Striking Bops from September 2026 | Playlist

Striking Bops from September 2026  features songs by Ashe, Dominic Fike, Greyson Chance, John Legend, LISA, and The Kid LAROI.

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 September 2026 were released as singles or album tracks in mid-to-late August 2026 or September 2026. Musicians who served up the bops from September 2026 include Ashe, Dominic Fike, Greyson Chance, John Legend, LISA, and The Kid LAROI. So, without further ado, here are those rock-solid Striking Bops from September 2026!

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1. Aaron Frazer, “Paint The Picture”	2. AJ McLean, “Into Your Heart”	3. Anderson .Paak & Cordae, “A Good Day”
4. Ashe, “Funeral”	5. Coco Jones, “Love Me Through”	6. Dominic Fike, “Wallflower”
7. Greyson Chance, “DIRTY LAUNDRY”	8. Greyson Chance, “GARÇONOVA”	9. Gus Dapperton, “Queen”
10. JISOO, “CLICK”	11. John Legend, “Daylight”	12. LISA, “SaWaDiKa”
13. Lucky Daye, “Fly U Out” (Ft. Leon Thomas)	14. Mac Miller, “Butterflies”	15. Miley Cyrus, “Bass Persuades”
16. Rex Orange County, “Indecision” (Ft. Daniel Caesar)	17. TEEKS, “Overdose”	18. The Boot Scootin’ Sissies, “Straight as a Cowboy”
19. The Kid LAROI, “Sleep”	20. Thomas Day, “will you be coming around?”	21. Victoria Monét, “Juicy”
Striking Bops 2026

 

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1. Aaron Frazer, “Paint The Picture”

Corners – EP → Dead Oceans → 2026

R&B/soul standout Aaron Frazer blesses us with his buttery-smooth tenor on “Paint The Picture.” “Paint The Picture” is the second track from his EP, Corners. Frazer and Anthony Masino composed the fabulous single. Frazer produced it.

“Paint The Picture” is divine. Why? The production hearkens back to soul’s glory days. It sounds authentic, recreating a vintage sound.  The backdrop never forces things, sounding natural and organic, which is another plus. Of course, the biggest reason why “Paint The Picture” is the sugar, honey, and iced tea is Frazer.  He sings with ease. Even so, he packs a punch and sounds incredibly sincere.  The melody is melodious.  The theme, love, is universal and potent as ever.  The lyrics, poetic and filled with those matters of the heart, catch the ear.  “But I see clear as day / What you need, if I may,” Aaron sings, and continues, “For a finishing touch / I’m just a color, but baby that’s enough, ooh.” Word.  The chorus, excerpted earlier, is the crème de la crème:

“You paint the picture that you’re dreaming of

I’m just a color on your canvas of love

You paint the picture, for me it’s enough

I’m just a color on your canvas of love.”

Frazer concludes with the outro, which specifies colors (“Pink and brown and red and black and white and…”). Ultimately, “Paint The Picture” marks another fine soul track by the talented Aaron Frazer.

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2. AJ McLean, “Into Your Heart”

“Into Your Heart” → Johnny Wright Entertainment → 2026

Whoa, AJ McLean (Alexander James McLean)! On “Into Your Heart,” McLean intends to win her over with S-E-X. It’s been years since his Backstreet Boys days, but that’s not stopping the 48-year-old from getting down… fuckin’! McLean, Jeremy Greene, and Ian Roney wrote “Into Your Heart.”  Greene produced it; Roney co-produced it.

“Into Your Heart” opens with humming – a nice, warm “hmm.” From there, an electrifying, hard-nosed groove follows. AJ McLean and company superbly ‘club it up,’ if you will! Set in a ‘dark,’ minor key early on, it’s clear this is going to be risqué. AJ serves up a catchy, simple, minimalist melody.  His vocals are rock solid, or should I say, pop solid!  And, as referenced earlier, soon enough, he gets nasty with it, via constant f-bombs, used sexually!

“Hey

Fuck my way into your heart

Hey

Say my name, we gon’ light this floor apart

Tell your friends you ain’t leaving yet

Tell your ex you can feel this sweat

Fuck my way into your heart…”

The 2020s are an explicit time, so the ‘fuck’ is what it is. Still, do we expect someone pushing 50 to let the sexual f-bombs bombs fly? No, but AJ certainly got our attention, didn’t he? “Into Your Heart” isn’t deep, unless it involves, um, the penetration Mr. McLean promises.  All told, it’s enjoyable, without reinventing the pop wheel.  AJ did issue a clean version as well… with less fuckery… “Talk my way into your life.”

