the second track on his 2026 album, OCTANE.  Toliver penned “Body” with Jaasu Mallory, Jacques Webster, Chad Hugo, Jahaan Sweet, Justin Timberlake, Pharrell Williams, and benjamin fort.  Justin, Pharrell, and Chad Hugo? Huh? Toliver samples the 2002 Justin Timberlake hit, “Rock Your Body”. While Timberlake originally sings “Wanna rock your body,” the sample intentionally makes it sound as if JT sings the more overt, “Wanna fuck your body.” Beyond the sample (vocals/lyrics), the production (Jaasu, Travis Scott, Jahaan Sweet, and BYNX) kicks ass and takes names – NO CAP!

 

“Body” begins with a bang, with Toliver Justin Timberlake not censoring or mincing his words. The sleek electronic-infused musical accompaniment is everything.  It’s fair to say that shit sounds expensive 💰😜!  And with those four producers, you know it is! Don Toliver infuses plenty of personality into his horny musical endeavors.  His melodic rap performance is perfectly suited for matters of the bedroom, or wherever he aspires to get down and dirty! The chorus, which follows the Justin Timberlake-sampled intro, is infectious. Of course, JT is still sampled, contributing his “Rock Your Body” shyt!

“I’m out of control when I’m crushin’ on you (Body)

She don’t tell me no when I’m touchin’ on her (Wanna rock fuck your body)

H-Town nigga, love a— with a body

Baby, come here, I’ma grip on your body…”

Beyond the chorus, Don Toliver drops a verse, a brief bridge, and concludes with a brief outro.  In his verse, Toliver focuses on sex (“I wanna get it in, uh, yeah, I wanna get in it”), drugs (“Droppin’ lean in Sprite with the motherfuckin’ codeine”), and drip (“I been goin’ crazy, spending cash with my crodie”).  In the bridge, he wants her badly, asking, “Okay, just take a chance on me, bae / Okay, I got the feels, can we wait?” In the outro, it should come as no surprise that Don’ll “go crazy ‘bout her…” “Body”, of course! Don Toliver does his big one on this one, without question. 

Appears in:

Don Toliver, Body: Spicy Tunez No. 14 (2026)

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9. Feng, “J*b”

Weekend Rockstar » Regularisperfect » 2026

Exactly! English rapper, songwriter, and producer Feng (Travas Alan Feneley) keeps it succinct on “J*b”, his second single of 2026 that appears on his debut studio album,Weekend Rockstar. Feng composed the sub-two-minute banger with Paul Epworth and Mark Foster. Feneley produced it himself.

From the jump, Feng brings the heat on “J*b.” The musical accompaniment kicks ass and takes names.  Set in a minor key, the moody backdrop is tailor-made for Feneley to talk his shit about his J-O-B! He raps with ease yet still brings a punch.  The cadence and flow are compelling to the nth degree.  Despite the brevity, Feng squeezes in two verses and two choruses.  In the first verse, he wants to be left alone.  He concludes, with a bang, “I could tell by their tone they really hate me and this song / I say I love my job, but I really don’t ‘cause.” Woo! In the second verse, he admits, “I hate wakin’ up at 6AM / I might crash out, haven’t slept, too many emails to be sent,” and adds, “I just want to leave my job, I really hate it ‘cause it’s somethin’ that I’m not.” Honesty is the best policy! The chorus is the crème de la crème, with a fitting s-bomb!

“I had enough of people sayin’ what they want to my face

Say I ain’t gonna be shit, I make more than you in a day

Why when somethin’ happens I’m the first one that they blame?

I would set the place on fire even though I’m PR trained.”

Oh, snap! Feng does his big one on the short but utterly sweet “J*b”.  The job may suck, but the song is a surefire vibe!

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10. Fcukers, “Beatback”

Ö » Ninja Tune » 2026

Woo! Sometimes, a bold band name signifies bold, fierce, and unapologetic music.  When you see the name Fcukers (Shanny Wise and Jackson Walker Lewis), you most definitely want to cuss a bi-otch out! Sure, the electronic band transposed letters, but the effect is the same.  While “Beatback”, the song at hand, is far less naughty than the implied f-bomb of the band’s name, it is still a bold, fierce, and satisfying.  “Beatback” is the opener from Fcukers’ 2026 debut album, Ö. Lewis, Wise, Dylan Brady, Kenneth Blume, and Lily Kaplan wrote “Beatback.” Lewis, Wise, Brady, and Kenny Beats produced it.

