Striking Bops from January 2026 | Playlist

Striking Bops from January 2026 features songs by Ari Lennox, A$AP Rocky, Bruno Mars, Charli XCX, Harry Styles, and Jill Scott.

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 January 2026 were released as singles or album tracks in late December 2025 or January 2026. Musicians who served up the Striking Bops from January 2026 include Ari Lennox, A$AP Rocky, Bruno Mars, Charli XCX, Harry Styles, and Jill Scott. So, without further ado, here are those rock-solid, Striking Bops from January 2026!

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1. Ari Lennox, “Twin Flame”	2. Artemas, “time alone w u”	3. A$AP Rocky, “Punk Rocky”
4. Bruno Mars, “I Just Might”	5. Charli XCX, “Wall of Sound”	6. Charlie Puth, “Beat Yourself Up”
7. Corbyn Besson, “Ruin Me.”	8. Doechii, “girl, get up.” (Ft. SZA)	9. Father John Misty, “The Old Law”
10. Harry Styles, “Aperture”	11. Jill Scott, “Beautiful People”	12. Jill Scott, “Pressha”
13. KATSEYE, “Internet Girl”	14. Luke Combs, “Sleepless in a Hotel Room”	15. Nick Jonas, “Gut Punch”
16. Snoop Dogg, “Slid Off”	17. The Kid LAROI, “BACK WHEN YOU WERE MINE”	18. ZEE MACHINE, “MAGNETIC”
Striking Bops 2026

 

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1. Ari Lennox, “Twin Flame”

Vacancy » Interscope » 2026

Uh-oh! This man has Ari Lennox (Courtney Salter) thinking forever on “Twin Flame”.  Earlier in the first verse of this self-penned, sixth track from her third studio album, Vacancy, Lennox even mentions she’s cleaning and cooking for him.  It’s giving wife, matrimony, and all the things. TBHits, Leather Jacket, and Elite produced it.

“Twin Flame” features an electrifying groove from the get-go.  The producers do their big one, serving up sleek production work thanks to the groove, keys, and synths. Ari Lennox delivers a strong vocal.  Her tone is gorgeous, and she sings effortlessly and expressively.  She brings the melodies, as well as the dedicated, sometimes spicy lyrics, alive during the verses (“When you pull up, we can do it on the counter”). The pre-chorus is a fabulous preface to the chorus, where Lennox admits, “I love the feelin’ every time that we kissing / Got me writin’ love songs, Jason’s lyric.” The chorus is the cat’s meow, where she asks, “Are you my twin flame?” Even beyond the chorus, there is a post-chorus where love is the modus operandi, NO CAP.  During the second chorus, Ari expands her ad-libs, continuing to wow with her instrument.  A beat switch (harder beat, slower tempo) appears during the outro, with Lennox asking, “Oh, do you feel the same?” regarding their relationship.  All told, Ari Lennox brings the house down on “Twin Flame”.

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2. Artemas, “time alone w u”

“time alone w u” » Artemas » 2025

Assertive, sex-positive English singer-songwriter Artemas drops another surefire bop driven by the bedroom. He penned and produced “time alone w u”. What makes “time alone w u” the cat’s meow? The sound is dark and sensual.  Even though it’s dark, it’s set in a major key.  It commences with an unforgettable, striking synth riff.  Colorfully assertive, hard-nosed synths accompany Artemas.  The beat provides a mean anchor.  With sublime musical fuel, Artemas excels with his naughty-sounding vocals.  He sings in an undertone, but the presence of horniness and lust is keenly perceptible.  “I know you want me,” he sings in the first verse, and adds, “You tell me with that look in your eyes that you still love me.” Oh, snap! The second verse, excerpted earlier, is also a surefire vibe… and sexual. Notably, Artemas ascends into his upper register.  I love the contrast compared to when he sings in an undertone. The chorus is the crème de la crème.  The melody is tuneful, while the lyrics are unforgettable.  Unsurprisingly, matters of the bedroom drive the narrative.