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3. Anderson .Paak & Cordae, “A Good Day”

Heavy Is The Crown → APESHIT + EMPIRE / Hi Level + Mass Appeal → 2026

Speechless! So… What happens when Anderson .Paak (Brandon Paak Anderson) and Cordae (Cordae Amari Dunston) collaborate? Sheer fire! The dynamic duo unveiled “A Good Day,” the lead single from their joint album, Heavy Is The Crown. The Hollywood Cole-produced single features four samples: “Lovely Day” by Bill Withers; “It’s Like That” by Mariah Carey featuring Fatman Scoop and Jermaine Dupri; “Life Is Like a Dice Game” by Nas; and “It Was a Good Day” by Ice Cube.

“A Good Day” is not just good; it’s GREAT from the get-go. A kick-ass soulful groove and sunny sound set the tone. The sped-up Bill Withers interpolation/sample is potent! That bass line pops! Anderson .Paak draws first blood in the first verse, rapping the first four bars: “Just wakin’ up in the mornin’, gotta thank God (Yes Lord) / Think I might take the yacht out to Cape Cod…” Cordae follows up with the next four bars: “She from Oakland, so I flew her ass to Van Nuys (Yes) / Andy, let me hold a condom, nigga, we ain’t the same size”. Paak retakes the reins for the final bar, adds four more, and then drops the chorus:

“I wake up in the mornin’ thinkin’ what we gon’ do today?

‘Cause this shit don’t feel the same, it just don’t feel the same

Oh, I wake up in the mornin’ thinkin’ how we gon’ ease the pain

‘Cause all they gon’ do is hate, but they can’t get in the way (A lovely day).”

The backend of the chorus blends the famed “Lovely Day” chorus with Fat Man Scoop’s (R.I.P.) hype man approach from Mariah Carey’s “It’s Like That” (“Let’s go now (What?), let’s go now (What? A lovely day)”). Cordae draws first blood in the second verse – four bars, like the previous verse. Paak follows with four more, before Cordae returns with two more. Paak completes the final two bars of the second verse, before delivering that unforgettable chorus once again.  Ultimately, “A Good Day” is a short but utterly sweet, vibe-filled song.

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4. Ashe, “Funeral”

The Girl Of Your Dreams → Ashe / Atlantic Recording Corporation → 2026

Those are some impactful lyrics, Ashe. The brilliant, impactful “Funeral” is the 11^th and final track from the pop singer-songwriter’s fourth studio album, The Girl Of Your Dreams.  Ashe, Noah Conrad, and Annika Bennett composed “Funeral.” Conrad produced it and performed on multiple instruments.

“Funeral” shines from the start.  It begins as a piano ballad, initially. Ashe delivers a superb vocal performance. She sings expressively, with a great tone. She also sounds authentic and sincere.  The songwriting is memorable and thoughtful.  The track is melodious from the get-go. “Caught me in the middle of a real landslide,” she sings, and adds, “I could see the softness in your big brown eyes / Felt safe for the very first time.” Aww, the feels! The chorus is the crème de la crème:

“I met the beginning and the end

My forever, now and then

You’ll be my Tuesday night and my Sunday drive

And the wedding, the wedding

Now somehow, every normal day’s unusual

Every storm and rain is beautiful

You’ll be my Tuesday night and my Sunday drive

And the last speech at my funeral.”

The second verse adds more instrumentation. I love the rhythmic melody (“In the tornado warnings, you’re up ’til the morning is bright / Holding me tight”). The second chorus is bigger and more robust. After the second chorus, the production expands to its fullest, including divine brass sounds (trumpet and flugelhorn). Ashe’s vocals are divine during the bridge. They really pop against the ornate arrangement (“Tell ’em I haven’t a regret about you / The best thing I ever did was loving you, loving you”). I love how she brings things down briefly at the beginning of the final chorus, only to build it back up. “Funeral” begins as a piano ballad and gradually expands into something far grander.  Ashe puts her foot into this performance, delivering a high-flying, top-notch pop song.  Stellar vocals, songwriting, and production make this a surefire winner.

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5. Coco Jones, “Love Me Through”

“Love Me Through” → Def Jam Recordings → 2026

Grammy-winning R&B singer-songwriter Coco Jones is filled with forever love in her single, “Love Me Through.” “Love Me Through” arrives after her nuptials with NBA star Donovan Mitchell. Coco Jones, Bridgetown, Jeremy “J Dot” Jones, and Jamona Keeton wrote it. Bridgetown produced it.

