Top 25 singles of 2016

Read my top 15 albums of 2016 here
Read my top 25 singles of 2016 here and here

25 ~ The Summer Set, Figure Me Out: Figure Me Out is essentially a song of self discovery - working out your own unique place in a world that favours those who AREN'T misfits or different. Brian sings with an earnest sincerity that has an endearing quality; bringing to vivid life the whip smart lyrics (I particularly like that he places merit on talent and a job well done rather than being famous for famous sake). The music takes elements of pop, rock, theatre and cabaret - ebbing when moments of introspection are presented; flowing with grandiose when emotions and purpose are unleashed. It is a compelling and memorable proposition from beginning to end

24 ~ Robbie Williams, Party Like A Russian: Trust Robbie to come back with a song that sounds like nothing in the charts, like nothing he has done before yet, magically, a culmination of all those things. He bought his inimitable swagger to a ridiculously catchy song that seems eerily prescient considering the situation in the USA right now. Crammed with memorable moments and a huge sing-a-long chorus, this felt bombastic and grandiose the instant you first heard it. Plus it had the most excellent rhyming, the likes of which have not been heard since Des'ree sung about Life. Excellent re-introduction to one of the biggest pop stars of our time - and perfect song to get you excited about that mammoth tour next year...

23 ~ Pet Shop Boys, Burn: There are many reasons why this should have been a single in 2016 (and why I still hold out hope for it to be one in 2017). That magnificent extended electro-introduction before the boys start singing; the throw back nature of the song to the Introspective era (whilst still remaining saturated in shimmering contemporary grooves); the ridiculously catchy refrain of "we;re gonna burn this disco down before the morning comes" not only sticks in your brain but absolutely screams for a mash up with Kylie's Disco Down. But ultimately, it felt like the duo were leading the pack in updating electro-infused disco for a whole new generation. Marvelous.

22 ~ Markus Feehily, Sanctuary: Markus and his team (including producer and co-writer Steve Anderson) have crafted an indelible composition that must be lived and breathed by all those that hear it. Lyrically, it is a devastating denouement of a relationship. The pain and anguish of moving on from one you've loved so deeply is truly palpable within the poetic words (and even more so with Markus' yearning vocals). Despite the still raw emotions of the narrative, there's a sense of healing and closure within Sanctuary (as, indeed, the title would suggest) - a soothing of the soul that leaves the listener with renewed hope and optimism. Markus isn't singing it because he knows it's the easy solution - it's more that he sings to let the feelings out and hopefully let others know they are not alone in similar situations. A musical delight.

21 ~ Mans Zelmerlow, Fire In The Rain: It has been quite the year for The Zelm, as absolutely no-one is calling Mans Zelmerlow. Fresh from his triumphant gig hosting Eurovision, his Perfectly Damaged album campaign was reinvigorated with a new single called Fire In The Rain. This song demonstrated what an expressive, effusive performer Mans is - not only with his engaging singing style but also with his vibrant performances. Eurovision may have introduced him to a wider global audience, but it is quality pop songs like this that have ensured they stay with him. He continues to demonstrate such charming song craft with his latest single, Glorious - do make sure you check them out.

20 ~ Sergey Lazarev, You Are The Only One: Sergey's Eurovision single was bout that longing feeling you get about that one special person; those feelings that seem to take over your whole life and become your whole raison d'etre, despite the obstacles that get in the way. Sergey channels his inner rock God with gravelly, impassioned vocals that bring the lyrics to life with beating heart and pulsing soul. He navigates the glorious pop melody with mellitus ease, highlighting the buoyant score that propels the song forward. The dance element comes in via the crescendoing production that emphasises beat and seductive rhythm through it's titillating and spirited grooves. Add to this a chorus that is as big as all outdoors and a key change that leaves you giddy with excitement.

19 ~ Anton Ewald, Devil: The song tells a tale as old of time - that of forbidden love that is made all the more exciting and tantalising by the dangerous nature of pursuing it. Anton sings of "the night he slept with teacher" in the opening lines, and instantly there is a frisson of dark and alluring fantasy fulfilled in his seductive vocal performance. The music perfectly accompanies the beguiling vibe he is offering - the verses swirl with ominous beats, ebbing and flowing to match the pulsing nature of the lyrics - that hesitation, followed by emboldened steps forward that surely we all relate/admit to/crave in the most secret, desirous recesses of our minds. The fading of the music in the moments before the chorus works exceptionally well - it not only acts as a metaphor for your inhibitions being stripped away, but also serves to accentuate Anton's powerful singing as well. Intoxicating.

