Striking Bops from October 2026 → Playlist

Striking Bops from October 2026 features songs by brakence, Grimes, Haiden Henderson, hemlocke springs, Lil Nas X, Taylor Swift & Troye Sivan.

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 October 2026 were released as singles or album tracks in mid-to-late September 2026 or October 2026. Musicians who served up the bops from October 2026 include brakence, Grimes & VADAKIN, Haiden Henderson, hemlocke springs, Lil Nas X, Taylor Swift, and Troye Sivan. So, without further ado, here are those rock-solid, Striking Bops from October 2026!

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1. Al Calderon, “make me wanna”	2. Alec Benjamin, “Follow Me”	3. BigXthaPlug, “BURN” (Ft. Ava Max)
4. brakence, “crystallized”	5. brakence, “death rolL”	6. ETHAN & DEVAURA, “Hope I’m Just High”
7. Greyson Chance & Cain Culto, “SAND”	8. Grimes & VADAKIN, “ACCELERANDO”	9. Haiden Henderson, “dumblond”
10. hemlocke springs, “gloria!”	11. Jackson Chant, “U Can Touch” (Ft. David Archuleta)	12. John Legend & Pharrell Williams, “Fireflies”
13. Jonah Kagen, “Don’t Feel Right”	14. Judeline, “La Falda”	15. Kid Souf, “IM IN A BAD MOOD”
16. Lil Nas X, “World’s Greatest!”	17. Martin Garrix, “This Dream Of You”	18. Mike Taveira, “Payphone”
19. Offset, “Every Night” (Ft. Don Toliver)	20. Slayyyter, “i think he’s got a girl”	21. Soulidified, “Man Ain’t Me”
22. Taylor Swift, “Patient Zero”	23. Troye Sivan, “FF”	24. Victoria Monét, “Almost”
25. Victoria Monét & Leon Thomas, “You Mean The World To Me”
Striking Bops 2026

 

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1. Al Calderon, “make me wanna”

“make me wanna” → Al Calderon / Create Music Group Inc. → 2026

“I forget to breathe / Cause with you, baby / It’s always something…” Uh-oh, sounds like there are some issues! Something that’s NOT an issue is Al Calderon! Ooh-wee, child! Al Calderon es increíblemente guapo y talentoso. PERIODT! The gay actor and singer-songwriter returned with another bop, “make me wanna.” Looking at Al, as well as the music video (or any of his music videos, namely “come get it”), he certainly makes me, and others, wanna do naughty things… Calderon composed “make me wanna” alongside producer Joseph Tilly.

“Make me wanna” shines from the get-go.  The chill, smooth guitar is everything.  The rhythmic beat is pretty awesome, too! The star of the show is… Al Calderon! His vocals are rhythmic, smooth, and all the things! The melodies are striking – tuneful. A fabulous pre-chorus sets up the crème de la crème, the chorus. During the chorus, Al’s falsetto is commanding and ripe, though he never forces things.

“Don’t know what I was thinking

I tried to work with you

But it got too complicated

(You make me wanna)

Switch up

My mind

I’m scared

I might

I used to say I would never change

But you make me wanna.”

The Spanish verse, a trademark of his music, is fire.  Like the English-exclusive verse, it’s rhythmic, smooth, tuneful, and filled with swagger.

“Me cago en la madre, Tú y yo no somos iguales. Papi, tú no eres mi jevo. Suena mi canción, ya llegó. Qué vergüenza que no me lo mamas Después de que me pichara. Me cambió la mente, Intentar morderme como una serpiente.”

“Damn it all, You and I aren’t the same. Baby, you’re not my man. My song is playing—it’s here. It’s a shame you won’t go down on me After you blew me off. You changed my mind, Trying to bite me like a snake.”

All told, “make me wanna” is a short but utterly sweet pop bop from Al Calderon.  The best way to describe this well-performed, well-written, and well-produced track is a VIBE! The song speaks for itself!

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2. Alec Benjamin, “Follow Me”

“Follow Me” → Atlantic Recording Corporation → 2026

“He said, ‘I think I heard a voice last night; I was in my bed / There was no one home, it was 5 a.m.’” And so, begins “Follow Me” by pop singer-songwriter Alec Benjamin. In the pleasant single, Benjamin’s unique, boyish voice remains intact – that’s a win! He and producer Alex Hope composed it.

There is plenty to love about “Follow Me.” The rhythmic guitars are sweet, while the production is well-rounded. Benjamin’s high-pitched, youthful voice remains beautiful! I love how ‘light’ his instrument sounds.  His rhythmic melodies are tuneful, and his songwriting is poetic and thoughtful. “I know it sounds insane, like I lost my mind / But this feels ordained, it just feels divine,” he sings in the second verse, and continues, “Feel it in my veins that this is the sign / That I need to change, that it’s finally time.” The expressive, memorable, and tuneful chorus is the crème de la crème:

“Wherever I go, you’ll follow, follow me

Whenever I speak, you’ll listen carefully

No matter what comes tomorrow, bitter pill you must swallow

Just promise me that you’ll follow

Even if it’s dangerous, еven when it’s dark

Even if it’s trеacherous, even when it’s hard

Even when you’re feelin’ weak, broken and your heart

Heart is feeling hollow, just promise me that you’ll follow.”

During the second verse, Benjamin sings in his middle register; the sound is still easygoing, light, and most of all, beautiful.  All told, “Follow Me” is an enjoyable Alec Benjamin song.

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3. BigXthaPlug, “BURN” (Ft. Ava Max)

BETTER OVER TIME → BigXthaPlug / UnitedMasters LLC → 2026

“Fool me once, but I can’t go for foolish shit again / Them people smile off in your face, but they true colors ain’t they skin.” Texas rapper BigXthaPlug (Xavier Landum) has a point on “BURN.” He has a partner in crime on the track: Ava Max.  Although an unlikely pairing, it’s successful. “BURN” is the third track from his 2026 album, BETTER OVER TIME. BigXthaPlug, Ava Max, Tony Coles, Charley Cooks, D’Mile, Diana Gordon, and Earwulf (Thomas Eriksen) wrote it. Coles, Cooks, and JULiA LEWiS produced it.