“All the things that I would do

For some time alone with you

Can’t stop looking at your face

We should make out in your room

We could go the whole way, too

Swear you always act so rude

Until we’re on our own, time alone

Time alone with you.”

Beyond the chorus, there is a bridge and an outro, both of which emphasize time alone with you… her, specifically. Once more, Artemas excels at S-E-X on “time alone w u”.  He’s been hornier and more overt in the past, but remains a naughty boy on this brief single released at the tail-end of 2025.

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3. A$AP Rocky, “Punk Rocky”

Don’t Be Dumb » A$AP Rocky Recordings LLC » 2026

Rapper A$AP Rocky drops one of the more distinct tracks of his career with “Punk Rocky”.  Fittingly, there are punk and alternative rock vibes, mixed with the rapper’s experimental side. This left-field song appears on his fourth studio album, Don’t Be Dumb. He penned and produced “Punk Rocky” with Cristoforo Donadi, Zach Fogarty, and Ging.

A$AP Rocky fully embraces the rock sound on the 10^th track from Don’t Be Dumb.  The guitars (Donadi and Fogarty), bass (Ging), and drums (Ging) are locked into the punk spirit! Besides his songwriting and production duties, Cristoforo Donadi sings the refrain, the first section on the track that features vocals (“Sometimes I forget what love is / Trust me, love me, take me right back”). A$AP Rocky follows with a sung chorus, excerpted earlier.  Then, on a lengthy post-chorus, he contrasts with less pitch and more hip-hop.  “I thought I fell in love, I thought she felt it too,” he spits, and adds, “I thought we was in love, she just another fluke.” Woo! Finally, the first verse arrives, with the rapper delivering his fair share of intriguing lyrics, quasi-rapped, quasi-sung.

“I cried alone in my truck, yeah
I felt alone in the front ‘cause I don’t know who to trust
And I’ve been going through some stuff
Don’t trust these hoes you love, yeah
Your ego’s one hell of a drug (Yeah, ooh).”

From there, Rocky drops the pitched chorus and the contrasting unpitched post-chorus. Donadi’s refrain recurs before Rocky’s second verse.  The second verse continues to compel.  The unusualness is part of the charm: “Got me crying in the microphone / Let me shout on the megaphone / That ho ain’t my type no more / She ain’t in my life no more.” An outro caps off “Punk Rocky” which is an exhilarating music ride.

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4. Bruno Mars, “I Just Might”

The Romantic » Atlantic » 2026

Oh, snap, Bruno Mars! The Grammy-winning pop superstar returned after a lengthy hiatus with an irresistibly thrilling single, “I Just Might”. “I Just Might” is the third track from his highly anticipated comeback album, The Romantic. The Romantic marks his fourth solo studio album and his fifth album overall. Mars penned “I Just Might” alongside Philip Lawrence, Brody Brown, and D’Mile.  He produced it with D’Mile.

Like so many Bruno Mars songs, “I Just Might” is funky to the nth degree.  The musical accompaniment is electrifying, recreating the sound of past R&B and soul (tight rhythm section, including percussion, horns, etc.).   Even though it is highly inspired by the past, “I Just Might” sounds refreshing – bright, energetic, and sunny.  Mars keeps the same energy, delivering an electrifying, exuberant performance.  At 41, he doesn’t sound like he’s anywhere near that age.  His voice remains dynamic, pure, and youthful.  Beyond the band and the performance by Bruno, the composition is top-notch, too.  The melodies are tuneful, while the lyrics are catchy, fun, and incredibly memorable.  “But first, my I just say that your face got me so intrigued,” he sings in the second verse, and continues, “I’m so intrigued / But what good is your beauty if your booty can’t find the beat?” Word.  He extends on this in the pre-chorus, stating, “it would break my heart… if I found out you can’t move.” As entertaining as the verses and pre-chorus are, the crème de la crème is the chorus:

“Hey, Mr. DJ (Oh, oh, oh)

Play a song for this pretty little lady (Oh, oh, oh)

‘Cause if she dance as good as she look right now (Oh, oh, oh)

I just might, I just might make her my baby.”