“Love Me Through” is set in a lilting, compound duple meter. This contributes to the vintage, old-school vibes. The backdrop is throwback with updates: a great electronic sound palette with an awesome beat. Coco Jones brings it, delivering nuanced, rich, and ultra-soulful vocals. The theme: love to infinity and beyond! “I can’t help but go hard for your love,” she sings in the first verse, and adds, “Scared me to death ‘cause it’s so good.” Ooh-wee! The chorus is the crowning achievement. It is memorable lyrically and melodically.

“A blessing, you know we can’t lose

This ain’t no fairytale love

With no cameras on

This is real life, right now

Good, bad, and ugly

But he’s still gon’ love me.”

The bridge marks one of my favorite sections. It distinguishes itself from the other sections. “Through the shit your aunty said behind my back (Through) / Through the exes in our phones, we don’t respond to that (Through),” she sings expressively and continues, “It’s the hardest thing we’ll ever do / Good, bad, and ugly / Are you still gon’ love me?” Ultimately, “Love Me Through” is a home run for Jones.

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6. Dominic Fike, “Wallflower”

How To Quit Smoking → Columbia Records → 2026

That’s quite a start to “Wallflower”, Dominic Fike: praise to Allah, then an f-bomb in the following line. On the lead single from his third studio album, How To Quit Smoking, the handsome and talented musician has plenty to say, whether it makes sense or not. Firmly planted in the alternative music realm, the sound is true to Fike.  Dominic and Devin Workman wrote and produced this entertaining song.

“Wallflower” is captivating in many ways.  The sound allures. So does Dominic Fike as a vocalist.  But the songwriting is most interesting. The first verse provides a prime example of Fike’s unique pen.  In the second, he mentions Rachel’s death (whoever she is), and adds, “Maybe I should (Uh) / And plank aside, yeah (Uh) / Well, I bet it’d still be nice to take a dive, yeah, maybe I should (Uh).” Um… yeah… The chorus catches the ear, as expected. “(Ha) I, I took you for a bush beater, pussy footer (Ha) / Wallflower, lily liver, chicken-heart, miss me when we drift apart (Ha),” he sings.  A refrain follows, with the key lyrics fly and die. Two guitar solos appear. One follows the second verse, with the final one arriving after the final refrain. Does “Wallflower” make complete sense? Not necessarily, but it’s mesmerizing –  the sounds, the vocals, the alternativeness.

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7. Greyson Chance, “DIRTY LAUNDRY”

BOYSTOWN → GCM → 2026

Oh shit, Greyson Chance! The thing is that my boy is 100% correct.  He’s a grown-ass man! In the first verse of his single, “DIRTY LAUNDRY,” he continues to lay out things he doesn’t have to do, as well as those that he wants to. “DIRTY LAUNDRY,” another fantastic moment from his fifth studio album, BOYSTOWN, was written and produced by Chance and John Fellner.

“DIRTY LAUNDRY” begins with Chance singing abruptly – see those defiant, excerpted lyrics! It is quite melodious, once things settle in. Chance, as always, sings beautifully; he gives a chill, easygoing performance. Great, harmonized vocals accentuate the song’s colorful nature. The production is gorgeous, built on a danceable beat, piano, synths, and sophisticated string arrangements and riffs. The lyrics also stand out, with Greyson bringing a mix of brutal honesty (f-bombs front and center) and poetry. For example, “I can finally cum the way I want / I don’t need to ask for your permission.” That’s bold.  “I don’t have to see from your perspective / Your manipulation at its best / I can finally get some validation,” is more nuanced, you might say. The chorus is the crème de la crème; it’s infectious.

“In the beginning, it was pure magic

I was obsessed, you were so attractive

Bump in my chest

I’d never seen anyone look so beautiful

But then it turned into a bad habit

One I can’t quit; it was automatic

The moment you said it

I never seen tragedy look so beautiful.”

Woo! I love the ‘drop,’ with non-lyrical singing and highlighting the fabulous instrumental. Although “DIRTY LAUNDRY” pushes five minutes, it’s engaging and super enticing from start to finish.

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8. Greyson Chance, “GARÇONOVA”

BOYSTOWN → GCM → 2026

What is a garçonova, Greyson Chance? The keyword is garçon, which is French for boy. “GARÇONOVA” is the 10^th track from Greyson’s fifth studio album, BOYSTOWN. According to Chance, “[‘GARÇONOVA’] was my light at the end of the tunnel after a most grueling spring, and I placed it on the end of the album to signify hope, a feeling of butterflies in the stomach once again. The boy I wrote it for will likely never know, and I think there’s something beautiful in that.” Chance and John Fellner composed and produced “GARÇONOVA” in all of its glory.