18 ~ Fitz & The Tantrums, Handclap: In a crappy year, Handclap was exactly the type of song that felt joyful and triumphant. It was alternative pop that was instantly catchy and lingered long after the song had finished. The band surely knew how to get their listeners moving and the simple, repetitive refrain was an actual moment of pop genius - seemingly easy but actually quite complicated to get right. It is euphoric and energising, gleeful and uplifting (in fact, if Glee were still on the air, they would no doubt have purloined this for one of their shows). The type of song that has you shimmying to the dance floor without an ounce of hesitation - moving your body to the compelling groove Fitz & The Tantrums have created.

17 ~ MKTO, Superstitious: Each year, the duo of MKTO gift me with at least one song that works it's way into my life and refuses to vacate. Last year it was their brilliant Bad Girls, this year the stunning jam Superstitious. If you are going to create a song that shares the same title with the indelible Stevie Wonder classic, it had better be a stellar effort - and MKTO do not let you down. Down 'n' dirty rhythms are supplemented with a textured score, invigorated soulful vocals and a rap break to die for. These two fellas know how to write pop songs that sound contemporary yet will stand the test of time long after current fads have faded. I look forward to their next endeavours...

16 ~ Vaults, One Day I'll Fly Away: Vaults were entrusted with the task of making this Randy Crawford cover both suitable accompaniment for the John Lewis ad it soundtracks and a pop song in its own right. They succeeded beautifully. It is fueled by a vocal imbued with a sincere optimism and hope, with just a hint of melancholy that the day isn't right now. The elegant score matches the timeless singing and it all comes to a string laden crescendo that hits all the right spots, leaving you with a majestic sense that anything is possible. This is the both the best ad and best song since Lily Allen introduced Bear and Hare with Somewhere Only We Know and I am absolutely, eternally, rushing down to the store to buy a plush Buster, smitten.

15 ~ Lectro Lips, Daddy Issues: Daddy Issues is a song about self reflection and realisation. Both music, prose and pose (the cover art is magnificent) embody this. Frozen synths and a heartbeat bass pulse this song into life, providing the perfect undercurrent for a vocal fueled by angst and yearning, recrimination and regret. The emotions are so palpable that it leaves you breathless, yet desperate to hear more - to live to tell the story of this mesmerising trance like ballad. The damning groove builds into an elegiac rhythm that seems to be the realisation of the running feet of the narrative. The music is allowed to breathe and cascades like falling rain as the song races to inevitable conclusion. Genuinely stunning stuff - now if there was 1990 a cover of Oh Father would be on the b-side (still time, lads)...

14 ~ Kylie Minogue, Everybody's Free (To Feel Good): First of two Kylie songs in this year's countdown (the only artist to be featured twice). So much about this song was radiant - the string laden, Abbey Road inspired score that gently cocoons Kylie's achingly exquisite vocal whilst piano cascades like intricate icicles around her singing; then it crescendos like the bubbles in a flute of Bucks Fizz to ascend as a sumptuous, horn laden, orchestra driven wall of sound - an upshift in tempo thanks both to a percolating percussion and Kylie's euphoric singing. It becomes a swirling, funk ridden, disco extravaganza that is not only the perfect companion piece to It's Still Disco To Me (and Step Back In Time, Your Disco Needs You, Night Fever, Off With His Shirt et al) but also an exhilarating, soul soothing, spirit lifting addition to any Yuletide (and beyond) playlist. All hail the Snow Queen - long may she reign.

13 ~ Clean Bandit ft Louisa Johnson, Tears: What a song. Proof positive that when the stars align, everything can come together perfectly for X Factor alumni. Louisa Johnson teamed up with hotter than hot group Clean Bandit to make a pop song that not only was a lyrical millenial version of I Will Survive but a pretty darned tooting good song in it's own right. Whether it be that mesmerising beat or Louisa's empowering vocals or that ridonkulously brilliant chorus, there was something about this song that made it one of the most exciting, commercially successful pop sounds since Girls Aloud debuted with Sound Of The Underground. It firmly embedded itself in the chart for ages, selling a solid 700k copies of the tune in the process. Banger.