Word. “Beatback” begins with enigmatic, rhythmic sounds. The intensity gradually picks up, capped off by the entrance of Wise’s breathy vocals.  Those vocals, by the way, are a surefire vibe. As the song progresses, it grows more assertive and energetic – the instruments dig in even more. Sleekly produced, the beat is sick, the synths sizzle, and the rhythm is electrifying.  Notably, there are only three sections: verse, chorus (both of which are repeated), and an outro. All told, there is NO WAY that you listen to “Beatback” and don’t move some part of your body.  This brief number is a dance bop!

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11. John Summit, “LIGHTS GO OUT”

CTRL ESCAPE » Experts Only / Darkroom Records » 2026

John Summit is a boss, NO CAP! When it comes to dance and electronic music, the hunky DJ and producer does the damn thing.  I can assure you that the damn thing is done again on his single, “LIGHTS GO OUT”.  “LIGHTS GO OUT” is the sixth track from his second studio album, CTRL ESCAPE. Summit wrote and produced “LIGHTS GO OUT” alongside Beau Nox, Pocket, and Thom Bridges.  Take one listen, and the party is on, full throttle!

“LIGHTS GO OUT” opens with a bang. Pardon my French, but it’s actually a fucking bang! How so? Part of the bang is the fucking f-bomb-filled lyrics: “Where do we go when the lights go out? / When the fucking lights go out.”  Woo! The lyrics are repeated throughout this hard-nosed dance/electronic banger.  There are at least 17 f-bombs – you’re welcome! “LIGHTS”  is filled with brilliant, often intense, boisterous, and playful synths and an intense, pummeling beat that hits you in the chest. Summit compels with his energetic instrumental lines, which keep the same energy, if not exceed, the lights going out lyrics.  More could be said, but this song right here is best experienced by listening and embracing the energy! All told, John Summit does his big one on “LIGHTS GO OUT”.  This joint goes hard as fizzuck, and the rave – well – it’s raving!

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12. Joji, “Last of a Dying Breed”

Piss in the Wind » Palace Creek / Virgin Music » 2026

Of course, we feel you, Joji (George Miller)!  Joji excels at delivering a surefire vibe, no matter the duration.  “Last of a Dying Breed” is brief, with few lyrics, but it “shines bright, like a diamond,” nonetheless. Joji wrote and produced the fifth single and third track from his fourth studio album, Piss in the Wind.  What a damn title, right?!

“Last of a Dying Breed” commences warmly with what sounds like tape strings. Atop the tape are the gorgeous vocals singing “ooh(s).” Joji radiantly sings tenderly, showing off his upper register – that falsetto, baby! Meanwhile, beneath the tape, an energetic breakbeat provides a mighty, rhythmic anchor. After taking his time to let things set up during the chorus, Joji sings in his lower and middle registers for the sole verse. “Ooh, you’re the last of a dying breed / To the sun, flying high and free,” he sings, and continues, “Ain’t no man in the pilot’s seat / Silence, please, this is what you need.” Word.  Concluding the cut, Joji returns to his ripe falsetto in the chorus, excerpted earlier.  No, there’s not much song, but Joji makes the brief “Last of a Dying Breed” more than worthwhile.

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13. Labrinth, “Debris”

COSMIC OPERA ACT I » Columbia » 2026

And please, you did, Labrinth (Timothy Lee McKenzie), on “Debris”! “Debris” is the second track from the British rapper, singer, songwriter, and producer’s 2026 album, COSMIC OPERA ACT I.  Labrinth wrote and produced the striking gem.  All in all, he ate and left no crumbs! “Pulled out all the stops / Gave you all the keys.” Yup!