After a brief intro, Ava Max takes the reins, singing the chorus powerfully, with conviction.

“Right now, it’s raining, but you’re gonna learn

Playin’ with fire, you’re bound to get hurt

No, I won’t get angry, I won’t say a word

No, I just won’t stop until everything burns.”

The accompanying, cinematic backdrop matches her energy.  The same happens when BigXthaPlug arrives. The feel and groove change in the first verse.  As always, he is confident, and his cadence and flow are compelling. “See, when you helpin’ and they rootin’ for you, they want you to win,” he asserts, and continues, “Whеn shit get wicked, they gon’ stab your back and always bitе your hand.” Woo! Following a second dynamic chorus by Max, BigX brings it again in the second verse. “You niggas bitches, I been tired of sparin’ feelings / Tryin’ to stay off in my lane, take care of my kids and stand on business,” he spits, and concludes, “Put my life on the line to make this shit, but these niggas don’t get it / They just want the shine, the jewels, the life, well here, nigga, come get it.” Ava Max concludes “BURN” with a high-flying chorus and outro that emphasizes, “No, I just won’t stop until everything burns.” All in all, “BURN” is a solid BigXthaPlug banger.  Ava Max’s powerful pipes ‘pop,’ while the production packs a dramatic, mean punch.

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4. brakence, “crystallized”

marroW → Columbia Records → 2026

“We rise from what we’ve known / As lava turns to stone / Just stay intact, make money, give back / Bones crack, but my spirit won’t fold (Yeah).” Brakence (Randall Findell) has always been unique. “Crystallized,” the 13^th track from his third studio album, marroW, continues his musical uniqueness. Brakence, Hugo Chan, and Wyatt Otis wrote “Crystallized.” Brakence produced it; Chan co-produced; Otis served as an additional producer.

“Crystallized” has a unique sound. It’s the keyboards, I think! It fits the alternative billing perfectly. Brakence’s expressive, unique, emo-tinged vocals remain striking.  His instrument is special. The chorus, the first section that he performs, is the crème de la crème:

“She rips me out of my body

Her lips are tearing my heart open for the millionth time

Maybe we’ve been crystallized, ah

My cheeks go red as a garnet

‘Cause she’s so bad, I swear to God spoke before I closed my eyes.”

Beyond the chorus, brakence delivers his fair share of unforgettable lyrics and tuneful melodies. “Yeah, I can get a bit cooked, but that’s how it’s supposed to be,” he sings in the first verse, adding, “When knocked down, I get back up boastfully.” Word.  He also drops some swears. “Who would’ve thought since I said, ‘My bad,’ let the bitterness go / I kick back and get my head out that fuckin’ phone,” he sings in the second verse, and continues, “Picked up the slack ‘cause all that bitchin’ was getting’ old.” He drops more f-bombs in the outro, for good measure.  Brakence remains one of one. “Crystallized” is a bop. Great vocals, memorable lyrics, tuneful melodies, and striking production make this a winner. 

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5. brakence, “death rolL”

marroW → Columbia Records → 2026

“Death roll with a crocodile’s patience / Doomscroll make me lack motivation / So put it on silent and creep up real quiet / It’s gone in one bite; I ingested a man.” Say what, brakence (Randall Findell)?! “death rolL,” which was released alongside “crystallized”, finds Findell ‘doing the damn thang’ one more.  You’ll be hard-pressed to find something that sounds like “death rolL” on the radio; it embraces its alternative, hyperpop, one-of-a-kindness.  Brakence, Hugo Chan, and Wyatt Otis wrote “Crystallized.” Brakence produced it; Otis provided additional production.

“Death rolL” has lots going on. That is part of its charm.  There are distinct, glitchy, rhythmic, and unusual sounds.  The production is D-O-P-E, PERIODT! Plenty of riffs and musical ideas pique the ear.  The syncopated grooves kick ass and take names.  Do you know who else kicks ass and takes names? Brakence! He delivers a compelling cadence and flow. “Death roll off the tongue like a taipan / Tadpole out the egg with a virus,” he sings in the second verse, and adds, “Hellholes open up my irises / Burning papyrus, just test me, I’ll be there with a pen.” Ooh-wee! He sings beautifully, melodically raps with swagger, and exudes plenty of personality. Around 2:03, the heavy sound eases up a bit. Brakence remains fiery, including a timely mf-bomb in the third verse (“Death will come around and crush you like a little bug / Gobble up another motherfucker gettin’ smug”). But after hearing him showcase a more tender side, the outro is insane! There is more glitching, and also all-in, spirited rock (“Turn me to a smart-ass riddled with dysfunction, but I still love myself”). Randall Findell, you are one of one.  “Death rolL” – also one-of-one!

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6. ETHAN & DEVAURA, “Hope I’m Just High”

“Hope I’m Just High” → ETHAN → 2026

ETHAN (Ethan Choryin Luo), the out-and-proud New Zealand singer-songwriter based in Australia, excels at bops. Time and time again, this handsome fella pulls out all the stops to catch our ear. Once again, he shines on “Hope I’m Just High.” It’s not just him, though; DEVAURA joins, amplifying the ‘high’ of this dance-pop single.  ETHAN composed “Hope I’m Just High” with klipo (Johannes Bruun), Deborah Omuekpen Iyeoser Edeko, and Nicolas Duquemin.  He also produced it with klipo.

“Hope I’m Just High” is an instant V-I-B-E.  The production is modern; incredibly sleek. The rhythmic, looped synths are relentless. Instantly, ETHAN unveils the titular lyrics: “Hope I’m just high… hope it’s just the drugs making me cry.” Ooh-wee! Both the music and ETHAN’s vocals capture this high perfectly, regardless of the cause.  Following the intro, the sound grows fuller, thanks to the sickening, syncopated beat.  As the song progresses, sounds expand, specifically the synths.  The record has club, dance, and dance-pop written all over it.  ETHAN, quite versatile, excels in this style. His vocals are expressive, yet the high doesn’t make him break a sweat, which is… cool.  His performance possesses a cool energy. DEVAURA’s vocals keep the same energy. They are smooth, smoky, and utterly sublime. The melodies are tuneful, while the lyrics are catchy, especially the chorus.  The ending flies incredibly HIGH! Once again, our sexy and talented Australia-based musician, with the help of DEVAURA, brings it on “Hope I’m Just High.” 