Ooh-wee! Filled with personality and featuring the impeccable showmanship we’ve known him for, “I Just Might” marks another winner for Bruno Mars.

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5. Charli XCX, “Wall of Sound”

Wuthering Heights » Charli XCX, Inc. / Atlantic Recording Corporation » 2026

Grammy-winning pop singer-songwriter Charli XCX is in her Wuthering Heights era. While it is a different sound and vibe, Charli continues to make captivating music.  The brief “Wall of Sound” is a prime example.  She penned the third single and second track from Wuthering Heights alongside producer Finn Keane.  “Wall of Sound” commences with enigmatic, intense strings. Over these tense strings, creating that wall of sound, Charli XCX delivers lovely vocals.  The melodies are radiant while the lyrics are intriguing.  “Unbelievable pressure, wall of sound,” she sings in the second verse, and continues, “Love and hatred, and I can’t escape it.” Word. As “Wall of Sound” progresses, the wall of sound expands (bigger, more dramatic strings).  And yes, Charli is accompanied by a string orchestra, which is Chef’s kiss! The lyrics match the increasing dynamic level (“Growing louder, so I’m gonna stay still”).  The chorus is the cat’s meow:

“‘Cause every time I try

Talking myself backwards

Away from my desires

Something inside stops me, oh

Every time I try, something inside stops me, yeah…”

There is also the bridge that distinguishes itself from the verses and the chorus, where Charli asserts, repeatedly, “Tell me that you love me.” Charli XCX pulls back during the outro, while the wall of sound, fittingly, overtakes her voice. All told, “Wall of Sound” is a brief but brilliant record filled with “unbelievable tension, wall of sound.”

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6. Charlie Puth, “Beat Yourself Up”

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

That is heavy, Charlie Puth. Our adorkable, perfect-pitched pop singer, songwriter, and producer clarifies why this person took on this weight.  “You did it for your little girl,” he sings, “So she would never feel the way you do now.” Word.  Charlie’s advice: DON’T “Beat Yourself Up”.  Puth penned the thoughtful second single from Whatever’s Clever! and produced it alongside BloodPop®.  The sound of the record is a big selling point, with bright, energetic horn (saxophone, trumpets, and trombone) riffs, rhythm section and programming, and strings.  “Beat Yourself Up” is grand.

With an epic groove and an active, slapped bass line, the warm and inviting musical backdrop sets up Charlie Puth for success. The ornate nature is a selling point.  As for Charlie’s voice, it is beautiful, as always.  Puth is no powerhouse, but he knows how to use his lighter sets of pipes effectively and efficiently.  He packs the right amount of punch throughout “Beat Yourself Up.” He brings the tuneful melodies to life, particularly during the most memorable section of the song, the chorus:

“Please don’t beat yourself up, oh, whatever you do

‘Cause that doesn’t do nothin’, but just break you in two

Please don’t beat yourself up, though you made some mistakes

But you know it means somethin’ when you’ll live one more day.”

All in all, “Beat Yourself Up” is another pleasant, well-rounded single from Whatever’s Clever!.

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7. Corbyn Besson, “Ruin Me”

HEAD FIRST (EP) » Zaronix LLC / BMG Rights Management (US) LLC » 2026

Oh, you and this girl have been there before, huh, Corbyn Besson? The former Why Don’t We pop singer-songwriter clearly IS NOT done with her on “Ruin Me”, the fifth track on his 2026 EP, HEAD FIRST. Besson penned “Ruin Me” with Trevor Muzzy, James Essien, Tenroc (Jason Cornet), Hit-Boy (Chauncey Hollis), Douglas Ford, and Peter Lee Johnson. Tenroc, Hit-Boy, and Trevor Muzzy produced it.

