Month: December 2020

Stephen Curry was quite busy this weekend, starting with playing in The Match III with Peyton Manning against Charles Barkley and Phil Mickelson on Friday and then launching his Curry Brand with Under Armour on Tuesday. He also was among the many NBA players that tuned in to watch Nate Robinson’s boxing debut that went very poorly against Jake Paul on Saturday night, and the two-time MVP went viral with a tweet at Nate that joked he did indeed shock the world, just not in a good way.

On Monday night, Curry joined Trevor Noah for an interview on The Daily Show to talk about the upcoming season and the launch of Curry Brand, but Noah began the interview by asking Curry about that tweet. Curry laughed about it but made sure to note that he loves Nate and that there are few guys more resilient than Robinson, and he’ll be betting on Nate to bounce back in whatever he does next. He also got asked about his own loss in The Match and which of the two was worse, losing to Charles Barkley in a golf event or Nate getting knocked out by Jake Paul.

Curry split the answer into two parts, saying Nate’s loss was worse because Steph didn’t have any physical harm come his way, but that his was arguably more embarrassing because of who it was against and how much trash talk he’ll have to deal with from Charles Barkley the rest of the year.

In the years since Lorde released 2017’s Melodrama, she has kept mostly out of the public sphere, although she has popped up on occasion. That has been happening more frequently lately, and once again, we have a new dispatch from Lorde. This time, it comes via an an interview with Blackbird Spyplane, a site that describes itself as “yr no. 1 source across all media for ‘unbeatable recon’ on dope under-the-radar joints.”

During the chat, she was asked about her next album, and while she didn’t say much she hasn’t already said, she did say she’s working on “the whole cinematic universe” of it:

“I’m telling people that something is taking shape. More than ‘taking shape’ — something is — there’s a thing. But, you know, I really take my time, and I like to know the whole universe, the whole cinematic universe for what I’m making, so I’m in that process right now. I don’t know how much more I want to say. It’s such a kooky year in terms of knowing anything about timing, but I guess with me, as an artist generally, no one ever knows when anything’s coming anyway…”

There’s no word yet on whether that universe features Pablo Picasso, with whom she would definitely have had sex.

Read the full interview here.

History was made this weekend when chef David Chang won $1 million for his charity on Who Wants To Be A Millionaire?, becoming the first celebrity in the show’s history to successfully answer the million-dollar question correctly.

Helping him to do so was ESPN analyst Mina Kimes, who went to Yale and was a business and economics journalist before moving into the world of sports where she’s now one of the top NFL analysts at ESPN. As such, she knows many things about many subjects and was Chang’s choice as his Phone A Friend lifeline. On that final question, which asked which president was the first with electricity in the White House, Chang dialed up Mina who said Benjamin Harrison seemed right before time cut off.

On Tuesday, Kimes joined Pablo Torre on the ESPN Daily podcast to discuss her role in the Millionaire moment, and explained that she somewhat accidentally gave Chang the right answer, because she would’ve kept talking about the other options and said she wasn’t sure had time not cut off and caused her to get hung up on.

Kimes, of course, is being a bit modest when she says it was “bananas” for Chang to listen to her on that question, but it worked out well, which she’s very thankful for, because she wouldn’t have been able to look him in the eyes had she gotten it wrong. Now, she’s helped him make history and make $1 million to help hospitality workers who have been so incredibly hurt by the pandemic, and as Torre says at the end, she’s probably earned some free food from Chang’s restaurants.

Earlier this year, the Virginia singer/rapper formerly known as Big Baby DRAM quietly changed his name on streaming services to his government-issued first name Shelley, although he generously tagged himself “FKA DRAM” so fans could still find his catalog. However, he hadn’t released any new music under his rebranded moniker until his label, Love Renaissance (or LVRN), issued its first-ever holiday album, Home For The Holidays, last month. Today, the label shared the first video from the project, which features Shelley and newcomer Young Rog covering José Feliciano’s “Feliz Navidad.”