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7. Greyson Chance & Cain Culto, “SAND”

BOYSTOWN → GCM → 2026 

“Get your fucking hand off my lap / I don’t want to be touched like that / When I know what you’re really asking.” Oh snap, Greyson Chance! The handsome and talented gay pop singer-songwriter is sassy and unapologetic throughout his fifth studio album, BOYSTOWN.  The second track where these fucking lyrics appear is “SAND.” Notably, Chance collaborates with another talented (and handsome) queer artist, Cain Culto (Andrew Padilla). Chance, Padilla, and John Fellner composed and produced “SAND.” The results yield a truly dazzling, must-hear duet.

“Locked and loaded / Boystown season.” Indeed, Greyson Chance, indeed! “SAND” cooks from the get-go.  The groove is electrifying, providing a mean accompaniment for Chance and, later, Cain Culto.  The backdrop feels balanced, yet potent.  Greyson draws first blood, performing the intro, first verse, pre-chorus, chorus, and post-chorus.  The memorable excerpted lyrics involving that “fucking hand off my lap” hail from the pre-chorus.  Before that, he sings in the first verse, “You said it so matter-of-fact / You pushed me to my limits, and you didn’t hold back.” He sings authentically, expressively, and superbly.  The chorus is the centerpiece:

“It’s like we always said

If it’s worth it, we won’t need to force it

Love is just like money, it can slip through your hands

Fall through the cracks

Let’s get dramatic, let’s get passionate

Boy, can’t you see our future is a wave on the sand?”

In the post-chorus, the sand is “Washing away.” Cain Culto takes the reins in the second verse.  He complements Greyson superbly. He also contrasts by rapping rhythmically with more lyrics.  Culto ‘snaps’ from the beginning: “Space dude, I need space / I need to find god, I need you to find grace / Can’t seem to find patience looking at your face / I wanna see a man, I don’t wanna play date.” Damn, Cain! His epic performance doesn’t stop there: “You was drunk, you was high, nah, you were stupid / Now I’ma have to write a hit and let you loop it.” Woo! Greyson follows up with the second pre-chorus, which features one of my favorite moments: “Get your fucking hand off my ass / I don’t want to be touched like that / When I know what you’re really up to.” Greyson Chance and Cain Culto serve C U Next Tuesday on “SAND,” PERIODT! Great singing, with plenty of personality, memorable songwriting, and ear-catching, groove production makes this a must-hear, QUEER, dazzling duet.

Appears in 🔻:

Greyson Chance & Cain Culto, SAND: Dazzling Duets No. 37 (2026)

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8. Grimes & VADAKIN, “ACCELERANDO”

“ACCELERANDO” → Nazgul Recording LLC / Eternal Recurrence → 2026

“Memorize my number / I need the bass, girl God of thunder…” Captivating lyrics! So… what happens when Grimes (Claire Elise Boucher) and VADAKIN (Elijah Hill) collaborate? Why, “ACCELERANDO,” of course! Also, musical magic! Grimes never gives listeners a dull moment.  “ACCELERANDO,” set to appear on Grimes’ 2027 album, Psyopera, is no exception. Grimes, VADAKIN, Elley Duhé, and Skyler Stonestreet composed it.  Grimes and VADAKIN produced it.  Notably, Duhé and Stonestreet also lend their vocals, while VADAKIN plays synthesizer.

“ACCELERANDO” is distorted and noisy from the get-go. The sound is ‘in-your-face.’ A sickening groove arrives after the initial distorted sound.  There are colorful synths and rhythmic cues. Grimes delivers her signature high-pitched vocals. “Oppenheimer Barbie, mindless machine army,” she sings in the verse, and continues, “American lobotomy /… Accelerando, better than a Van Gogh?” After hearing the chorus (the intro, excerpted earlier) in context, Grimes’s direction makes far more sense. The chorus, in its entirety, plays out as follows:

“Memorize my number (Ah)

I need the bass, girl God of thunder

Expensive taste, you get a weapon or a war

Either way, let’s carnivore

Based, baby, softcore.”

I love the legato bridge, accompanied by intense rhythmic synths.  The melody here is beautiful and quite tuneful (“Call my name, call my name / Breathe in simulated air, baby”). The tempo briefly slackens before it accelerates – fitting given the musical title! The ear-catching, ‘infectious’ chorus returns. A great instrumental outro maintains the spirit, with a kinder, gentler synth concluding. Ultimately, “ACCELERANDO” is a bop from Grimes and VADAKIN. The record’s sound and spirit truly ‘take the cake.’

 

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9. Haiden Henderson, “dumblond”

bleach → Republic Records → 2026

“We can live a blonded life.” Noted, Haiden Henderson.  Also noted: “I just wanna be a dumb blond.” The guitarist and alternative pop singer-songwriter delivers a compelling listening experience with “dumblond.” “Dumblond” is the opener from his debut album, bleach. Is this song dumb? Absolutely not! Henderson composed the intriguing track alongside Benny Cassette, Mark Raggio, and Zaria.  Benny Cassette produced it, with Henderson serving as a co-producer.

“Dumblond” begins with dramatic strings – violin and viola – performed by Molly Rogers. The arrangement (Rogers and Benny Cassette) is marvelous! Also, it sounds classical and cinematic. Beyond the strings, the groove cooks. Upping the ante is a minor key. With a sickening backdrop, Haiden Henderson brings it vocally. Some of his best moments involve the head voice – falsetto, baby! The melodies are tuneful, while the lyrics are catchy, fun, and ‘all the things.’ “Big bang confetti / You left me like a three-leaf clover,” he sings, and continues, “You think I’m boring / You poor thing / But let me show you.” Word.  The lyrics are even more captivating and eyebrow-raising in the second verse:

“Do you like it when I strip down to just my briefs?