12 ~ The Heydaze, Hurt Like Hell: This rather splendid group have come up with a corker via Hurt Like Hell. What the song (lyrically) does is artfully encapsulate every emotion you feel in the aftermath of a break up - particularly if you were the one left wondering why. The vocal is entrenched with an aura of melancholy and aching yearning - never to the degree that it becomes depressing, but sung with such pathos that you empathise deeply and feel part of the story unfolding to the music. And what music it is - a sparse percussive groove, interspersed with elegiac electric guitar, represents the emptiness of the lyrics and actually ends up accentuating the sentiments of "hurt like hell" refrain. It becomes a bold statement of how the band infuse the vocal narrative with the instrumental being an equal duet partner. Both work side by side to achieve a textured piece of living art that will resonate with those who embrace it for years to come.

11 ~ Goldman, Dance All Night: What a stomper of a song this was/is. Within three and a bit minutes of glorious romping beats, deliriously addictive house piano and a rhythmic percussion so incessant that is compels your body to shimmy, Goldman recreate the euphoric sounds of 90s pop-dance with a contemporary twist. This beat is definitely technotronic (with enough pop culture references to make the Gilmore Girls jealous) as Geneva gives an effusive vocal that is elevating as the hypnotic grooves she sings of. Whilst the whole song gives you an endorphin rush, thanks to the perfectly layered score and a melody that is just too legit to quit, the chorus is actual pop manna from heaven; utterly euphoric sending shivers down your spine, joy to your heart and causing you to raise your hands to the heavens with celestial rapture. This is what pop music should be - devil may care, exciting, life-affirming, mellifluous magic. It makes it all the more poignant that the group are no longer together - but this song will always be a testament to their genius.

10 ~ Debbie Gibson, Wonderland: Last year's stunning ballad, Promises (my number ten song of 2015!), demonstrated that Ms Gibson still has the songwriting and performance chops to touch your soul and Wonderland does just that. Elegiac and elegant piano is a haunting duet partner to Debbie's beguiling singing. It is a perfect dance that woos the listener with its majesty and makes them part of the music. Whether it stirs long dormant memories or is the soundtrack to your life experience now, it is performed with such honesty and earnest integrity that it becomes intimately personal, as if written solely for you. And in an era where repetitive beats and cookie-cutter production techniques dominate the charts, Wonderland is refreshing in that it relies on organic instruments and classic song composition to gift its indelible melody and lyrics on the world. Stunning from start to finish, this certainly wouldn't sound out of place played next to Adele on AC radio. Now, Hallmark, who do I have to speak to to get Winter of Dreams made?!

09 ~ X&Y, Footprints: Footprints, is what I would call an absolute triumph. It takes everything that has been so edifying about their music thus far and amps it up to the nth degree. Set to an effusive percussive groove (perhaps the best since 80s smash Nothing's Gonna Stop Us Now - and equally as euphoric) and surrounded by tantalising bass licks and swirling synths, this is a tale of that all-consuming desire we have to truly connect with someone we feel drawn to. Through an expressive lead vocal, Benedict breathes life into the emotions of the song and makes them spark with tangible excitement and anticipation. The effect of this is that the listener is pulled into the song and it awakens every memory you've ever had of those sizzling first touches, those love affairs where you thought your heart would explode with passion, those kisses where your mouths become so intertwined it feels like one. And this is all before that soaring chorus takes you to pop heaven - enormous sing-along refrain that is gratifying, it feels like one giant endorphin rush to the brain and just as giddying. It is an intoxicating melange of sounds that has been fused together with exquisite precision.

08 ~ Harriet, Permission To Kiss: is the most exquisite narrator of your innermost thoughts and emotions, with Permission to Kiss being her most percolating pop setting since the evergreen Fly. Like a heavenly amalgamation of The Chiffons' Sweet Talking Guy and Spice Girls' Stop, the bouncing keyboard chords bring to life that quickening of the pulse and beating of the heart when you are around someone who gives you The Feels; similarly the shuffling percussion brings an aura of urgency and longing to the music, representing that impatience mingled with anticipation you feel when you are awaiting that first kiss (and for those imaginary yet somehow very real fireworks to explode above your head when it happens). Add to this strings that are as sweet and fluid as Cupid drawing back his bow, and it all mingles together to be as essential to the story as the words Harriet sings. And how she sings it melts your very soul - taking you to the top of the world with ecstatic happiness :)