Featuring a quick intro by LVRN’s resident DJ Kitty Cash, the video documents the two crooners recording their rendition in a thoroughly decorated studio complete with Christmas trees, stockings, and fairy lights. Shelley — who’s recently taken to filming cooking content for his Instagram throughout the pandemic — looks like he’s been baking some cookies for Santa and his labelmates, wearing a printed apron and holding a blunt as he embellishes Rog’s mellow take on the holiday standard. Fittingly, the production still features a subtropical flair, with bossa nova percussion and a soft, Spanish guitar backing the singers’ smooth vocals.

Other standards that appear on Home For The Holidays include “Santa Baby,” sung by Summer Walker, “This Christmas,” by Eli Derby, and Shelley’s second take on “The Christmas Song” after he dueted the song with his mom on his own holiday EP in 2017. Meanwhile, 6lack and Summer Walker take a turn on James Brown’s “Santa Claus, Go Straight To The Ghetto” with “Ghetto Christmas,” while rappers Westside Boogie and OMB Bloodbath put a ratchet twist on a classic with their irreverent “12 Days Of Bhristmas.”

Check out Home For The Holidays here.

Mariah Carey may be crowned the Queen Of Christmas, but that isn’t stopping other musicians from serving up their own holiday jingles. In the last few weeks, artists like Carly Rae Jepsen, the Jonas Brothers, and Finneas debuted original Christmas songs, and now, BTS are similarly getting into the holiday spirit with their performance of “Santa Claus Is Coming To Town.”

In order to spread some holiday cheer, the boys gathered around a lit-up Christmas tree lined with presents to perform for ABC’s holiday singalong program. Donning cozy and festive outfits, the seven BTS members danced in front of the tree and had a merry time while delivering their “Santa Claus Is Coming To Town” lyrics.

The performance arrives on the tail end of a huge year for BTS. They kicked things off in January by becoming the first K-pop group to become Platinum certified in the US for their 2018 LP Love Yourself: Answer. Since then, BTS have gone on to release three projects, break YouTube’s record for the biggest video premiere, and receive a number of other accolades. Just this week, the K-pop group’s song “Dynamite” secured their third No. 1 single within three months.

Watch BTS’ “Santa Claus Is Coming To Town” singalong above.

Elliot Page, nominated in 2007 for a lead performance in Juno and currently starring in Netflix’s The Umbrella Academy, has announced that he’s transgender. In a note to over 3 million Instagram followers, Page broke the news:

“Hi friends, I want to share with you that I am trans, my pronouns are he/they and my name is Elliot. I feel lucky to be writing this. To be here. To have arrived at this place in my life. I feel overwhelming gratitude for the incredible people who have supported me along this journey. I can’t begin to express how remarkable it feels to finally love who I am enough to pursue my authentic self. I’ve been endlessly inspired by so many in the trans community. Thank you for your courage, your generosity and ceaselessly working to make this world a more inclusive and compassionate place. I will offer whatever support I can and continue to strive for a more loving and equal society.”

Page continued while sending out a message of support to trans people who have experienced harassment, including threats of violence:

“I love that I am trans. And I love that I am queer. And the more I hold myself close and fully embrace who I am, the more I dream, the more my heart grows and the more I thrive. To all the trans people who deal with harassment, self-loathing, abuse, and the threat of violence every day: I see you, I love you, and I will do everything I can to change this world for the better.”

This statement follows Page’s advocacy on behalf of GLAAD and his condemnation of Vice President Mike Pence’s policies, which Page previously argued has contributed to the normalization of homophobia that leads to hate crimes like the one former Empire star Jussie Smollett was accused of staging in Chicago.

In a statement to Variety, GLAAD Director of Transgender Media, Nick Adams, declared, “Elliot Page has given us fantastic characters on-screen, and has been an outspoken advocate for all LGBTQ people. He will now be an inspiration to countless trans and non-binary people. All transgender people deserve the chance to be ourselves and to be accepted for who we are. We celebrate the remarkable Elliot Page today.”