Yes, you can touch it, I just got it bleached

Everyone wants to try this

Boys and girls and straight and curls

Should get to dye as much as they want.”

Wow! The chorus, involving the desire to be a dumb blond, slaps.  A timely groove contrast at the end only amplifies the pop goodness of “dumblond.” Haiden Henderson may be blonde, but he’s no dumb blonde, at least regarding this relatively brief but electrifying alternative pop bop.

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10. hemlocke springs, “gloria!”

“gloria!” → hemlocke springs / AWAL Recordings America Inc. → 2026

“This is the end of a new beginning / Feel the nerves kickin’ in from your head to your toe.” Intriguing lyrics! Those lyrics come from “gloria!”, the enticing, post-the apple under the tree single from alternative singer-songwriter hemlocke springs (Isimeme “Naomi” Udu). Springs wrote “gloria!”; She produced it with Steph Marziano.  The results are nothing short of glorious!

“Gloria!” begins with colorful, warm, dreamy sounds. The first verse is percussion-less. The keys and synths are exquisite. Hemlocke springs delivers beautiful vocals. “When the music comes, then I am answering the tone,” she sings near the end of the verse, and continues, “Then the music dies, and I am on my own.” After the remarkable first verse, a danceable groove takes over. The guitars add beefiness in the second verse. The melodies continue in their tuneful glory, which springs performs with ease (“The truth will abide for the warriors tonight / So come on, sing along as the choir people go”). The assertive, operatic vocals that grace the chorus kick “gloria!” up a notch.  I love how theatrical she becomes.

“Gloria, we sing gloria

Peril through the journey and rain hell on the weakest

Gloria, we sing gloria

The time to fight has come again, but you must go seek it

Gloria, we sing gloria

No honorable will ever doubt the power that we have

Gloria, we sing gloria

When all is said, then all is none, when all is done, we sing gloria.”

The theatrical vibes continue in the bridge, where “They think they have the upper hand / But you’ll never wander.” Word! The outro, which sounds similar to the verses, concludes “gloria!” Ultimately, “gloria!” is a fantastic single by hemlocke springs.  Great vocals, memorable songwriting (lyrically and melodically), and marvelous production make the song a winner.

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11. Jackson Chant, “U Can Touch” (Ft. David Archuleta)

“U Can Touch” → Jackson Chant → 2026

“Somebody to hurt me, turn me on / You could be the one to do me wrong /… I want it / I want someone…” What happens when two attractive, talented fellas like Jackson Chant and David Archuleta collaborate? Magic… and also, “U Can Touch.” Both these LGBTQ+ musicians ‘bring it’ on a summery pop bop that is perfect for any time of the year. Chant, Archuleta, Tyler Redman, and Jillian Harper Allen wrote “U Can Touch.” LEVÉ produced it.

“U Can Touch” is set in a major key and features bright-sounding production.  The sound is firmly planted in dance/electro-pop. A light, thudding kick drum anchors initially.  As the song progresses, the beat digs in more and packs more punch. Jackson Chant draws first blood with his light, sensual vocals during the first verse.  Chant barely breaks a sweat; he’s cool as a cucumber.  “We should put on a show, don’t you know that we’re magic?” he sings, and adds, “Pull me in, get me close, I get so automatic.” Following his verse, the chorus is the crème de la crème – quite memorable:

“… Gonna suck out all my blood in the back of the car

You got me acting like a, like a slut

I’m a sucker for a love that you can’t touch…”

David Archuleta contrasts Chant with fuller vocals during the second verse. “If you touch me in a sweet way,” he sings, and continues, “I’ll do anything that you say.” Ooh-la-la!  Archuleta enhances “U Can Touch,” adding to the cuteness.  Both handsome men showcase their talent on this fun song.  A bonus: the music video is a blast! “U Can Touch” is a surefire vibe: great singing, memorable lyrics, and sleek, colorful production.  A bop, a bop, a BOP!

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12. John Legend & Pharrell Williams, “Fireflies”

Muse → John Legend Music, Inc. / Republic Records → 2026

“Summertime fireflies light up what lays in the streets.” John Legend, collaborating with Pharrell Williams, intrigues with “Fireflies.” “Fireflies” is the 14^th track from Legend’s 2026 studio album, Muse. Williams wrote and produced “Fireflies.” Larry Gold, Matt Jones, Steven Tirpak, and Terrace Martin are credited as arrangers.

“Fireflies” begins with Pharrell’s signature four-count, which sounds like a click or snap. Set in a minor key, it has a darker, dramatic sound and vibe. Early on, the unique, recurrent piano riff is established. A jazzy, loungey groove appears as John Legend sings, “Get away,” the final lyric of the chorus. Once the song settles in, Legend wows with ultra-soulful vocals. He sings expressively and theatrically, bringing the rhythmic melodies to life.  The lyrics are thought-provoking. “Ancestors’ blood, there’s iron in the clay / We trauma bond, survivor’s pain,” He sings in the first verse, and continues, “Felt our way through the dark where I was raised / Right moves made you smart where I was raised.” The second verse has a similar tenor: “The projects mean process where I was raised / Ain’t no gettin’ out, they’re designed to stay.” A colorful sound palette and a hard-hitting ‘Pharrellian’ beat accompany Legend.  The bridge shifts from minor to the relative major, keeping the track engaging and unique (“And I finish anything that I start / And I, and I hockey-stick every chart”). “Fireflies” finds John Legend experimenting, with Pharrell Williams’ help.  The results are positive and quite intriguing. 

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13. Jonah Kagen, “Don’t Feel Right”

Eternity of Anything → Arista Records → 2026 

“Loving you don’t feel right.”Talented singer-songwriter Jonah Kagen said what he said on “Don’t Feel Right,” PERIOD.  Those pesky ‘matters of the heart’ are written all over the second track from his sophomore album, Eternity of Anything. Kagen wrote and produced “Don’t Feel Right” with stellar results.