“GARÇONOVA” is lovely, in just about every way.  It features gorgeous, lush production work.  The arrangement is creative. Greyson Chance excels vocally. His falsetto is stellar.  He milks the melodies, getting the most out of them.  The melodies are warm, legato, and slow-moving. The songwriting is emotional, personal, and thoughtful. In the verse, Chance sings, regarding the boy, “But you don’t like anyone to hold you / All those nights to find / Something wrong if it’s painted white.” Beyond the head voice, Chance’s chest voice hits hard, too. He shows some incredible grit, passion, and power during the bridge:

“Oh, and it’s emasculating (Aah-ah)

And it’s intimidating (Aah-ah)

Oh, and it’s intoxicating (Aah-ah)

To be in love with you, man.”

Once again, Greyson Chance delivers a gem with “GARÇONOVA.” The vocals, songwriting, production – all the things – make this a winner.

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9. Gus Dapperton, “Queen”

4 Dear Life → ALTER Music LLC → 2026

Gus Dapperton (Brendan Patrick Rice) sings, and continues, “But no man is a king.” Noted.  The ever-intriguing alternative/indie pop singer-songwriter is locked in on his single, “Queen.” “Queen” is the sixth track from his fourth studio album, 4 Dear Life. Dapperton wrote and produced this ‘royal’ song.

“Queen” shimmers early on. Gus Dapperton delivers a scintillating groove and a prominent bass line. The production and overall sound of “Queen” are a selling point.  Beyond Dapperton’s composition and production, he is also a big selling point vocally. He’s easy-going in the first verse, singing in an undertone: “A spiral of envy / I claim that I can’t / Be this empty…” The pre-chorus has some bite, thanks to some profanity: “Looking down at this average ass / Motherfucking Joe / Like you’re so ignorant / Queen.” He packs more punch during the infectious, unforgettable chorus. In the second verse, he rises to the occasion, singing higher, with more oomph (“I give my blood to the chemistry / Cus I still claim that I’m not / One with these enemies”). The sing-along-able chorus is the crème de la crème:

“I wanna be one of the girls

With hearts of gold

We’re rocking diamonds and pearls

Looking pretty, wearing pink

Thinking of all the right things

Aye this may be a man’s world

But no man is a king.”

The post-chorus expands, concluding, “But no man is a king to queen.” Ultimately, Gus delivers a must-hear, surefire, indie-pop bop with “Queen.” It checks off all the boxes: awesome singing, songwriting, and production.  What more can you ask for? Gus is O-N on this one!

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10. JISOO, “CLICK”

“CLICK”→ Warner Records Inc. / Blissoo Limited → 2026

Uh-oh… that’s not a good sign, JISOO.  The South Korean pop singer adds, in the first verse of “CLICK,” “I’m just gonna get hurt, I know / ‘Cause you’re always in and out of love.” As sensible as JISOO is in talking herself out of this relationship, she can’t ‘yield not to temptation’ –  “It’s just the way our bodies click.” JISOO, Caroline Ailin, Simon Wilcox, Sir Nolan, and Simon Says composed “CLICK.” Sir Nolan and Simon Says produced it.

“CLICK” is about unstoppable attraction, even at a cost or risk. In the pre-chorus, JISOO asserts, “But when you hold me like this / [You] kiss away our differences.”  Wow.  In the crème de la crème, she confirms, “Your lips, my lips, click / We were made to fit / Your hands, my hips, click / We were made to fit.” In the second verse, the temptation is still too much to resist – she can’t quit him! JISOO sings well throughout “CLICK,” sensationally capturing romance and sex (tastefully). It’s melodious; the lyrics are catchy. Adding to the allure, the song CLICKS thanks to the electronic pop production. It’s cool but still colorful, potent, and highly effective. Even if the relationship is complicated, “CLICK” keeps things simple and incredibly sweet.  All in all, it’s a pleasant, well-rounded pop single.

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11. John Legend, “Daylight”

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

Aww, the dedication! The monogamy! It’s been a while since Academy Award- and Grammy Award-winning baritone John Legend impacted the pop charts.  “Daylight,” the lead single and fifth track from his 2026 studio album, Muse, sounds much more contemporary than many of his songs. Legend composed the track with Samm Henshaw, Wayne Hector, and producer Pharrell Williams.