Page favors the he/him and they/them pronouns, and as Variety notes, Page describes himself as non-binary (which means that Page’s gender identity is neither man nor woman). Read the rest of Elliot’s Instagram statement below:

(Via Variety)

Indie music has grown to include so much. It’s not just music that is released on independent labels, but speaks to an aesthetic that deviates from the norm and follows its own weirdo heart. It can come in the form of rock music, pop, or folk. In a sense, it says as much about the people that are drawn to it as it does about the people that make it.

Every week, Uproxx is rounding up the best new indie music from the past seven days. This week we got the annual holiday cover from Phoebe Bridgers, a collection of covers from Green Day’s Billie Joe Armstrong, and a massive double album from The Smashing Pumpkins. Check out the rest of the best new indie music below.

Billie Joe Armstrong – No Fun Mondays

What started as a way for Green Day’s Billie Joe Armstrong to kill the time in quarantine became a full-fledged cover compilation, serving as a tribute his wide array of influences, from The Bangles and Kim Wilde to John Lennon and The Clash. Hearing Armstrong’s signature vocal drawl take on a John Lennon song with a punk rock makeover sure is fun, even if the album’s title might indicate otherwise.

The Smashing Pumpkins – Cyr

Gone are the big guitars and thrashing riffs of Smashing Pumpkins’ heyday, instead replaced by a synth-pop aesthetic fostered by Billy Corgan’s desire to achieve a contemporary sound. Cyr marks the first time since 1995 that The Smashing Pumpkins have recorded two consecutive albums without a lineup change, featuring contributions from much of the band’s original lineup. All told, Cyr finds the veteran band pushing into uncharted territory, with twenty songs giving them more than enough space to experiment.

Various Artists – No Cover: Carpark’s 21st Anniversary Covers Compilation

To celebrate the 21st anniversary of Carpark Records, the label recruited 21 artists from its present and past roster to cover their label mates. No Cover features contributions from Sad13, Cloud Nothings, The Beths, Emily Reo, Madeline Kenney, Dan Deacon, Johanna Warren, Melkbelly, Ed Schrader’s Music Beat, TEEN, and more. Some covers are faithful, while others reimagine the source material, but the album as a whole is a testament to the label’s lasting impact on the indie scene at large.

Phoebe Bridgers – “If We Make It Through December” (Merle Haggard cover)

Keeping with the tradition she started in 2017, Phoebe Bridgers has shared a special holiday track. This time, it’s a cover of Merle Haggard’s “If We Make It Through December,” a hopeful number that looks ahead to the year to come after a particularly difficult time. It’s a sparsely arranged track featuring little more than piano performed by longtime collaborator Ethan Gruska, showcasing Bridgers’ melancholy vocals and the narrative lyrics.

Growing Stone – “Party City”

Skylar Sarkis has spent the better part of the last five years touring full time as vocalist/guitarist of New York punk band Taking Meds. One of the side effects of Taking Meds (hehe, get it?) was that Sarkis had to table his solo project Growing Stone indefinitely. Now, with touring not on the table, Sarkis finally had the time to revisit the Growing Stone project and complete his debut album I Had Everyone Snowed. “Party City” is an impressive lo-fi number centered around a drum machine with a chorus that evokes one of the more dialed-back, melodic iterations of late Nirvana.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

The National’s Matt Berninger released his debut solo album Serpentine Prison back in October. Since he can’t tour behind his release, the musician has been sharing his new music in performances on late-night television. But for his recent appearance on The Tonight Show Starring Jimmy Fallon, Berninger opted to deliver a cover instead of an original song.

For the performance, Berninger pulled from The Velvet Underground’s catalog to share a faithful rendition of their song “I’m Waiting For My Man.” The musician passionately delivered the song’s lyrics in his lofty studio while being supported by a cacophony of instruments from his backup band.