“Don’t Feel Right” opens with folky rhythmic guitar and cello (Rob Lowman).  The sound is enigmatic, with ample mysterious vibes. Set in a minor key, the sentiment is fittingly darker. This becomes clearer once Jonah Kagen begins singing. He delivers cool and expressive vocals. His tone is beautiful.  But, again, the ‘love don’t feel right.” “You got in my blood / You wanted to hurt someone / So I hurt,” he sings in the first verse. A heavy-hitting drum groove adds intensity ahead of the second verse.  The music grows more intense.  So does Kagen, who digs in more during the second verse: “You wanted out / So you spiraled / Dragged my ass down.” The chorus is epic, with Kagen’s vocals really ‘opening up’; higher, more dynamic, more spirited:

“Loving you don’t feel right

Right between hell and almost heaven

I can do better this time

I swear to God, I’ll learn my lesson.”

A nice instrumental interlude appears after the chorus, before the third verse. Speaking of the third verse, Kagen is full throttle, singing in his middle-upper register.  Reflective, he asserts, “Now I’m different, can’t go back home / If you weren’t sure, you should have left me on my own.” Word.  In the final verse, Jonah admits, “Who am I kidding / I couldn’t quite if I tried.” “Don’t Feel Right” concludes with a nice rhythmic instrumental outro. Another winner from a talented musician, this song shines thanks to awesome vocals, tuneful melodies, thoughtful songwriting, and Grade-A production.

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14. Judeline, “La Falda”

“La Falda” → Interscope Records → 2026

“Ponme la mano por debajo de la falda.” Spanish singer-songwriter Judeline (Lara Fernández Castrelo) made quite a statement in the opening line of the chorus of “La Falda.” “La Falda” in English means ‘the skirt.’  So, what is the excerpted lyric in English? “Put your hand under my skirt.” Oh, wow! It’s giving S meets E, and then they X! Judeline wrote “La Falda” with BLANDA, Yann Tiersen, and Baerd. Judeline, BLANDA, and Baerd produced it.

“La Falda” is superbly produced.  The sounds pop, including the colorful intro featuring accordion. A hard-hitting beat ups the ante when it enters during the chorus. Judeline impresses with her pure, beautiful vocals. Even if you don’t understand the Spanish, the melodies are quite tuneful and rhythmic.  When you look up and read the translations, boy, oh, boy, is it spicy! “Papi, soy tu puta, soy tu chulo / Puedo ser tu pesadilla si te engancha’ a este culo, yeah,” she sings in the first verse.  It translates as “Daddy, I’m your whore, I’m your pimp / I can be your nightmare if you get hooked on this ass, yeah.” Damn! An interlude that precedes the second verse.  The second verse contrasts the first and the chorus. It is quasi-rap and spoken word. Like the first verse, the second is naughty, too: “Sigue así como lo hace’, sigue así dándome dedo Que si me llevas al clímax, te me lleva’ de trofeo, ey,” which translates as “Keep doing it just like that, keep fingering me like that / If you bring me to climax, I’ll take you as my trophy, hey.” The incredibly rhythmic chorus is the centerpiece:

“Ponme la mano por debajo de la falda Hace lo que quiero porque sé lo que le encanta Dame bocaíto’, que se me quede la marca Pruébame un poquito, dame de eso que me falta.”

“Put your hand under my skirt He does what I want because I know what he loves Give me little bites, so the mark stays Taste me a little, give me what I’m missing.”

Judeline’s performance is incredibly assertive during the chorus.  Ultimately, Judeline drops a surefire Spanish banger with “La Falda.” Why is it the sugar, honey, and iced tea? Great vocals with ample personality, memorable songwriting, tuneful melodies, and top-notch production.  This Urbano latino song slaps! 

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15. Kid Souf, “IM IN A BAD MOOD”

“IM IN A BAD MOOD” → James Giardinelli → 2026

“I’m in a bad mood, and I just don’t care.” Kid Souf (James Giardinelli, he/him pronouns) said what he said on his single, “IM IN A BAD MOOD” (no apostrophe necessary). In an IG post advertising his single, Kid Souf writes, “Stream, scream, and blow off some steam[,] babe [,] ‘IM IN A BAD MOOD’ is out!” That’s the vibe of the single for sure! Giardinelli wrote and produced the brief but intriguing record with Connor Riley.

“IM IN A BAD MOOD” begins eerily and enigmatically. The sounds are unsettling. Kid Souf ‘keeps the same energy’ with his vocals. The dark aesthetic suits him perfectly.  The vibe feels more important than the lyrics.  Still, the mood is clear: “Today is just the type of day that I should stay inside.” After performing in an undertone in his lower register, the Kid rises into his middle register. The song grows more tuneful and packs even more punch. The chorus is the section to beat. The synths go H.A.M., while Kid Souf’s vocals are the most assertive.

“…I need a cigarette to clear the air

If it was a good time then I was not there

I’m in a bad mood, and I just don’t care.”

Woo! Beyond singing in an undertone and the overtness of the chorus, Kid Souf also ‘brings it’ with some spoken word.  His personality shines throughout.  All told, in just two minutes, Kid Souf kicks ass and takes names on the boisterous, ear-catching “IM IN A BAD MOOD.” As the title suggests, he captures a bad mood.  Better yet, he establishes a big mood!

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16. Lil Nas X, “World’s Greatest!”

“World’s Greatest!” → Columbia Records → 2026

“You in Dreamworld and you listenin’ to DREAMBOY.” Noted, Lil Nas X (Montero Hill)! The Grammy winner has faced adversity, but he is locked in on his confident single, “World’s Greatest!” It’s giving “Ooh (la-la-la-la-la)!” Lil Nas X wrote “World’s Greatest!” Steve Rusch and C.WRAY produced it. Notably, the music video is dedicated to his late mom, Tameka Hill.