 

What makes “Debris” the sugar honey iced tea? It begins with the musical accompaniment.  Labrinth does his big one with the backdrop.  It begins with the distinct, intense drum programming.  There are also unique, synthesized, operatic choral vocals that further enhance.  Later, during the final chorus, he adds more orchestral touches (strings, symphonic brass, timpani, etc.). Of course, beyond these sophisticated, ear-catching sounds, Labrinth shines vocally.  His falsetto is incredibly sweet.  He delivers no shortage of memorable lyrics, where things seem to come crashing down quickly.  “The roof is on fire / Nothing left of me,” Labrinth sings, and continues, “Party at my house / Now it’s all debris.” Word.  The crowning achievement is the chorus, where he asserts, “Now it’s all debris / I don’t know these people / Welcome to the ruin / I’m the centerpiece / What the fuck am I doing?”  Intense! “Debris” concludes with an outro where he sings, “Party over here and nothing over there.”  To reiterate, Labrinth ate and left no crumbs on “Debris”. This is a well-written, well-produced, and well-performed song.  Labrinth is on autopilot.

Appears in:

Labrinth, Debris: Bangerz N Bopz No. 17 (2026)

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14. Melanie Martinez, “POSSESSION”

“POSSESSION” » Atlantic Recording Corporation » 2026

Melanie Martinez has carved out incredible success despite NOT winning The Voice.  She excels at recording captivating alternative pop.  Once again, she strikes gold on her mysterious but incredibly enticing single, “POSSESSION”.  Martinez composed “POSSESSION” with producer CJ Baran.  “POSSESSION” begins with an enigmatic guitar riff.  Martinez enters the mix, singing in her signature breathy undertone in the first verse. The lyrics are engaging, conceptual, and thought-provoking from the jump: “He’d dust me off each day, I’m made of porcelain clay / I feed him kisses so I don’t break down to pieces.” After a modest instrumental accompaniment initially, a rhythmic drum groove provides a mighty anchor, intensifying the record. Keyboards and synths enter, filling out the production during the pre-chorus (“And now he’s hungry, I’ll feed him candy /You’re screamin’ at me loud…”). By the chorus, “POSSESSION” has transformed into an intense, bright wall of sound comprising programming, keys, drums, guitar riffs, etc.  Expectedly, the chorus is the crème de la crème, with memorable lyrics and tuneful melodies.

“Baby, I’m your possession, handle me like a weapon

Gaslight me, right, tell me, ‘Keep quiet.’

I’ll go along, di-di-dum…”

Oh, snap! The post-chorus is intriguing with its entertaining “dum, dum, di-di-dum(s).” An awesome drum roll leads into the second verse, which begins much more developed compared to the first. Notably, Martinez is also saltier: “He leaves me all alone, from dusk to fuckin’ dawn / I’ll clean up after all his shit, I’m the housekeeper.” The rest of the song falls in line with the first, save for the distinct outro, with Martinez leaning in more in her undertone “…A concussion reversin’ all the damage I had / May be bruised, but it’s not that bad.” Ooh-wee, “POSSESSION” is some type of trip. And guess what? We wouldn’t have it any other way with the mysterious and talented Melanie Martinez!

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15. MUNA, “Dancing On The Wall”

Dancing On The Wall » Saddest Factory Records » 2026

Uh-oh! That doesn’t sound sweet at all, MUNA (Katie Gavin, Josette Maskin, and Naomi McPherson). In fact, it sounds pretty shitty! “Dancing On The Wall” is the promo single and second track from the queer indie-pop band’s fourth studio album of the same name. Gavin, Maskin, and McPherson penned this dancing single.  McPherson produced it with marvelous results!

“Dancing On The Wall” commences with tension thanks to the agitated strings.  Soon enough, the song settles into an irresistible, danceable groove.  Katie Gavin shines with her lovely lead vocals. The verses feature incredibly tuneful melodies and memorable lyrics. “I should’ve told you not to waste my time,” she sings, but of course, foolishly, she adds, “I would wait forever as long as I’m waiting for you.” Additionally, the background vocal riffs are a colorful, thoughtful musical touch. The chorus is the crème de la crème – it’s sugary sweet to the nth degree.  Well, maybe not-so-sweet, actually…

“You’re the wall that I keep banging my head against

I’m always saying, ‘This time, I’ll get through.’