“Ruin Me” is striking from the get-go.  It features lush, warm musical accompaniment. I love the contrast within the backdrop when the harder, rhythmic drum programming enters. Simply put, that shyt knocks!  Of course, the straw that stirs the drink is Corbyn Besson, who delivers buttery smooth vocals. He’s cool, calm, and collected during the verses, which revolve around L-O-V-E… rekindled, it appears. A prime example: “On this California king with my twin, she a queen, oh yeah.” OH, YEAH! Corbyn ups the ante during the crème de la crème chorus, including grittier, more overt vocals and a delightful falsetto. The chorus features a tuneful melody and the most memorable lyrics of the song.

“I want you to mess it up for everyone else

Put me through the fire, baby, make my heart melt

I want you to ruin me, baby

This the type of love that make me lie to myself

‘Til we get to Heaven, baby, put me through hell

I want you to ruin me, baby, yeah.”

The rhythmic post-chorus is another high-flying moment from “Ruin Me” where, “I want you to keep me on like the porch light / No, the bill ain’t cheap / Turn the boys night to your night.” Word. The song ends beautifully with the entrance of acoustic guitar strums. Does Mr. Besson do his big one on “Ruin Me”? You bet he does!

Appears in:

Corbyn Besson, Ruin Me: Bangerz N Bopz No. 10 (2026)

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8. Doechii, “girl, get up.” (Ft. SZA)

“girl, get up.” » Top Dawg Entertainment, LLC / UMG Recordings, Inc. » 2025

 Woo! Doechii flexes on her single, “girl, get up.”. The flex doesn’t come without assistance, courtesy of fellow Grammy winner, SZA.  Doechii penned “girl, get up.” alongside SZA, Jay Versace, DIXSON, Chad Hugo, Malice, Pusha T, Pharrell Williams, and Birdman.  Jay Versace produced it. “Girl, get up.” sampled “What Happened to That Boy” by Birdman featuring Clipse. Lots of credits, but the results are well worth it!

“Girl, get up.” thrives on its sweet, rhythmic percussive groove.  That is one key moment where the sample shines.  The sound has a chill, contemporary R&B and hip-hop vibe. Matching the sound of the musical accompaniment, Doechii drops fire with her easygoing, agile flow. “Life is but a dream for a dark skin bitch like me / Life gets dark when you’re dark like me,” she spits, and later adds, carefree, “I don’t read y’all tweets, I delete y’all threads.” As bold and potent as she is, she still sounds like she never breaks a sweat. SZA brings incredibly cool vocals during the chorus.  Her melisma is to die for.

“I be in the back, levitatin’

Doin’ meditation, leave me, girl, get up

Pickin’ on non-confrontation

Fuck a limitation, leave me, girl, get up

Somehow, I know that I’ll have everything, it’s mine

Mine, mine.”

The second verse by Doechii has a bit more bite, but the Grammy-winner still keeps relatively cool “All that industry plant shit whack / I see it on the blogs, I see you in the chats,” she bites, and continues, “You suck every rap nigga dick from the back.” Ooh-wee!  In another sharp moment, she asserts, “And y’all can’t fathom that I earned this chart.” Facts! The third verse finds Doechii continuing to bring the heat over the relaxed, mellow backdrop. As she has with all of the verses, Doechii starts things off with a bang: “They callin’ me the intellect amongst the pussy rap / I still be poppin’ pussy, them my sisters, so I can’t agree with that / These niggas misogynistic, I’ll address that on the album / For now, let’s sink into the fact that hate don’t make you powerful.” Gah-day-um! All told, Doechii, assisted by SZA ate and left no crumbs on “girl, get up.”, No cap!

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9. Father John Misty, “The Old Law”

“The Old Law” » Josh Tillman / Sub Pop Records » 2026

Father John Misty (Josh Tillman) sings, colorfully in the first verse of his single, “The Old Law”.  Tillman continues, intriguingly and poetically, “I met a musing gospel in the bathetic, it made its way / To my red-hilt brain.” Tillman continues to showcase his elite songwriting.  His magic with words is consistently a thing of beauty on “The Old Law,” which he produced with Drew Erickson. Additionally, the music is awe-inspiring.