“World’s Greatest!” is about positive vibes.  The pop is popping in a major key with rhythmic guitars and a bouncy, syncopated beat. Lil Nas X’s vocals are exuberant – no negativity! His vocals remind me of André 3000 (“Hey Ya!” comes to mind). In the first verse, he sings, “Yeah, I got this walk from Atlanta / I got this talk from mammy, yeah / If they knock me down, I’m standin’ up.”  In the second verse, he talks about his come-up: “I was sad at the bottom, I was S-A-D / Now I’m bad, everybody wanna flick up with me /… Now everybody from my town played the songs on repeat.” In the chorus, he keeps it simple and asserts, “I’m a champion (woah-woah).”  In the third verse, which features some reggae vibes, he lets loose, including, “Mm, boy, put it on me now /…Tell me, I’m the realest from the ‘Old Town’,” and “When you see me out here makin’ waves in the ocean (Ooh) / Know I put in work for this motherfuckin’ motion.” All told, “World’s Greatest!” is enjoyable and seems to find Lil Nas X in a better place.  This song benefits from being catchy, tuneful, positive, and, honestly, lacking controversy.

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17. Martin Garrix, “This Dream Of You”

STMPD RCRDS B.V. / Darkroom Records → 2026

“I can’t lose now, it’s you I’ve chosen,”the handsome and talented Dutch DJ/producer Martin Garrix (Martijn Gerard Garritsen) SINGS on his single, “This Dream Of You.” Yes, you read correctly.  Garrix SINGS lead vocals on the song for only the second time in his career. According to an IG post, he says, “Singing is very far out of my comfort zone but am excited to try new things and grow/learn!!” Garrix wrote “This Dream Of You” alongside Shaun Farrugia, Darren Flynn, Tudor Davies, and Simon Carmody. He produced it himself.

“This Dream Of You” benefits from its vibrant production, including guitar, keys, synths, and energetic drum programming. Of course, the most ear-catching thing is Garrix’s lead vocals. He does a fabulous job: beautiful tone, warm delivery, and ‘not too much’ but well-rounded. Garrix digs in more during the chorus and rises to the occasion:

“This dream of you is my way of coping

It’s not just us, the world is broken

About time that these words were spoken

I’ll leave them right here in the open

Tonight, I’ve taken to this notion

That you’re my one true love’s devotion

I’ll take my chance, now it’s the moment

I can’t lose now; it’s you I’ve chosen.”

The chorus is the crème de la crème, but the verses shine, too. Peep the poetic writing in the second verse: “Fading, the Polaroids are my paintings / Colors evaporate / Darkness creates the light where we can be born.” Word. Melodically, “The Dream Of You” is sweet, radiant, and tuneful. Like many Martin Garrix songs, a great build leads to an awesome drop. Sure, Martin Garrix goes outside of his comfort zone by singing on “This Dream Of You,” but it feels right and sounds wonderful.

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18. Mike Taveira, “Payphone”

“Payphone” → Mike Taveira → 2026

It’s hard not to stare at the single cover art for “Payphone.” Two words: Mike Taveira. Phew! Here, our handsome pop singer-songwriter is lying in the bed of a pickup truck, naked. The ‘goodies’ are covered, but still, Mike has a knack for titillating.  Besides his attractive bod, he makes great music.  The music’s ‘what you came for,’ and “Payphone” doesn’t disappoint.  Taveira wrote this track alongside frequent collaborator Skyler Cocco.  Taveira, Cocco, Meesh Azzam, and Alex Koste produced it.

“Payphone” ‘cooks’ from the get-go.  The enigmatic, electro-pop-infused intro is striking. The production is sleek, with colorful keys and a busy beat.  While the instrumental stands out, Mike Taveira shines brightest.  He delivers chill, easy-going vocals. Does this man ever break a sweat? It doesn’t sound that way! Mike serves up fast-paced, tuneful melodies.  His staccato approach with some lyrics and notes is nice.  Even nicer are the memorable lyrics he delivers. Among my favorite lyrics: “Too much, molly, at this party / Said he’s poly, but I want him to myself.”  Understood! Another gem: “I’m at zero, zero / Take me to 100, be my hero / Be my fucking husband…” Oh, Mike Taveira, you’re special, my guy! “Payphone” marks ‘anotha one,’ to quote DJ Khaled. #SLAY!

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19. Offset, “Every Night” (Ft. Don Toliver)

“Every Night” → UMG Records Inc. → 2026

“Thinkin’ ‘bout you all day and all night, got no sleep (Sleep) / I can spice your life up, pipe your life, you know me (Know me).”Ooh-wee, Offset! He taps Don Toliver for the assist on his sexed-up rap single, “Every Night.” Offset, Don Toliver, Donald Degrate, and producer Jaasu (Jaasu Mallory) wrote it.

“Every Night” is fueled by a sample: “Freek ‘N You” by Jodeci. The sample is prominent early on, beginning with the intro. Superbly produced by Jaasu, he solidly integrates the ‘90s R&B gem. Offset delivers a nice melodic rap performance, which begins with the chorus:

“Every freakin’ night and every freakin’ day

I wanna freak your body in every freaky way

Every freakin’ night and every freakin’ day

I wanna freak your body in all the freaky ways.”

He then performs the first verse, with JoJo’s vocal samples recurring: “I love when you get on your knees (Knees), I’m tellin’ you, somethin’ to see (See) / I’m tryna get right in between (Right in between, every freakin’ night).” Following another Offset chorus, Don Toliver performs the second verse.  His voice contrasts Offset’s. “Peepin’ her like a pothole, call me, I got that Glock on / Back in the hood, my block on / Oh my God, her top gone,” he raps, and adds, “Make love into my teepee, let a young nigga get knee-deep, uh.” Following one final Offset chorus, JoJo (Jodeci) concludes (“Every freakin’ night”). Although it is relatively brief, “Every Night” is a surefire banger.  Offset and Don Toliver deliver memorable performances, and the production, with the 90s sample, slaps.

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20. Slayyyter, “i think he’s got a girl”

WOR$T GIRL IN AMERICA / wor$t man in america → RECORDS Label, LLC / Columbia Records → 2026

“I took our pictures off the wall, picked all your clothes up off the floor.” Uh-oh! And why is that Slayyyter (Catherine Garner)? The title of the song says it all: “i think he’s got a girl.” He’s a big fat cheater: “She kept coming to your bar / Is something going on?” Clearly! “i think he’s got a girl” is the fifth track off WOR$T GIRL IN AMERICA / wor$t man in america. Slayyyter, Wyatt Bernard, Austin Dale Corona, and Violet Skies wrote it. Bernard and Corona also produced it.