I end up with a bruise as a consequence

I know how to hurt myself on you…”

I adore the falsetto vocals during the post-chorus, which reinforce the chorus’s lyrics (“I’m dancing on the wall when I’m with you (When I’m with you, I’m on the wall”).  There is a great contrast during the bridge section.  The contrast is not only melodic but also in the groove. “I’m dancing on the wall, and I see / Lovers dancing in the light,” Gavin sings, and continues, “Shadows dance across my eyes / Watching as the second hand / Turns and turns around again.” The song’s ending returns to the familiar with the chorus and post-chorus. All in all, MUNA brings the heat on “Dancing On The Wall”.  There is no way you listen to this fun (the music and sound, not the situation itself) indie-pop bop and don’t move your body!

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16. Noah Kahan, “The Great Divide”

The Great Divide » Mercury Records » 2026

Question: “Did you wish that I could know / That you’d fade to some place / I wasn’t brave enough to go?” Grammy-nominated singer-songwriter Noah Kahan is the man.  He compelled us with his elite songwriting and his beautiful, expressive voice. Mr. Kahan returns with “The Great Divide”, the promo single and sixth track from his sophomore album, The Great Divide. Kahan wrote and produced the titular track with Gabe Simon.  The resulting five-minute-plus song is epic.  

“The Great Divide” commences with an enthusiastic instrumental introduction, led by rhythmic guitar.  Noah Kahan delivers warm, expressive vocals during the first verse.  The vocal production is strong and well-rounded. The rhythm guitar initially accompanies Kahan.  With his marvelous pen going full force, he drops a colorful f-bomb at the end of the first verse that raises eyebrows: “So I tried to read the thoughts that you’d worked overtime to stop / You said, ‘Fuck off,’ and I said nothin’ for a while.”  Those lines signal “The Great Divide,” picking up steam during the pre-chorus, with fuller production and even more energy. Kahan’s performance intensifies as the musical accompaniment builds. In the pre-chorus, he asserts, “You know I think about you all the time / And my deep misunderstanding of your life…” Even better is the memorable chorus, accompanied by a super-assertive musical backdrop:

“I hope you settle down, I hope you marry rich

I hope you’re scared of only ordinary shit

Like murderers and ghosts and cancer on your skin

And not your soul and what He might do with it.”

Following a verse, pre-chorus, and chorus, there are plenty more high-flying, memorable moments within “The Great Divide,” which seems to go full throttle until the end (save for the bridge and outro). That second verse goes H.A.M.! “You inched yourself across the great divide / While we drove aimlessly along the Twin State line,” he sings poetically in the second verse, and adds, “I heard nothing but the bass in every ballad that you’d play / While you swore to God, the singer read your mind.” Woo!  Another ‘banger’ from verse two appears near the end:  “And I’m finally aware of how shitty and unfair / It was to stare ahead like everything was fine.” Damn, Noah!  There’s also the bridge, excerpted earlier, that continues the engaging nature of this lengthy but irresistible single.  “The Great Divide” is jam-packed – the expectation from the music of Noah Kahan to date.  It is another win thanks to clever songwriting (“I hope you threw a brick right into that stained glass”), awesome vocals, and a strong arrangement and production.

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17. Peaches, “No Lube So Rude”

No Lube So Rude » Kill Rock Stars » 2026

Now that is quite the lyric! Bisexual Canadian feminist musician, producer, director, and performance artist Peaches (Merrill Nisker, b. 1966) never fails to bring the heat.  She remains potent to the nth degree on her bold, unapologetic single, “No Lube So Rude”. There is no shortage of eyebrow-raising lyrics. “No Lube So Rude” is the third track from her seventh studio album of the same name. Peaches wrote and produced this striking no-lube gem.