The musicianship is top-notch on “The Old Law.” There are great musical underpinnings, namely the harmonic progression, which expands beyond those three chords and the truth. A great groove established by the drums.  There is a fantastic mix of acoustic and electric guitars.  I love the tone of the electric guitar. Beyond his marvelous pen, Father John Misty delivers a strong vocal performance.  The vocal production alone is on point.  Matching the phenomenally clever and entertaining songwriting (“Pick me the sling, you little clopilet drying / Matte Mac boy, hairy guys”) are consistently lovely melodies. The chorus, the crowning achievement, takes the cake:

“A man’s life, God’s trash

There’s no law but the old law, baby

Pet it for, nothing dies

Except by except by a strong kamikaze

Year zero in the summertime

Year zero in the summertime.”

All told, Father John Misty continues to show he is on another level when it comes to songwriting.  “The Old Law” is elite.  Great vocals, great songwriting, great production, great everything.  No notes, FJM!

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10. Harry Styles, “Aperture”

Kiss All The Time. Disco, Occasionally. » Erskine Records Limited / Columbia » 2026

Grammy-winning pop singer-songwriter Harry Styles returned in 2026 with “Aperture”, the five-minute-plus opener from his highly anticipated fourth studio album, Kiss All The Time. Disco, Occasionally. Styles composed “Aperture” with producer Kid Harpoon. Early on, it’s crystal clear that Styles is unveiling a change of pace – a new era and sound. “Aperture” is surprising from the get-go.  It features warm, electronic sounds and driving rhythmic synths.  Eventually, an infectious, rhythmic electronic kick/bass provides a mighty anchor.

Styles is in no rush to sing, first entering the mix 45 seconds in.  His vocals are cool, calm, and collected. His tone is beautiful against the minimalist but rhythmic backdrop. “Take no prisoners for me,” he sings at the beginning of the verse, and concludes, “I’m sold, I’m going on clean…” Interesting.  The second verse follows, with a more developed musical accompaniment – more ornate drum programming. Also, the secret weapon of harmonized vocals enters the mix.  “Aperture” picks up steam with the arrival of the pre-chorus, which features more overt vocals by Styles and first mentions aperture itself.  “It’s best you know what you don’t,” he sings, and adds, “Aperture lets the light in.” He’s 100% correct. By the chorus, the fever pitch has finally been reached.  It features a tuneful melody and infectious lyrics.

“We belong together

It finally appears it’s only love

We belong together.”

The third verse is composed much like the first two, with the backdrop on autopilot.  A pre-chorus, half the length of the first, follows, while the chorus shines once more, in all of its together-belonging glory. The bridge distinguishes itself from the other sections.  The danceable, modern pop vibes continue to thrive here as Styles sings, “I won’t stray from it / I don’t know these spaces / Time won’t wait on me / I wanna know what safe is.” “Aperture” takes a couple of listens to digest – to figure out what direction Styles is going for. Initially, I was skeptical, but admittedly, this about-face from Harry has grown on me quickly.

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11. Jill Scott, “Beautiful People”

To Whom This May Concern » Blues Babe Records LLC / Human Re Sources / The Orchard » 2026

Grammy-winning R&B singer-songwriter, Jill Scott (b. 1972) returned in 2026 with a bang. “Beautiful People” is the promo single and third track from her sixth studio album, To Whom This May Concern.  Scott penned the pleasant, nostalgic-sounding single with producer Om’Mas Keith. There’s a lot to like about “Beautiful People.”

“Beautiful People” commences with a spoken word intro, accompanied by a soulful backdrop. The sound of the record is characteristic of Scott’s music from old.  This is neo-soul through and through.  One of the best instrumental features is the active, robust bass line. Scott is the star of the show, delivering buttery smooth vocals.  “Our love canceled mountains (Yes!) / Our love traversed the sea (Yes!),” Scott sings in the second verse, and adds, “Our love is the art of war / Conquering all algorithms.” Beyond her commanding lead, shaping the melodies and sharing the love-driven lyrics,  she gets great support from the background vocals, providing the response to her call. Fittingly, the bridge distinguishes itself from the verses and the chorus (“I just wanna be cool with you / I am genuine / I love your soul”). I love the harmonic progressions used throughout, particularly during this section. Fittingly, Scott delivers superb high-flying vocals by the end, letting ‘er rip as she touts her “beautiful people /… Enterprising, good timin’, people”! “Beautiful People” marks a well-rounded return to the game for Scott. Her voice remains as powerful and versatile as ever.