07 ~ Kylie Minogue, Off With His Shirt: I love the TV show Galavant. It's witty, smart and the cast regularly break into catchy tunes for no apparent reason than to a) delight you and b) ensure the song is stuck in your head all the live long day. It's written by Dan Fogelman (responsible for my third fave Disney film ever - Tangled) with music from Alan Menken (responsible for the tunes in my fave two Disney films - Hunchback of Notre Dame and Beauty and the Beast), so you know it's pretty darn tooting fantastic. This year it featured one Miss Kylie Minogue and her musical contribution was just dazzling. A disco epic so scintillating that it's address is surely It's Raining Men-adjacent. Kylie delivers the most fitting punishment ever (Joshua Sasse certainly looks F-I-N-E without the pesky hassle of clothing) with knowing lyrics (bars and dungeons and bears, oh my!) all set to a swirling dance floor magic that will have you waving your arms in the air like a ninny. It may be only 2 minutes and 27 seconds long but it is all about the quality not the quantity, and this charming spunky gem is as mesmerising as Joshua Sasse's abs. Play on a loop with Your Disco Needs You and 100 Degrees (Steve Anderson Extended Disco Mix) - go on, you deserve it.

06 ~ Jakil, Tongue Tied: Ace new indie-pop group Jakil may be the best new pop group since Girls Aloud. Stick with me on this one - the pop stars:the rivals winners took the best bits of traditional pop music (melody, hooks and chorus), inverted your expectations and took you to exhilarating new places. Jakil are clearly on a mission to do the same, but with their own influences, their own unique vision and an ability to take the every day and make it extraordinary. Debut single, Tongue Tied is a blistering example of this. The lyrics tackle the universal theme of being so smitten with someone that the feelings take over every fibre of your being, leaving your normally suave, sophisticated self a babbling fool. Lead singer Kieran does an excellent job of conveying both the aching longing and tingling excitement that comes with this type of all consuming love. He doesn't so much sing the song as embody its every sentiment with an engaging verve that is very hard to resist. The band are utterly in sync with him, crafting an instrumental that is rich with textured backing vocals, scintillating guitar riffs, a percolating groove and shimmering synths. It is beautifully done, a symbiotic enhancement of the narrative that leaves you with an endorphin rush of epic proportions.

05 ~ Omar Afuni, Rush: Rush is a bold, 80s-infused, hand-clap driven groove brings vibrant life to this joyful song that infuses every fibre of your being with the excitement that comes with the brimming possibility of love. Omar's sensuous, smooth soulful vocals are driven by a sense of anticipation, yet there's a lovely languorous quality to the performance that tells you he's luxuriating in the sensation of the rush he sings so beautifully of. Synths cascade alongside the infectious refrain, like glitter showering down from the heavens above. It's all weaved together with such euphoric adoration that it compels the listener to shimmy along in unfettered ecstasy, a slave to the rhythm where the safe word is "more, please". In it's own way, it is a triumphant Let's Hear It For The Boy for the new millenial generation and anyone else who just wants to find themselves lost in music, caught in Omar's gloriously addictive trap.

04 ~ Bright Light Bright Light ft Elton John, All In The Name: Bright Light Bright Light has always been at the forefront of sophisticated, vibrant, engaging and enduring pop music. He takes his love of 90s music (from Cathy Dennis to Corona), infusing these influences into his heartbreaking ballads and euphoric choruses with a finesse and reverence that is missing from many of today's fad driven chart tunes. This is gloriously represented on All In The Name (a song so good Elton John wanted in on the act). The narrative of the song focuses on all the different things we do to stand out in this crazy, mixed up world of ours because essentially we all crave the same thing - to love, and to be loved in return. It's presented against a backdrop of effusive horns, a percussive groove that Stock, Aitken and Waterman would kill for, and cascading synths that drip around Rod (and fellow vocalist Elton)'s vocals like honey to the bee. Pure pop magic at it's absolute finest.