“No Lube So Rude” begins with a thudding kick. Eventually, there are some pummeling, jungle-like drums, which match the rawness of this record. Additionally, rhythmic, colorful synths shine within the initial minimalist accompaniment.  But it’s Peaches and those unapologetic lyrics that draw the most attention. “If you wanna tug / We can rub right here / Bring the strap right here / All caps right here.” Oh, snap, Peaches!  It doesn’t stop there: “In the back / In the front / In the cunt / Juicy plump / Take a sip / We can stuff / We can fluff.” Wow! Expectedly, the titular lyrics get some love before even more sexual lyrics arrive.  “Bag of nuts / Bag of tricks / Suck my bits,” she asserts, and continues, “Do you like to bottom / Like to top / Like to switch / Like to flop.” Well, she has it all covered, doesn’t she?! Later, she informs us she ran out of lube, hence, “No lube, so rude.” Rude indeed… like, painful…  Peaches gives no fucks in her performance – she’s all business with her primarily un-pitched performance.  However, on the word “Lube,” she is pitched.  As the record progresses, it adds more instruments (synths, additional programming). Also, Peaches provides even more oomph. Truly a piece of work, “No Lube So Rude” is entertaining, and of course, not safe for work (“When you show up dry / Lube is smoothin’ out the ride”). Never change, Peaches! 

Appears in:

Peaches, No Lube So Rude: Spicy Tunez No. 17 (2026)

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18. Ryan Cassata & The Taxpayers, “We Don’t Fuck With Cops”

“We Don’t F*** With Cops” » Kill Rock Stars » 2026

Oh, snap! Five words: “We Don’t Fuck With Cops”.  Oh, boy! That is a bold statement made by Ryan Cassata and The Taxpayers, isn’t it? The brief single packs a sizable punch, particularly in a tense climate where, frankly, too much bad shit is going down.  Interestingly, Cassata isn’t only referring to police officers.  In the caption for the video, he asserts:

There are cops everywhere these days, even beyond those with badges, vests, and donuts. There are cops inside our own queer communities! Yuck! Sadly, we police each other. We mimic the behavior of the oppressor. To fit into cis society? Why bother? Be authentic. Get free. The “you’re not trans enough” rhetoric has got to end… K!ll the cop in your head…

Now that is some serious food for thought! Furthermore, this is an important and incredibly relevant conversation to be had in multiple communities.

 

While the musical accompaniment is relatively mellow and rhythmic, the theme and lyrics are not the least bit subtle.  Those words are blunt and honest to the nth degree.  “Ain’t you bored of being righteous? / Your language is violence / You come down with your list of sins,” Ryan Cassata sings passionately, with no shortage of sincerity. He adds, accurately, “I hear it all the time from the right wing, honey / And queer cops feel worse than them.” The thought-provoking lyrics are paired with quick-paced, rhythmic melodies, for the win! Cassata raises more issues within the trans community as well, speaking to policing one’s own, essentially: “To the transphobic trans guys tell me to be more mas and look cis / Not all trans people pass like that, and not all queers blend in.” Fittingly, the titular lyrics are shouted, with Cassata and company ensuring the message is loud and, dare I say, fucking clear. All told, the spirit of protest, via song, is alive and well on “We Don’t Fuck With Cops”.  Ryan Cassata and The Taxpayers said what they said – ate and left no crumbs!

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19. Sasha Keable, “tell me what you want”

ACT II » The Flight Club Records Limited / Sasha Keable » 2026 

Ooh-la-la, it’s getting “Hot In Herre”, Sasha Keable! The queer British/Colombian R&B singer-songwriter brings the heat without question on her steamy single, “tell me what you want”, which appears on her 2026 album ACT II.  Who has Keable hot and bothered? Whoever this lady is that Sasha sings about throughout the record. Keable penned “tell me what you want” alongside P90pope and producers Eddie Lopes, Charlie Pitts, and Kent Azares.

 

Sasha Keable doesn’t hold back on “tell me what you want.” At the end of the first verse, she asserts, “Got me bitin’ harder on your necklace / Girl, just wanna thank you for your service.” Day-um! Sasha is more overt in the second verse, singing, “Fuck is a break when I’m on all fours for you? / Told me you ate, well, here I got some more for you.” 😈 😈 😈 Keable keeps it risqué in the pre-chorus following each verse, including the likes of “Your fingers so deep inside my body 👀,” and “Break it down, do your little dance on my body / Couple grand keep it real nasty for me.” That, of course, leads to the centerpiece, the chorus, in all its glory. Sasha praises this girl something fierce, given her inspired sexual performance:

“Ain’t gotta keep countin’

Stay down there till you’re drownin’

Still got endless rounds left

Girl, you make me the proudest

You done made me up a plateful

On my knees, I’m so grateful

Feels so good inside, I could die.”