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12.Jill Scott, “Pressha”

To Whom This May Concern » Blues Babe Records LLC / Human Re Sources / The Orchard » 2026

Oh, snap! “Beautiful People” was a superb comeback single for Grammy-winning R&B singer-songwriter Jill Scott (b. 1972). “Pressha”, the second single from Scott’s highly anticipated sixth studio album, To Whom This May Concern, keeps the same energy and is, arguably, even better. Scott wrote the eighth track from To Who This May Concern with Adam Blackstone, Vincent “VT” Tolan, Ayo Brame, and Kev Choice. She produced it with Blackstone and Tolan.

A soulful, neo-soul groove sets the tone on “Pressha.” I love the detuned sound of the keys and synths.  Beyond those keys, the potent, robust bass line provides a mighty anchor.  Between it and the dusty drums, it’s a mean one-two punch.  Adding to the ear candy are the horns that appear during the chorus.  While the musical accompaniment is utterly sublime, Jill Scott is the star of the show.  Her vocals are a Chef’s kiss! Her tone is sublime, while her performance is soulful to the nth degree. She sings with incredible ease, never forcing things.  Interestingly, the verses (all three) are shorter than the chorus. The chorus is repetitive, but definitely the crème de la crème. “I wasn’t the aesthetic (I guess) / I guess, I guess, I get it,” she sings, and adds, “So much pressure to appear just like them / I found it so pathetic…” The third verse, which is bridge-like, distinguishes itself from the first two.  Even though it differentiates itself, the sound isn’t totally removed.  Wrapping things up, “Pressha” marks another winner from the comeback queen!

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13. KATSEYE, “Internet Girl”

“Internet Girl” » HYBE UMG LLC » 2026

Manon Bannerman sings in the intro of the KATSEYE K-pop bop, “Internet Girl”. The Los Angeles-based global girl group comprises Daniela Avanzini, Lara Raj, Manon Bannerman, Megan Skiendiel, Sophia Laforteza, and Yoonchae Jung. The striking song at hand was written by Mattman & Robin (Mattias Larsson and Robin Fredriksson), Justin Tranter, Livvi Franc, and shawn wasabi. Mattman & Robin, Tranter, and wasabi produced it.

There is a lot to love about “Internet Girl.” The musical accompaniment shines.  It begins with the banging, rhythmic drum programming.  Additionally, the rhythmic, noisy musical cues add personality. The gimmickry bodes in the song’s favor. This gimmickry includes the infectious titular lyric, which recurs throughout. “Haven’t you heard? I’m the internet girl / Every picture of me is ‘Oh my god, it’s her.” Oh, snap! Acknowledging that they’re ‘her,’ Lara asserts, “Yeah, it isn’t my fault that it’s always my turn.” Beyond consistently embracing being the internet girl, there’s also the unforgettable “Eat zucchini, eat zucchini / Do you read me? Like an emoji?” Ooh-wee! Besides the irresistibly delicious lyrics, the melodies are memorable – incredibly tuneful. The captivating vocal harmonies blend sublimely over the busy, hyper-rhythmic backdrop. All told, “Internet Girl” Is a super catchy, incredibly fun K-pop bop that you won’t be able to get unstuck from your head.

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14. Luke Combs, “Sleepless in a Hotel Room”

The Way I Am » Seven Ridges Records, LLC / Sony Music Entertainment » 2026

country singer-songwriter Luke Combs asserts, and adds, “I can feel the whiskey not do anything.” Oh, my! Those two lyrics from the first verse of “Sleepless in a Hotel Room” set the tone.  This intriguing, minor-key country single is the 13^th track from Combs’s sixth studio album, The Way I Am. Combs wrote “Sleepless in a Hotel Room” with Jonathan Singleton and Randy Montana. Combs produced the track with Singleton and Chip Matthews.