Taking on the cover was a comfortable feat for Berninger, who originally planned to make his debut solo LP strictly a covers album. Speaking about the project in a recent interview with Uproxx, Berninger said his producer Booker T. Jones convinced him to focus on his original music: “I wanted to do a bunch of covers just so I could get outside of my comfort zone. Then in that process with Booker, I sent him a few originals — there was one I wrote with Walt Martin, ‘Distant Axis,’ that he really, really was into. And that’s when he said, ‘Let’s start focusing on the originals.’ We ended up doing 12 originals and six covers in 14 days. ”

Watch Berninger’s performance of The Velvet Underground’s “I’m Waiting For The Man” on The Tonight Show above.

Serpentine Prison is out now via Concord. Get it here.

We all lead different lives, especially now, when the modern world is increasingly able to cater to our niche interests and allow us to get absorbed in our own cultural bubbles. Shared experiences aren’t as common as they used to be, but a giant one has rocked every aspect of the world this year. It can be easy to dwell on the situation and spiral down into a bad place, but there’s also much joy to be found by focusing on the good.

Artists have used 2020 to deliver some of the best and most impactful music in recent memory. This feels especially important now, since music can be a valuable tool for helping people both escape from their troubles and better understand what’s going on in the world. Artists like Taylor Swift and Adrianne Lenker used their newly free time to make introspective albums, Dua Lipa and The Weeknd got us dancing when we most needed to, and rising figures established themselves as leaders in this new world.

2020 hasn’t been an ideal year, but it still produced exemplary new albums, so check out our ranking of the year’s best below.

50. The Strokes – The New Abnormal

When it was announced that The Strokes were working with Rick Rubin, it was natural to assume that The New Abnormal would be a deliberate evocation of Is This It. But The New Abnormal, thankfully, is not that. It sounds, in fact, like an amalgam of the ’80s synth-pop and stoner-experimental chicanery of the previous two Strokes albums, but with stronger songs, like “The Adults Are Talking” and “At The Door.”–Steven Hyden

49. Don Toliver – Heaven Or Hell

From top to bottom, Don Toliver’s debut album Heaven Or Hell is an entire draped-up and dripped-out vibe. The chop not slop version helmed by DJ Candlestick and the legendary OG Ron C offers another level of audio experience supercharged-up with Houston culture, where the phenomenal melodic rapper is from. All 2020, H-Town folklore invaded TikTok with his Sonny Digital-produced track “After Party” in both versions of the song — regular and slowed up, thanks to Donny. Tracks such as “Cardigan” and “No Idea” also found a loving home on the TikTok platform as well. The way Toliver inflects his voice, giving a variety of emotions and sounds to immerse in, it’s hard not to fall deep into his world and want to stay there for the album’s entirety.–Cherise Johnson

48. Dorian Electra – My Agenda

Cementing their spot among pop boundary-pushers, Dorian Electra’s My Agenda is a wild ride through the darkest corners of the internet. The hyperpop artist is known for subverting normalized aspects of our culture, and that’s exactly what they do on their sophomore effort. The record explores problematic internet communities through tongue-in-cheek lyrics, disruptive beats, jarring synths, and distorted vocals.–Carolyn Droke

47. Beabadoobee – Fake It Flowers

The debut effort from Beabadoobee sounds like it could be the soundtrack to a teen movie, and that’s exactly what 20-year-old Bea Kristi was going for. Taking equal inspiration from the biggest grunge acts and lo-fi indie staples, Fake It Flowers is an epic film score for growing up, with moments ripe for a party, and others that beg for introspection.–Zac Gelfand

46. Jay Electronica – A Written Testimony

In 2020, the sheer abundance of surprising news desensitized us to surprising news. Still, the release of A Written Testimony is a shocker. Jay promised it several times over the 2010s, and finally delivered — with Jay-Z. Fans could anticipate moments like “Ezekiel’s Wheel” and “The Neverending Story,” but the invigorating “Flux Capacitor” and “The Blinding” indicated that he had the versatility to be a one of a kind presence all along — if he wanted to be.–Andre Gee

45. Tame Impala – The Slow Rush

Although it might feel like decades at this point, the latest effort from Kevin Parker was released only a few months ago. Awash in blissful soundscapes and dissonant reverb-soaked guitars, The Slow Rush boasts Parker’s refined and increasingly undeniable pop hooks that make Tame Impala one of the most revered acts in modern indie.–Z.G.