“Daylight” catches the ear from the get-go.  It begins with that signature Pharrell four-count.  From there, the listener is blessed with an awesome percussive groove.  The groove sounds modern, but Williams does a fine job of ensuring it’s soulful and sophisticated and still feels good for John Legend.  With the banging backdrop, which includes programming, synths, and sweet piano touches, Legend remains the S-T-A-R.  His vocals are stellar, as always, oozing with soul.  The melodies are tuneful, while the lyrics are memorable, filled with L-O-V-E. “The poetry is here somewhere between the lines,” he sings in the second verse, and continues, “The rhythm’s kept by a heartbeat, both yours and mine.” The chorus and post-chorus are the crème de la crème:

“And it feels like

Daylight

Yeah, it feels like

The sun will rise

I’ll be here in the morning

Still be here in the morning…”

Other highlights include the bridge, where Legend asks, “Are you awake? / ‘Cause you’re my morning star!” “Daylight” sounds like a much-needed refreshment for John Legend.  It’s good to hear the gifted neo-soul star back in top-notch form with a bit more swagger.

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12. LISA, “SaWaDiKa”

PRESS PLAY (EP) → RCA Records → 2026

LISA (Lalisa Manobal) gets right down to business on her single, “SaWaDiKa.” What does SaWaDiKa mean? It is a Thai greeting for hello or hi. LISA, Thom Bridges, Mark Williams, Raul Cubina, Rachel West, and Danny Chung wrote “SaWaDiKa.” Bridges and Ojivolta (Williams and Cubina) produced it.

“SaWaDiKa” is aggressive from the onset. Aggressive synths and aggressive vocals by LISA 💪! She brings mad attitude, particularly on the rhythmic, in-your-face chorus.  The sickening beat, upping the ante, delivers a punch. LISA not only brings attitude, but also a compelling cadence and flow – she ‘kicks ass and takes names.’ “Who let this bitch out of the cage? / Move that (Hey), get out of the way,” she spits in the first verse, and continues, “Murder, killed that, I’m on the case / Hands up (Hey), now lock me away.” In the second, she concludes, “Yes, I’m a trouble fanatic (Yeah) / Live for the shock like I’m anaphylactic / Is it too much? Am I overdramatic? (Yeah) / Sick, I’m too sick, better call me a medic.” The pre-chorus contrasts; it’s kinder, gentler, mellower, and more chill: “Catch me in my feelings, up in the sky / Baby, there’s no ceiling in my mind (Ah).” “SaWaDiKa” goes H.A.M. during the outro (“Hello, Sawadika / Hello, Sawadika there she go”). All told, “SaWaDiKa” is another ultra-fun, pop banger from the talented LISA.  HELLO, indeed!

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13. Lucky Daye, “Fly U Out” (Ft. Leon Thomas)

“Fly U Out” → Warner Records Inc. → 2026

Grammy-winning R&B singer-songwriter Lucky Daye (David Brown) makes it clear he needs her there with him! He and his Grammy-winning partner in crime, Leon Thomas, are willing to “Fly U Out.” The duo makes sweet music on this single, which they composed with Bizzy Crook, Dylan Sinclair, Jordon Manswell, and Mike Hunnid. Bizness Boi, KVRIM, Blake Straus, Kofo, Derelle Rideout, and Mike Hunnid produced it.

“Fly U Out” features gorgeous production, specifically the guitar and keyboard. Lucky Daye delivers a smooth, strong, and soulful vocal performance. Great supporting vocals accompany him, further enhancing the song. The chorus, in all of its memorable goodness, is the first section heard:

“I, I, I know when I chose this that we have these moments (yeah)

I, I, I know when I need it, I need you to feel this

So, I’ll fly you out, I’ll fly you out to me…”

Beyond the chorus, Daye performs the first verse. The drum programming, composed of bass-heavy kicks, snaps, cymbals, hi-hats, etc., is a welcome addition. Daye/his long-distance partner’s mind is firmly planted on matters of the heart… and body: “I know your body been feigning / These signals you been sending my way.” In the pre-chorus that follows, the texts aren’t sufficient! He needs her with him! Leon Thomas sings the second verse, with some eyebrow-raising lyrics:  “You goin’ missing like a waistline / Showing kitty off, on a FaceTime…” Wow! Thomas’s lines are more rhythmic than Daye’s. They collaborate on the second pre-chorus, with Daye closing things out. All in all, Lucky Daye and Leon Thomas dropped a fabulous R&B song with “Fly U Out.” Some may say R&B is dead or on its last leg, but talented musicians like these two Grammy winners, and memorable, well-rounded songs like this one, prove otherwise.