“Sleepless in a Hotel Room” cooks for many reasons.  It begins with the sound, countrified musical accompaniment.  The backdrop is on fire, thanks to the colorful, rhythmic plucked and strummed strings and the assertive drums. Beyond the solid foundation, the star of the show is Luke Combs, who impresses with his dynamic, expressive, and nuanced vocals.  Combs brings the melodies alive.  They are tuneful from start to finish.  Maintaining engagement, there is a sizable contrast between the verses and the chorus. How does the chorus separate itself? It’s gargantuan – go big or go home, baby! The chorus is the crème de la crème – the section to beat:

“The morning light can’t come too soon

Lyin’ here not next to you

Wide awake, I dream of you

Sleepless in a hotel room.”

The post-chorus is notable, too: “Woah-oh-awoah-woah-oh-awoah.” Woo! Following the second post-chorus, there is a sweet electric guitar solo. The bridge follows, contrasting the verses and the chorus. “Our four walls are painted blue,” Combs sings, and concludes, “Sleepless in a hotel room / A thousand miles past missin’ you.” All told, Luke Combs brings it on “Sleepless in a Hotel Room”.

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15. Nick Jonas, “Gut Punch”

Sunday Best » Republic » 2026

Fair questions, Nick Jonas. Jonas unveiled “Gut Punch”, the first single, and fifth track from his fifth studio album, Sunday Best. He penned “Gut Punch” with Josette Maskin, Blush, and producer Ryan Daly.

Nick Jonas is inquisitive, introspective, and self-critical throughout “Gut Punch.” In the first verse, after calling Phil, Jonas sings, “He said, ‘Go easy on yourself,’ but what does that even mean? / Sounds like good advice, but I just can’t hear it right now.” The second verse, excerpted earlier, features more of the same emotions and mindset. “Looked at myself and I can’t even recognize,” he sings, and concludes, “Who I am behind those eyes, one big disguise.” Throughout, Jonas sounds pleasant, singing with incredible expressiveness and sincerity.  The crème de la crème comes by way of the chorus, where Nick sings, “Hit me like a gut punch, I hurt my own feelings / How did I get so good at being mean to myself?” Relatable lyrics and feelings, by all means. On the bridge, the hurt Jonas imagines being nicer to himself, which is advice many of us need to heed.  Accompanied by a classy, refined adult contemporary pop backdrop (moody keys, rhythmic guitar, and the appropriate percussive hit on “gut”), Nick Jonas brings the heat on the thoughtful and enjoyable “Gut Punch”.

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16. Snoop Dogg, “Slid Off”

“Slid Off” » Death Row » 2026

Damn, Snoop Dogg. At 54 years young, the D-O-double G remains the S-H-I-T.  He brings some energy in the wintertime of 2026 with his brief single, “Slid Off”.  He wrote and produced the banger himself.  The opening four-count sets the tone on “Slid Off.”  The drum programming and percussion are striking, providing a mighty anchor for Snoop Dogg.  The production is minimalist – skeletal – which signifies a good, old-fashioned rap banger! With the simple but rhythmic backdrop behind him, Snoop Dogg gets to work.  He is confident as fuck, impressing with a compelling but easygoing cadence and flow.  Silky smooth with those explicit, hard-nosed bars, the expectation is easily met by the veteran rapper. “Bitch nigga X’d out / Let me show you niggas what the West bout,” he raps in the sole verse, and concludes, “Cooked up this hot beat, now you on the hot seat / Look you in the eyes, you are not me.” Before the verse, he unveils the chorus, where he asserts, “I show you how to get off, baby blew the lid off / Now I’m at the pad, a nigga slid off…” Word. After he finishes talking his shee-it, he lets the playful, minimalist instrumental ride out. “Slid Off” isn’t a life-changing rap record by any means.  Snoop Dogg has long proved himself.  But this is a fun and irresistible joint.