44. Burna Boy – Twice As Tall

The biggest moment of Burna Boy’s career came with his 2019 album, African Giant. The project launched the afro-fusion singer into a higher level of mainstream acclaim. However, this success failed to bring in the accolade Burna truly desired: a Grammy. He lost in the World Music category and a year removed from that career-boosting album, he shared his fifth album Twice As Tall to emphatically prove that his defeat simply made him stronger than ever.–Wongo Okon

43. Mulatto – Queen Of Da Souf

This year, Mulatto came through with much assertion and confidence on her debut project Queen Of Da Souf. It’s expected, though. Big Latto has been rapping since she was Little Latto and it’s evident in her Southern-charged delivery on tracks such as “Youngest N Richest” and “Muwop” with Gucci Mane. On “Pull Up,” Latto shows how she can switch up her flow, keeping her debut fresh, while songs like “In-N-Out” featuring City Girls and “On God” offer something for all the strip club trappers of the world. There are a lot of women in rap on the come up, Latto however, has been doing this for a long time and it’s clear as day this young lady is here to stay. “From the jump, I was like, ‘I know I’m here to say,’” she told Uproxx in an exclusive interview. “‘Nobody can convince me otherwise.”–C.J.

42. Deante’ Hitchcock – Better

Atlanta’s Deante Hitchcock gained some acclaim with his invitation to the 2019 Dreamville recording sessions in his hometown and paid off that promise in full on Better — with interest. He smoothly runs the gamut of rap mainstays — the club banger (“Gimmie Yo Money” with Yung Baby Tate), the relationship drama song (“How TF” with 6lack), the triumphant celebration of his move from ashy to classy (“I Got Money Now“) — but he does so with a poise and panache few rappers can carry off for a full project.–Aaron Williams

41. Blackpink – The Album

Blackpink in your area. Even when global quarantines rendered this infamous tagline necessarily false, Blackpink still encroached on new territory all year. With their boisterous debut, unceremoniously dubbed The Album, this Korean girl group became the highest-charting act of their kind with a Selena Gomez assist on “Ice Cream” and seven other tracks that wield aggression like it’s a necessary accessory for rising pop stars. Why should they be sweet when hostile sounds this inviting?–Caitlin White

40. Westside Gunn – Pray For Paris

When Jay-Z “said goodbye” to rap in 2005, he made a farewell album. Westside Gunn has made three and counting. Pray For Paris made our list because it’s his best reflection of Westside at his best: danger and designer over stick-to-your-ribs soul samples. From top-to-bottom, Pray For Paris’ soundscape makes his buoyant boasts all the more captivating, showing that he’ll still be an impactful presence in rap as an A&R.–A.G.

39. Adrianne Lenker – Songs and Instrumentals

It’s no secret that Big Thief vocalist Adrianne Lenker is an incredibly prolific artist but the past year has confirmed the notion. After the lockdown put the band’s two-album tour plans on hold, Lenker retreated to an isolated cabin in western Massachusetts. Her time in quarantine resulted in the tender album Songs, which showcases Lenker’s poetic songwriting while bringing her wooded surroundings to life through samples of babbling creeks and chirping birds.–C.D.

38. The Killers – Imploding The Mirage

The Killers have never been a band to be recognized by critics in the moment, with their albums gaining more esteem with each passing year. But the fans have always seen through that, with the Vegas rockers now showing more of a cultural footprint and influence than many of their “cooler” peers. So it’s nice to see their return to anthemic form, Imploding The Mirage, getting its deserved due from both sides of the aisle, as the band smartly looked to both collaborators and their own history to craft one of the most delightful and sturdy efforts of 2020.–Philip Cosores

37. Kehlani – It Was Good Until It Wasn’t

Kehlani’s It Was Good Until It Wasn’t is a phenomenal body of work in the sense that it eloquently shows how normal of a lover she is. Songs like “Serial Lover” and “Hate The Club” highlight the pretty and ugly sides of her relationships, but they’re all situations many of us have dealt with at some point. Unfortunately, due to her fame, her love life gets much more attention than necessary, but this album proves that at the end of the day, Kehlani loves with a heart just like ours.–W.O.