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14. Mac Miller, “Butterflies”

The Divine Feminine (10^th Anniversary) → Warner Records, Inc. → 2026

It has been eight years since the talented Mac Miller departed. In 2016, Malcolm James McCormick recorded the platinum-certified album, The Divine Feminine. Posthumously, The Divine Feminine (10^th Anniversary) arrives featuring the previously unreleased song, “Butterflies.” “Butterflies” was written by Miller, Taylor Graves, and Jeff “Gitty” Gitelman. Graves also produced it.

“Butterflies” is nothing short of a vibe from the jump. It’s the bee’s knees – the cat’s meow! It begins with the lush production.  Philly is written all over this one, specifically a romantic, soulful aesthetic.  If you partook of The Divine Feminine, this song fits the aesthetic to perfection; it keeps the same energy. Beyond the top-notch production, Miller is top-notch, impressing with his ultra-smooth vocals. Adding to the excellence, Miller’s storytelling, encompassing L-O-V-E, is marvelous. “Beauty queen, beauty queen, straight out of a movie scene,” he sings in the second verse, and continues, “Touchin’ on your body, I can feel you in a lucid dream.” What more can you say but, ooh-wee?! At the end of the verse, he asks, “Do she love me like I love her? Use me when she need a lover? / Yeah, she got me under her spell, goin’ rounds, ring the bell.”  The chorus is swell – no surprise there!

“Butterflies (Butterflies; Yeah)

Butterflies stick like glue (Butterflies)

Butterflies (Butterflies)

Butterflies stick like glue (Woah).”

Ultimately, Mac Miller’s musical legacy continues, without a hitch, with the smooth, soulful “Butterflies.” What a talent he was.

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15. Miley Cyrus, “Bass Persuades”

Bass Persuades → MCEO, Inc. / Atlantic Recording Corporation → 2026

according to Grammy-winning pop singer-songwriter Miley Cyrus, now MILEY. But she has no intention of not dancing on her dance-infused pop single, “Bass Persuades”: “Let’s surrender to the night, put our bodies close together, uh-huh.” Uh-huh, indeed! “Bass Persuades” commences her 10^th studio album, Bass Persuades. Miley Cyrus, Kid Harpoon, Michael Pollack, and Aldae composed “Bass Persuades.” Cyrus, Kid Harpoon, Michael Pollack, and Maxx Morando produced it.

“Bass Persuades” features vibrant electronic production that encourages hitting the dance floor.  The dance aesthetic is pronounced from the get-go.  Miley Cyrus talk-sings the first verse: “Ghosts run to Bermuda ’cause there’s no one to haunt / Candy’s cut with fentanyl that nobody wants / Spin it for a minute, make it all disappear / If we ain’t moving, baby, baby, why are we here?” She first offers up pitched vocals in the pre-chorus, where she asserts, “And I don’t wanna change your mind / The bass persuades / No, I don’t wanna change your mind (Let’s go).” Equally catchy, is the chorus, excerpted earlier, in all its tuneful glory.  The second verse is like the first, with talk-singing (“Yeah, chaos is king, but you know that you can’t stop, won’t stop”), with pitch returning in the pre-chorus and choruses.  An interlude encourages losing yourself to dance, while she asks in the bridge, “Don’t you want to dance?” All told, “Bass Persuades” is fun; an energetic, well-rounded pop song. Cyrus brings personality, fine vocals, memorable songwriting, and ear-catching production.

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16. Rex Orange County, “Indecision” (Ft. Daniel Caesar)

“Indecision” → Big Pluto Limited / AWAL Recordings Limited → 2026

Rex Orange County sings in the chorus of his single, “Indecision.” He continues, “I guess we’re stuck in indecision / If I leave, would you collapse or keep on living?” The English singer-songwriter collaborates with Grammy-winning R&B singer-songwriter Daniel Caesar. Rex and Caesar composed “Indecision” and produced it with Sir Dylan.  The results = EXCELLENT!

“Indecision” features guitar accompaniment during the introduction. Rex Orange County draws first blood, delivering sublime vocals during the chorus.  He sounds soulful and sings with an exceptional tone. The vocal production is also spot-on. Rex and, later, Daniel Caesar bring the tuneful melodies and thoughtful lyrics to life. Caesar complements and contrasts ROC superbly. His tone is buttery smooth, and like ROC, he sings soulfully. “Hanging onto feelings in my rear-view, I can’t let them go / You said you’d be with me for all time,” Caesar sings in the verse, and continues, “We were naive, we were young, we were green / Now that we’re older, it’s harder to believe.” Rex adds a few lines in the second half of the song’s only verse, duetting with Caesar in the second iteration of the chorus.  Adding to the superbness of “Indecision,” the harmonic progression is jazzy and distinct.  There is a great, brief instrumental interlude featuring bluesy guitar. Filled with ear candy, I especially love when the full-fledged instrumental enters the mix (drums, piano, bass, and strings). All told, Rex Orange County and Daniel Caesar make a formidable duo on “Indecision.” High-flying vocals, memorable songwriting, and well-rounded production make this duet the sugar, honey, and iced tea.