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17. The Kid LAROI, “BACK WHEN YOU WERE MINE”

BEFORE I FORGET » Columbia » 2026

 

Uh-oh! Those pesky matters of the heart have The Kid LAROI (Charlton Howard) feeling some type of way, NO CAP! He recalls a previous relationship on “BACK WHEN YOU WERE MINE”, the 15^th track from his sophomore album, BEFORE I FORGET.  While Howard reflects on his feelings, he also tries to capture his ex’s feelings on how things are different (“It’s just you and your thoughts now, thoughts now / You thought it’d never be this cold /…I bet you thought I’d never sing this song”). The Kid LAROI penned “BACK WHEN YOU WERE MINE” with producers Daniel Aged and Zack Sekoff.

 

“BACK WHEN YOU WERE MINE” commences abruptly with The Kid LAROI singing.  His vocals are expressive and radiant. I especially love the pureness of his falsetto. Regarding tenderness, I would argue this is one of Howard’s most refined and smoothest performances. Beyond his lead vocals, the background vocals supporting him are sweet, further expanding the excellence.  Beyond the lyrics that marvelously recollect expired love (including the repetitive but moving chorus), and tuneful, sometimes rhythmic melodies, the warm, romantic-sounding musical accompaniment is a big selling point. There are fabulous musical touches thanks to the smooth guitar, present bass line, and the rhythmic percussion.  All in all, The Kid LAROI delivers another pleasant, well-rounded song with “BACK WHEN YOU WERE MINE”. 

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18. ZEE MACHINE, “MAGNETIC”

“MAGNETIC” » HYMPHOMANIA INC. » 2026

Ooh-wee, now that is an intriguing lyric, ZEE MACHINE (Joe Bissell, he/they pronouns). Beyond the excerpted lyrics, from the first verse, Bissell serves up their fair share of captivating lyrics on the single, “MAGNETIC”.  “Nobody’s diving in my ocean,” he sings in the pre-chorus, and adds, “Next thing you know you’re in my head with / Feelings so magnetic / It’s a force I can’t control.” Word. Bissell and Dominic Florio wrote and produced “MAGNETIC.”

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“MAGNETIC” is a vibe from the get-go, without question. The backdrop is bright, driving, and energetic.  The moment you hear the music, you’re ready to hit the dancefloor, whether you can dance or not!  It’s not just the sickening music, though. ZEE MACHINE brings the heat, matching the energy and infectiousness of the accompaniment. He never forces things; he sings with ease yet brings it.  After denying feelings in the first verse and pre-chorus, things change from ZEE MACHINE’s warm vacation island in the second verse.  “Not a soul alive could keep you from my plans,” he sings, and adds in the pre-chorus that follows, “‘Cause I’m terrified you wouldn’t wanna stick around.” Ooh-la-la! The centerpiece, the crème de la crème, is the chorus:

“It’s like electric in my heartbeat

Divine like a touch invisible

Then suddenly I want to feel you shock me all night

Baby, don’t you dare let go.”

The chorus is memorable, tuneful, and all the things.  The bridge is also worth acknowledging. It separates itself from the verses and chorus.  Still, the attachment that ZEE MACHINE sings about is real! “Guards fall / Sparks fly / Got me / Smiling ‘cause I / I know I’m never going back.” “MAGNETIC” is a joy to listen to.  ZEE MACHINE always has a bop up their sleeve, but this one – he did his big one, baby!

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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 January 2026 [📷: Brent Faulkner / The Musical Hype; A$AP Rocky Recordings LLC, Artemas, Atlantic Recording Corporation, Blues Babe Records LLC, BMG Rights Management (US) LLC, Charli XCX, Inc., Columbia, Death Row, Erskine Records Limited, Human Re Sources, HYBE UMG LLC, HYMPHOMANIA INC., Interscope, Josh Tillman, Republic, Seven Ridges Records, LLC, Sony Music Entertainment, Sub Pop Records, The Orchard, Top Dawg Entertainment, LLC, UMG Recordings, Inc., Zaronix LLC; Canva AI; Gordon Johnson, OpenClipart-Vectors from Pixabay]

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