Oh, and the sex doesn’t stop there, extending in the post-chorus.  All the while, Keable impresses with her commanding and soulful pipes.  She sings about sex expressively, and it’s easy to buy what she’s selling! Beyond her fabulous voice, tuneful melodies, and risqué lyrics, the production and sound of “tell me what you want” is impressive (keys, programming, etc.).  All in all, Sasha Keable ate and left no crumbs on this queer, contemporary R&B gem.

Appears in:

Sasha Keable, tell me what you want: Beaming with Pride No. 12 (2026)

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20. sombr, “Homewrecker”

“Homewrecker” » SMB Music LLC / Warner Records » 2026

Now that’s a lyric, sombr (Shane Michael Boose)! The Grammy-nominated singer-songwriter returns post I Barely Know Her with his first brand-new song of 2026, “Homewrecker”. Sombr wrote it and produced it with Tony Berg. The intro features repeated  “oohs,” which recur on the outro. Sombr paints a clear picture of a homewrecker early on, who is – wait for it – HIM! Beyond the “drunk cigarette” line from the first verse, he asserts, “You leave me filled with regret / At the end of the night / I always find myself wonderin’ why, oh, yeah.” In the pre-chorus, sombr is thinking long-term, but, in the chorus, the centerpiece, it seems clear his love interest is dating someone else.

“I don’t wanna talk down on your lover

I don’t wanna be a homewrecker

I just know I can be better, be better, be better…”

Ooh-wee, Shane! In the second verse, the entanglement is clear: “I open up to you about my wrongs /… Then we lay and contemplate / Just one more round of love / Before you go home to another one.” Damn! Later, on the bridge, sombr continues confessing his feelings.  The longing is real!  Beyond the theme and lyrics, sombr sings marvelously. The vocal arrangement, intact with harmonized background vocals, and the vocal production shine. The melodies that accompany the lyrics are tuneful, particularly during the chorus. The sound of “Homewrecker” is a win, too.  The musical accompaniment is striking and robust, and the track is sleekly produced.  Once more, sombr has delivered the goods.

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21. Spilata, “The Cuntiest”

“The Cuntiest” » Spilata » 2026

Hold on a minute, Spilata.  I’m still gagged that you uttered C U Next Tuesday and added an -iest to it! Cuntiest? Wow! From the jump, Spilata is fearless as fuck on “The Cuntiest”, which he wrote and produced himself. Still, he’s quite sophisticated with his slick mouth: “The dandiest, the classiest, the fanciest / The only nonchalantly bon vivant to this…” Accompanied by Jon Thomas (piano), Liany Mateo (bass), and Charles Goold (drums), Spilata rejuvenates jazz for a brand-new generation of listeners.

The combo is locked-in, ‘in the pocket,’ accompanying Spilata show exhibits incredible musicianship.  He sings with ease yet packs a mean punch with every eyebrow-raising lyric.  The songwriting is poetic, in a shocking, dare I say, cunty sort of way, over the course of four verses. “I’m the cuntiest / The only Primadonna, I’m upfront with this,” he asserts in the second verse, and continues, “The business and the show, I’m the sum to this / So watch me while I blow and make you come to this.” Come, or, cum… Other standout moments include “The whole enchilada, I’m the fun to this / So many often try, but darling they’re too cis.” He’s not lying there! The chorus is also a whole vibe:

“I’m the cuntiest

The stuntiest

The one to this

The sum to this

That’s why you come to this

I’m the cuntiest.”

PERIOD! Spilata ate and left no crumbs on “The Cuntiest”.  For anyone skeptical about how fresh or innovative jazz music is in the 2020s, look no further than this bold, daring, and unapologetic bop.