03 ~ Paul Varney, Kiss and Make Up: Over 25 years since he made an impact as one half of Yell!, and looking mighty fine on it, Paul Varney returned to the music scene with a glorious pop tune, called Kiss and Make Up. cause a chasm that, at the time, seems wider than an ocean between you. He uses insightful lyrics to illustrate his point and sings them with a nuanced honesty that really endears him to the listener (for example, "It's the way that it's always been/we're in love, we're in hate, nothing inbetween"). His voice is no less compelling than it was in Yell (and on his 90s solo tracks) but it there is a more resonant tonal quality to it now that accentuates the buoyant melody and sends it soaring skybound. As he starts singing, he is accompanied only by a strumming guitar riff - really allowing the song to breathe into life (and for the listener to take in those mellifluous vocals from Paul). The instrumental then starts to gain texture as a riveting percussion kicks in, subtle synth effects and cooing backing vocals are added in. The gradual layering of this instrumental seems to represent how feelings swirl around inside and collide with each other to give a renewed energy - this makes the instrumental a symbiotic partner with the narrative of the song and, as vocal and instrumental coalesce, create a giddy refrain that has you punching your fist to the ceiling in euphoric joy. It is a love song wrapped in a rock song hugged by a pop song and everything - EVERYTHING - about it works brilliantly.

SONGS OF THE YEAR:

01= ~ Christie & The Dreambeats, Wasn't My Fault: There is pop music you look forward to - that of your favourites, teased by soundbites and video clips, until the full force of something hopefully brilliants invades your speakers, taking you to cloud nine. Then there is pop music you learn to love - you don't necessarily get it straight away (perhaps you are not in the right head space for it), but it's charm offensive is relentless and you are soon strolling hand in hand, skipping away down Melody Lane. Then there is the type of pop music that you didn't know you were looking for yet takes you with such passionate force that it satisfies every nuanced need and leaves you begging for more. That was exactly the type of pop that Christie and the Dream Beats crafted with Wasn't My Fault. Co-written by the lovely Bianca, it's a thrilling roller coaster ride through every thing that makes pop so magnificent whilst also being a exhilarating journey into what happens when you are gloriously unapologetic about the choices we make in life. Hand clap beats underscore the verses, which allow for Christie's gleeful vocals to sparkle while you shimmy along; this soon gives way to the onslaught of guitars, synths and percussion that coalesce exquisitely as the wall of sound that becomes the chorus. Like diving into icy cold waters on a hot summer day, it's a breathtaking experience that stimulates every part of your body and enlivens the senses. It's almost like the writers of the song saturated themselves in the massive power-pop choruses of the 80s, taking note of lessons given by the likes of Belinda Carlisle, Roxette and The Bangles. It's retro with a contemporary sheen so that it never sounds dated or like a carbon copy, it's just beautifully fresh and effortlessly timeless. From conception to creation to execution, every moment of this is blissfully flawless - and we should all thank the music gods for the line "I was there, he was there (looking gorgeous)", because, quite honestly, who can't relate to that?!

01= ~ Sean Smith, Turn Me On: What a song to come back with. Sean may be better known as half of Same Difference, but in 2016 has firmly established himself as a solo artist to be reckoned with - whether as part of the That's Entertainment tour (introducing him to a whole new audience), his sparkling turn in panto (which is still getting rave reviews), the reveal of his taut body (with a stomach you could turn cabbage into coleslaw on), or this brilliant, epic single, Turn Me On. What is rather brilliant about Turn Me On is that Sean has done an excellent job of paying deference to the sound that he is most well known for, whilst also demonstrating musical progression. It is the natural continuation of All Roads-Karma Karma-Best Mistake-Music (the latter being one of SD's least known but best songs). Lyrically it wears it's heart on it's sleeve - a tale of how when you find that person whose attractiveness and being lures you in, and seemingly takes over every urge in your body. Set to a vibrant percussion, punctuated synth chords and a pulsing heart pounding beat, the instrumental coalesces to craft a compelling rhythmic groove. It is a groove that twist and turns, crescendoing at the right moments to take you to orgasmic new heights. Sean has always had a dream pop voice and infuses the words with an exuberant passion that is hard to resist. He guides the buoyant melody and adds personality to bring the lyrics to life. Case in point - "its like religion when you hold my hand" is song in a way that suggests the spark of electricity this action brings is just as satisfying as the afterglow of true intimacy (this is something he moves onto when he sings "yeah i like it when I'm in the dark/where I don't know where I've got you". There is a playful growl in his voice that will have the ladies and fellas finding their own sense of religion)! As if all this wasn't enough ( and it really is), there is an Andy Sikorskii remix that makes the beats a little harder, the rhythm a little more tribal, the groove exotically raving. It adds a sense of giddy hedonism to the song, a frantic urgency that will have you grabbing the one you love (or at least the one you are with) and shimmying. HARD. Turn me on? I'm still positively panting. I'm chomping at the bit to find out what 2017 holds for this lovely lad...