“I think he’s got a girl” cooks from the get-go. It begins warmly with synths and a celestial instrumental intro. It also features a strong pop/rock groove and a prominent bass line.  The melodies are rhythmic during the verses.  Slayyter delivers lovely vocals that are kinder and gentler than usual.  No worries, those cutting vocals come in during the chorus, highlighting the titular lyric: “I think he’s got a girl, oh, yeah.” The chorus has more punch than the verses. I love her ad-libs during the closing stretch of the chorus, bridge, and outro.  The song concludes lovely with smooth, non-lexical singing. Once again, Slayyyter drops a bop with “i think he’s got a girl.”  The singing, memorable lyrics and melodies, and well-rounded production earn high marks.

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21. Soulidified, “Man Ain’t Me”

“Man Ain’t Me” → Soulidified, Inc. / Atlantic Recording Corporation → 2026

What’s the first thing that comes to mind when you see the boy band Soulidified? Damn, they’re cute! The question is, can these fine-looking fellas, Landon Boyce, Bradley Rittmann, Shade Jenifer, and Malik Heard, sing? Why yes, yes, they can! “Man Ain’t Me.” Shade, Landon, Troy Taylor, Tropkillaz (Laudz (Andre Murilo Da Salvia) and Zegon (Jose Henrique Castanho de Godoy Pinheiro)), Upstrz (Jabreh Shaw), and Tevin McGuire wrote “Man Ain’t Me.” Troy Taylor and Tropkillaz produced it.

A band with mad sex appeal should flaunt it, right? Right! Soulidified does that early on in “Man Ain’t Me.” Landon titillates in the first verse, singing, “Unconditionally is how I want your body on me.” Ooh-la-la. In the pre-chorus, Bradley suggests, “You should bring me back to your place tonight.” Is there any way she’d refuse the proposition? Have you looked at yourselves in the mirror, Soulidified?! Shade takes the reins in the chorus, with backup from the boys:

“Got me talking like

Who you giving all your love to, huh?

Would you mind it if I come through?

Ooh, he can’t do the things that I do

It’s clear to see that man, he ain’t me (Ooh).”

The theme and lyrics aren’t brand-new, but do they ever grow old? Nope! Malik enters the mix in the second verse, admitting, “Oh, see you standing there, trying not to star / But I’m reading you, baby.” Oh, snap! Bradley puts his two cents in, sexualizing matters: “Put it in reverse, baby, back that thing up.” Oh, sugar, honey, and iced tea! After another satisfying pre-chorus and chorus, the post-chorus extends the desire (“Come closer, bring it over”). Landon and Malik perform the contrasting bridge, continuing to try to convince her they’re better than her man. Soulidified serves up eye and ear candy on “Man Ain’t Me.” The melodies are rhythmic and tuneful, the lyrics are tried-and-true but memorable, and the production is banging. This R&B-infused boy band is on-point, PERIODT! 

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22. Taylor Swift, “Patient Zero”

The Life of a Showgirl: The Encore → Taylor Swift → 2026

“But if you’re sick of him, I got you; I was patient zero.” Grammy-winning superstar Taylor Swift dropped another Billboard Hot 100 number one with “Patient Zero.” “Patient Zero” appears on The Life of a Showgirl: The Encore. Merriam-Webster defines patient zero as “a person identified as the first to become infected with an illness or disease in an outbreak.” In this case, the illness is a toxic relationship and heartbreak; she was patient zero. Swift wrote and produced the entertaining track with pop hitmaking juggernauts Max Martin and Shellback.

“Patient Zero” commences with memorable violin riffs (Fredrik Burstedt). This well-produced song possesses pop and folk cues.  Acoustic guitar, mandolin, and pedal steel are fabulous instrumental touches. The infectious chorus, the crème de la crème, excerpted earlier, marks the first major section:

“If you wanna party with somebody who might know

About the devil on his shoulder under his halo

When the toxins take their hold, you’d rather die than let it go

But if you’re sick of him, I got you, I was patient zero.”

Beyond the chorus, the melodies are tuneful throughout. Swift delivers a respectable vocal performance, with a fine vocal arrangement and production. The selective vocal harmonies are nice, particularly during the chorus.  As Patient Zero, Swift advises another friend with the same experience. “I’ve gotta be honest, I’ve been expecting your call,” she sings in the first verse, and adds, “I heard somebody saying there’s trouble in paradise / And my lips are sealed tight now.” In the second verse, she’s not surprised by the tale she’s hearing because she’s been there, done that: “And when you saw another woman coming out of his place / I bet he kissed the rain off your face.” The bridge relates to the verse and choruses, but is wordier, with some talk-singing.  Still, Swift makes her point loud and clear: “Take it from somebody who lost his games but won the race / Take it from someone who said all of this to his face.” All told, “Patient Zero” is Grade A Taylor Swift – an earworm from the first time you hear it!

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23. Troye Sivan, “FF”

She’s the Best → Tokky’s Music, LLC / Interscope Records → 2026

“Me and my baby are fucking forever.” Ooh-wee! Handsome, talented South African-born, Australian-bred pop singer-songwriter Troye Sivan said what he said!  Two letters: “FF.” FUCKING FOREVER! “FF” is the third single and 10^th track from his fourth studio album, She’s the Best, released in 2026. Troye Sivan composed “FF” with Leland, Madison Love, Jasper Harris, George Daniel, Jack Antonoff, and Cirkut. Daniel, Antonoff, Cirkut, and Harris also produced it.