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22. Tame Impala & JENNIE, “Dracula – JENNIE Remix”

“Dracula – JENNIE Remix” » Columbia » 2026

Woo! Psychedelic rock project Tame Impala dropped one hell of a banger with “Dracula” in 2025.  By my estimation, Kevin Parker, the brainchild of Tame Impala, dropped one of the best songs of the year.  What could make a banger bang even harder? A remix, of course.  Tame Impala taps JENNIE for the “Dracula – JENNIE Remix”, and it’s sweet! Parker penned “Dracula – JENNIE Remix” with JENNIE, Sarah Aarons, and Carly Gibert.  Parker produced it.

“Dracula – JENNIE Remix” maintains the original selling points.  The production STILL kicks ass and takes names.  The groove takes the cake as the best instrumental moment from the accompaniment.  The keys, synths, and programming are all on point, too! During the intro, Kevin Parker and JENNIE both sing, setting the tone for the vampirical experience! Kevin Parker draws first blood in the first verse, like the original.  The contrast comes with JENNIE, who sings the second half of the first verse. She complements Parker superbly (“The shadows, yeah, they keep me pretty like a movie star…”). Parker performs the refrain, with a few ad-libs from JENNIE.  Parker, once more, takes the lead in the second verse, impressing with his “Now I’m Mr. Charisma, fuckin’ Pablo Escobar” lyric. JENNIE performs the third line, while both conclude the verse (“I just wanna be right where you are”). Kevin and JENNIE perform the second refrain and chorus, where they run from the sunlight, Dracula. JENNIE gets her biggest solo moment performing the third verse, which is new. Here, according to JENNIE, is “Lip-stain on the rim, bass is ‘bout to blow / Sinking in my teeth, I buy time.” Gah-day-um! Kevin performs most of the bridge himself before they rejoin forces in the final refrain and chorus, with select moments where they sing separately.  All told, “Dracula – JENNIE Remix” is as fun, if not more fun, than the original.

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23. The Red Clay Strays, “If I Didn’t Know You”

“If I Didn’t Know You” » RCA Records / HBYCO Records » 2026

Thank goodness! South Alabama country rock band The Red Clay Strays (Brandon Coleman, Drew Nix, Zach Rishel, Andrew Bishop, and John Hall) ‘bring it’ on the moving ballad “If I Didn’t Know You”. Nix and Natalie Hemby penned “If I Didn’t Know You” while the renowned Dave Cobb produced it. Fun fact: the music video features one of the hottest comedians, Matt Rife, with his hair dyed blonde.

There is so much to love about “If I Didn’t Know You.”  It begins as a piano ballad, with a single piano chord preceding the vocals. Brandon Coleman sounds amazing, delivering authentic and expressive vocals from the get-go. He brings Nix’s and Hemby’s thoughtful songwriting to life masterfully. “I was down and out, running with the wrong crowd / I was walking through every wrong door,” Coleman sings introspectively in the first verse, and continues, “I can’t imagine all the trouble I’d be if you never made me yours.” Wow.  In the second verse, he addresses his beloved, singing, “Well, you found me, lost, I see, tossed and turned around / Held on through the ebb and flow, yeah, you ain’t putting me down.” Notably, the second verse features more fully developed musical accompaniment in the traditional country music style. The chorus is the crowning achievement and the most memorable and tuneful section of the song.

“And if I didn’t know you, I wouldn’t know how to love

I wouldn’t know what it feels like to be someone’s only one

And if I never saw your eyes, it’s like I’d never see the sun

What would I do if I didn’t know you?”

The bridge distinguishes itself from the verses and chorus in harmonic progression. The theme, however, is much the same: she was his savior, of sorts. Coleman brings even more powerful vocals during this section.  Following a brief guitar solo post-bridge, the familiarity returns with the high-flying chorus concluding “If I Didn’t Know You.” All in all, “If I Didn’t Know You” is a gorgeous record. It shines thanks to the thoughtful songwriting, moving, nuanced, and sincere vocal performance, and solid production.