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17. TEEKS, “Overdose”

“Overdose” → Sony Music Entertainment New Zealand Ltd → 2026

Ooh-wee, he’s got it bad, and it’s incredibly beautiful! Dashing, extremely talented Māori soul artist TEEKS (Te Karehana Toi) does it again. What? He delivers a fabulous, must-hear single: “Overdose.” Typically, an overdose has a negative connotation – it can lead to the loss of life. But in the case of “Overdose,” love is the modus operandi.  TEEKS composed this four-and-a-half-minute ballad with Terrence O’Connor and M Basa.  O’Connor and ChannelVIIN produced it.

“Overdose” begins with subtle guitar accompaniment. TEEKS sings radiantly.  His performance is expressive, nuanced, and buttery smooth, oozing with an effortless soul.  It never sounds like he forces anything. As the song progresses, the instrumentation fills in, with contemporary R&B cues.  There are more keys and luscious, soaring strings, arranged by Sam Nakamura.  Melodically, “Overdose” catches the ear, with TEEKS emphasizing and leaning into every glorious note. The lyrics match that energy, filled with passion and romance to the nth degree.  “When I’m kissing you,” he sings in the pre-chorus, “The taste of your lips so deadly.” The chorus is the crème de la crème, where TEEKS asserts, “Dying just to / Drink you in / Till I overdose / Till I overdose.” In the outro, he asks this stellar boy, “So pour into me / Pour into me / Pour into me.” Aww! Authentic and chock-full of sincerity, TEEKS delivers a truly special, well-rounded ballad with “Overdose.” He makes me want to fall in love and experience that overdose.

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18. The Boot Scootin’ Sissies, “Straight as a Cowboy”

A Whole Different Breed → Entrepreo → 2026

#GAY! Sometimes, I indulge in the sin of AI music. Hence, where the likes of The Boot Scootin’ Sissies come in. The ‘satirical, AI-generated country music act’ incorporates LGBTQ+ themes, which is fun, fun, fun! “Straight as a Cowboy” is the seventh track on TBSS’s 2026 album, A Whole Different Breed.

“Straight as a Cowboy” should be taken with a grain of salt.  The sound is unapologetically country.  The vocals embrace the twang and country-western/southern aesthetic. Even the lyrics, save for the gay ones, are C-O-U-N-T-R-Y: “I’m a God-fearin’, truck-drivin’, daisy-duke-proud / Kinda fella that the good Lord made plain and true.” Of course, it’s the gay that makes “Straight as a Cowboy” entertaining AF.  Cody is mentioned far too much to be merely a friend 😏.  “Now Cody’s got a grin that could light up the county / Wears them Wranglers so well that he oughta wear ’em proudly.” Hmm, why are you staring at his ass? Later, our singer, denying his feelings, asserts, “And I think about Cody and my heart does a thing — / Like a fiddle hittin’ high notes on the first day of spring / Straight to the point, but the point’s gettin’ blurry / I’m straight as they come and I’m startin’ to worry.” Yeah, sure you are… By the end of the song, our straight bro admits what we knew from the get-go:

“I’m GAY — gay as a rodeo, gay as the spring,

Gay as a rhinestone on a cowboy king!

I love that man Cody, and I’m sayin’ it proud —

Kiss him by the hay bales in front of the crowd!

I ain’t straight as a highway — I’m a bend in the road,

A loop-the-loop cowboy and I’m breakin’ the mold!

Straight to the point? (Naw — I came ’round.)

Gayest little cowboy in this one-horse town!”

Yee-haw gay cowboy! Ultimately, take “Straight as a Cowboy” for what it is. This gay little AI country song is hella entertaining.

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19. The Kid LAROI, “Sleep”

“Sleep” → Columbia Records → 2026

Food for thought, and a legitimate question, The Kid LAROI (Charlton Howard).  The Aussie standout continues releasing entertaining songs, including “Sleep.” The Kid LAROI composed “Sleep”; Jon Bellion, Pete Nappi, Rogét Chahayed, Tenroc, and DOPAM!NE produced it.