“FF” opens with an enigmatic but rhythmic intro (“Uh-huh”). Soon enough, an awesome drum groove gives this pop ballad some punch. Troye Sivan delivers radiant, expressive vocals. His tone is delightful.  Compelling lyrics and tuneful melodies work in his favor.  “Grabbed the neck of your guitar, in a way that makes me jealous, better play it for me,” he sings memorably in the first verse.  In the second verse, there’s conversation (“We talk about the climate, how the boys are getting violent, and we’re scared as shit”), memories, and a heaping dose of chemistry (“You said I should jump in the pool like I did after school when I was a kid”). The chorus is the crème de la crème. While the f-bomb is ear-catching, it’s not merely sexual – there is something special between Troye and this boy. The ‘fucking’ is intense…and an intensifier!

“Me and my baby are fucking forever

Gone are the days of waiting for pleasure

Concrete and steel like some real architecture

Me and my baby

Me and my babe.”

Troye Sivan’s falsetto is amazing during the post-chorus – “fucking forever” for sure! The final chorus includes breaks in the musical accompaniment.  I like the assertiveness of Sivan. Still, it doesn’t sound like he forces a thing. The outro, filled with forever and ever, shines bright like a diamond! “FF” is one of many amazing moments from She’s the Best.  This love song may be ‘rough’ given the f-bombs, but it’s still incredibly sweet, nonetheless.  And that music video featuring Felix Mayr… HAWT 🥵!

Appears in 🔻:

Troye Sivan, FF: Beaming with Pride No. 90 (2026)

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24. Victoria Monét, “Almost”

Frequency Of Love → RCA Records → 2026

“I want to cum tonight / If it’s really ladies first.” 👀 Damn, Victoria Monét! The Grammy-winning R&B singer-songwriter continues in the first verse of “Almost,” “Let me cum first tonight / I know it’s what I deserve.” And again, I say, damn! “Almost” is the steamy sixth track from Monét’s sophomore album, Frequency Of Love, released in 2026. Monét composed the song with Camper (Darhyl Camper Jr.), D’Mile (Dernst Emile II), Thomas Westly Lumpkins, Shelly Peiken, and Guy Roche. D’Mile and Camper produced it.

If “Almost” sounds familiar at certain moments, it’s because it samples lyrics from Brandy’s 1998 song, “Almost Doesn’t Count”. Victoria Monét delivers beautiful, sensual vocals.  A lush, sophisticated backdrop accompanies her that’s also sensual in sound. There is no shortage of spicy, steamy moments from “Almost.” “And baby, yes, I know this pussy got that grip,” she sings salaciously in the pre-chorus.  In the second verse, she implores her partner, “Baby, put it down, down (Down, down, down).” Cue up the 😈 emojis! The chorus is the centerpiece, continuing to turn up the naughtiness:

“You’re running away (Don’t run away)

No stopping allowed (Stopping allowed)

I fuck with the things (Fuck with the things)

You do with your mouth (Do with your mouth)

I almost came (Came) so loud (So loud)

But everybody knows that almost doesn’t count.”

Did you peep that ‘almost’ part 👀! “Almost” is sophisticated in sound. Yet those lyrics – naughty, naughty, naughty! Regardless, this is one of the finest moments from Frequency of Love.  Monét ‘brings the heat’ with this sizzling track!

Appears in 🔻:

Victoria Monét, Almost: Spicy Tunez No. 65 (2026)

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25. Victoria Monét & Leon Thomas, “You Mean The World To Me”

Frequency Of Love → RCA Records → 2026

“You mean the world to me / That’s why I try to save the world, world.” Noted. What happens when Grammy winners Victoria Monét and Leon Thomas duet? Magic! Besides Thomas assisting Monét on “You Mean The World To Me,” her daughter, Hazel Monét, also appears at the end. “You Mean The World To Me” is the ninth track from her sophomore album, Frequency Of Love, released in 2026. Monét, Thomas, Robert Debose, Darhyl Camper Jr., Lazaro Andres Camejo, and Darius Dixson composed it.  Camper produced it.

“You Mean The World To Me” shines from the beginning. It features beautiful, lush, and warm production. The sound is celestial and incredibly sophisticated. Victoria Monét draws first blood.  She performs the first verse, pre-chorus, and chorus radiantly and nuanced. “Loving you is by custom design,” she sings, and adds, “Love is the reason, the space, and the time.” PERIOD! The chorus, excerpted earlier, is the main attraction.  It’s memorable, thoughtful, and tuneful.

“It’s you

You mean the world to me

You mean the world to me

That’s why I try to save the world, world

Oh, you

You mean the world to me

You mean the world to me

That’s why I try to save the world, world

The world.”

Leon Thomas performs the second verse.  His voice oozes with expression and S-O-U-L. “You are the reason I wake every morning / You are the reason I walk when it’s storming,” he sings, and adds, “There is no limit to my sacrifice.” He leads the pre-chorus, which also features responses from Monét.  Thomas and Monét perform the second chorus together, exhibiting incredible synergy.  A brief interlude separates the second and final chorus, featuring lush non-lexical singing and a floating instrumental. During the final chorus, Victoria Monét takes the lead, with her daughter, Hazel Monét, singing with her at the end.  For the most part, “You Mean The World To Me” is a duet between Victoria Monét and Leon Thomas, but Hazel’s youthful voice at the end is crucial! This duet is successful thanks to top-notch singing, thoughtful songwriting, and exquisite production.

Appears in 🔻:

Victoria Monét & Leon Thomas, You Mean The World To Me: Dazzling Duets No. 38 (2026)

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

 

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Striking Bops from October 2026 [📷: Brent Faulkner / The Musical Hype; Al Calderon, Arista Records, Atlantic Recording Corporation, AWAL Recordings America Inc., BigXthaPlug, Columbia Records, Create Music Group Inc., Darkroom Records, Eternal Recurrence, ETHAN, GCM, hemlocke springs, Interscope Records, Jackson Chant, James Giardinelli, John Legend Music, Inc., Mike Taveira, Nazgul Recording LLC, RCA Records, RECORDS Label, LLC, Republic Records, Soulidified, Inc., STMPD RCRDS B.V., Taylor Swift, Tokky’s Music, LLC, UnitedMasters LLC; Gordon Johnson, OpenClipart-Vectors from Pixabay]

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