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24. Victoria Monét, “Let Me”

“Let Me” » RCA » 2026 

So, Victoria Monét, what would happen if I let you hold me? According to the Grammy-winning R&B singer-songwriter on “Let Me”, she’d be a “ride or die.” Ooh-wee! The nearly five-minute ballad marks another consistent, engaging, and sound musical offering from the talented artist.  She penned “Let Me” with Joshua Brown, Jeff “Gitty” Gitelman, Tiyon “TC” Mack, B. Mack, and producer Camper.

“Let Me” begins with soulful sounds of old. It is sleekly produced with lush sounds, banging drum programming, including some 1980s-like drums. Victoria Monét delivers an ultra-smooth vocal performance.  She sounds calm, cool, collected, refined, and sensual.  Ooh-wee, that’s a lot of adjectives! The section to beat is the memorable chorus:

“Let me be your ride or die

Let me love you back to life, babe

Let me give you peace of mind

You know I’ma ride with you, rain or shine.”

There is a great extension of the chorus via the post-chorus: “Baby, if you let me.” Other notes include the great selective use of harmonized vocals during the second verse.  This helps keep the record engaging.  Furthermore, the bridge is sweet where “Patience ain’t a crime / I been waiting for this moment all night / To get you out of your way / And show you life.” “Let Me” may not be quite the juggernaut that “On My Mama” was, but it’s another enjoyable and well-rounded addition to her musical catalog.

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25. ZAYN, “Die For Me”

KONNAKOL » Drop Zed Music, LLC / Mercury Records » 2026

Oh, snap, better yet, oh, shit, ZAYN (Zayn Malik)! The emotion runs rampant on the “PILLOWTALK” hit-maker’s single, “Die For Me”.  “Die For Me” is the fifteenth track from his fifth studio album, KONNAKOL.  Malik penned “Die” alongside NEA, James Essien, Victor Thell, Nick Hahn, Stefan Johnson, Jordan K. Johnson, and Isaiah Tejada. Lots of cooks in the kitchen, or rather, in the studio writing music! The Monsters & Strangerz, Tejada, Thell, and Hahn produced it.

The first verse only reveals a piece of the emotional, heartbroken pie of “Die For Me.” In the second verse, a frustrated ZAYN asserts, “I’ll sleep just fine without you.” Ooh-wee. The pre-chorus is varied each time.  However, in both versions, Malik is upset with her lies and “those empty words you were spitting out.” The chorus is the crème de la crème, led by the titular lyrics:

“You said you would die for me

… Don’t leave me now when I need you the most

Gave you my heart, don’t you dare let it go.”

There is also a brief bridge and the outro, both highlighting the disappointment of her NOT dying for him.  ZAYN sings beautifully and expressively throughout this R&B-infused, compound duple, minor-key pop record.  His falsetto is particularly ripe during the chorus.  The melodies are tuneful, keeping the same energy as the devastating lyrics.  The final piece of sheer excellence is the dramatic, sleek production.  The musical accompaniment gives ZAYN ample fuel for the fire – a cinematic backdrop that is tailor-made to his utter heartbreak. All told, our handsome and talented, heartbroken pop singer-songwriter does his big one on “Die For Me”.

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Striking Bops 2026
January 2026	February 2026	March 2026
April 2026	May 2026	June 2026
Bops from 2026 That Make You Beam with Pride	Best Songs of 2026 (So Far)
July 2026	August 2026	September 2026
October 2026	November 2026	December 2026
Best Songs of 2026

 

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Striking Bops from February 2026 [📷: Brent Faulkner / The Musical Hype; Artemas, Atlantic Recording Corporation, Atlantic Records Group LLC, Cactus Jack, Columbia, Darkroom Records, Dirty Hit, Donnway & Co, Experts Only, Fat Possum, HBYCO Records, Interscope, Island, ISO Supremacy, Kill Rock Stars, Ninja Tune, Palace Creek, RCA Records, Regularisperfect, Riggins Recording, Saddest Factory Records, Sasha Keable, SMB Music LLC, Spilata, The Flight Club Records Limited, UnitedMasters LLC, Virgin Music, Warner Records; Gordon Johnson, OpenClipart-Vectors, OpenClipart-Vectors from Pixabay]

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