“Sleep” is brief, just crossing the two-and-a-half-minute mark.  Even so, it’s pretty sweet! It features vibrant production in a contemporary R&B style. I love the chill guitars.  The keyboards and strings are also delightful. There is enhanced soulfulness, reminiscent of old-school.  The Kid LAROI sounds excellent, bringing a heartfelt vocal performance.  The melodic lines are rhythmic, hearkening back to his hip-hop, pop-rap days.  Still, this feels like R&B, or R&B-infused pop. Thematically, it encompasses matters of the heart.  What’s the deal, exactly? Well, he can do it better than this other man, and he wants this girl to admit it.  The chorus is the crème de la crème:

“If he’s the man of your dreams (If he’s the man, then tell me)

Why can’t you sleep? (Oh)

And if it’s not here with me (If it’s not here with me, uh)

Why can’t you leave? (No-oh, no)

Why act with me when actually (Ooh-ah)

We’re back here with your hands on me, baby (Ba-da-da ba ba)

Why are you wasting your time with me

If he’s the man of your dreams

Why can’t you sleep?”

All in all, The Kid LAROI delivers another bop with “Sleep.” It’s short but incredibly sweet, thanks to awesome vocals, relatable theme, memorable lyrics, and gorgeous production.

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20. Thomas Day, “will you be coming around?”

“will you be coming around?” → Arista Records → 2026

the handsome and talented Thomas Day sings in the first verse of his single, “will you be coming around?” He continues, singing about an ex, presumably: “You said you’d be here if [I] became a mess / Well, I ain’t got much left.” Word. Day wrote “will you be coming around?” while RUDEY produced it. Running south of three minutes, it’s an enjoyable, well-rounded song.

There is a lot to like about “will you be coming around?” It begins with the prominent and sweet rhythmic guitar – a welcome musical texture and timbre. The accompanying groove is none too shabby, either.  Of course, the star of the show isn’t guitars or drums, but rather Thomas Day. His voice is alluring and quite distinct.  He excels with the rhythmic melodic lines. Matters of the heart are the driving force: “I’ve learned the science to let you go /… While I’ve traveled ‘round the world for you / But nothing ever turns you on.” Bummer! His falsetto is delightful during the chorus.  Beyond that potent head voice, the melody is quite tuneful in this section.

“Where are you now?

I wanna know where you’re now

Won’t you sing to me now?

Will you be coming around?

Will you be coming around?”

Ultimately, Day drops a scintillating pop bop with “will you be coming around?” A strong vocal, memorable lyrics, tuneful melodies, and guitar-fueled production all earn the song high marks.

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21. Victoria Monét, “Juicy”

Frequency Of Love → RCA Records / Lovett Music, Inc. → 2026

Grammy-winning R&B singer-songwriter Victoria Monét asserts, and continues, “Even if I am not the one, you found the prototype.” Those are some juicy, unforgettable lines from “Juicy.” “Juicy” is the third single and seventh track from Monét’s third studio album, Frequency Of Love. Monét, D’Mile (Dernst Emile II), Daniel Church, Spencer Stewart, Michaël Brun, Tommy Parker (Thomas Lumpkins), and Babyface (Kenneth Edmonds) composed “Juicy.” D’Mile, Spencer Stewart, and Michaël Brun produced it.

“Juicy” features classy, sophisticated, soulful production.  Do you know who else is sophisticated? Victoria Monét, who delivers an expressive, superb vocal performance.  Her tone is divine.  Monét also has great material on her hands! The melodies are tuneful, and the lyrics are memorable, particularly the crème de la crème, the chorus!

“Even though we haven’t even kissed

I can’t wait to see how your lips feel, been fantasizing (On me)

So, what you gon’ do about it? (So good)

You know that I like it (Juicy)

When you get real close to me.”

Even beyond the chorus, the verses catch the ear. Best experienced by listening, “Juicy” marks another win by a beautiful and talented artist.

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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 September 2026 [📷: Brent Faulkner / The Musical Hype; ALTER Music LLC, APESHIT + EMPIRE, Arista Records, Ashe, Atlantic Recording Corporation, AWAL Recordings Limited, Big Pluto Limited, Blissoo Limited, Columbia Records, Dead Oceans, Def Jam Recordings, Entrepreo, GCM, Hi Level + Mass Appeal, Johnny Wright Entertainment, MCEO, Inc., John Legend Music, Inc., Lovett Music, Inc., RCA Records, Republic Records, Sony Music Entertainment New Zealand Ltd, Warner Records Inc.; Gordon Johnson, OpenClipart-Vectors from Pixabay]

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