36. Khruangbin – Mordechai

Khruangbin tried something different this year by linking up with Leon Bridges for the collaborative Texas Sun EP, but they had another project that was more in their traditional wheelhouse. Their wheelhouse isn’t exactly traditional, though, as they continued to develop their increasingly successful incorporation of disparate rock influences.–Derrick Rossignol

35. Rina Sawayama – Sawayama

If you don’t know the name, you will soon. Rina Sawayama was born in Japan but grew up in London, bringing the best of both worlds into her global pop sound. This year’s self-titled debut Sawayama manages to include a nod to practically every sonic era of pop, with standouts like “Commes Des Garcon” leaning heavy into house. Incorporating commentary on everything from sexism to friendship to chosen family, Rina is on her way up. You can come along or watch her rise, up to you.–C.W.

34. Gunna – Wunna

The marketing rollout for Wunna reflected Gunna’s newfound appreciation for astrology. But he didn’t pivot into experimental, soul-searching Neo Soul or anything, he stuck to his script of slinky harmonies over murky, 808-based production. Astrology, more than anything, is all about knowing who you are. And Gunna was firmly in tune with his greatness on tracks like “Nasty Girl / On Camera,” “Skybox,” and “Dollaz On My Head” with Young Thug.–A.G.

33. Megan Thee Stallion – Good News

Nothing can stop Megan Thee Stallion’s reign. Not a pandemic, not a bullet. Her debut album Good News is proof of her triumph, which landed at No. 2 on the Billboard 200. Hot Girl Meg offered her fans an assortment of sounds to dig into on this project including TikTok’s favorite “Body” and the pop-leaning track “Don’t Rock Me To Sleep.” Megan is showing everyone that she can make more than music to make that ass shake. She can make feel-good songs made for sunny trips to the beach, too. “Freaky Girls” featuring SZA, which samples Adina Howard’s ’90s hit “Freak Like Me,” is one of the Good News standouts produced by Juicy J and is one of many tracks on the album that samples music from the nostalgic ’90s and ’00s eras. Good News is Megan Thee Stallion’s victorious collection of songs that offer a variety of positive vibes, despite the tragedy she went through this year.–C.J.

32. Kota The Friend – Everything

After making a splash with 2019’s Foto and proving his lyrical skills with his Lyrics To Go, Vol. 1 EP, Brooklyn rapper Kota The Friend wanted to make a, well, friendlier album. He accomplishes that goal deftly on Everything, which sees him contemplating the question, “What means everything to you?” Family, friends, financial freedom, and legacy are Kota’s answers, on feel-good songs like “BQE,” “Morocco,” and the title track.–A.W.

31. Blimes And Gab – Talk About It

The next time someone says women in hip-hop “don’t rap about anything” or “can’t rap,” pull this album up on the streaming service of your choice and immediately smack them across the head with the screen (I’ll cover the damages). Blimes Brixton and Gifted Gab dispel all that crap from the first song with a devastating lyrical “Baptism” that gives way to show that even this backpacking-ass rap duo can tackle a variety of sounds and moods. From the dance-pop, ’80-inspired “Shellys (It’s Chill)” and the house party vibes of “Feelin It” to the smoothly sensual “Hungover With You,” these two are more than capable of setting a mood, but when it’s time to drop fire and flames on a misogynist rap hater, B&G can fricassee any doubter with blazing bars on “Hot Damn” or countdown doubters’ demises with “Un Deux Trois.” Do. Not. Sleep.–A.W.

30. Selena Gomez – Rare

In the months before the world fell apart, Selena sang to us about her rebirth. Rare is a declaration of independence from an artist who has been entangled in codependence and dealing with the pressures of fame since she was a young girl. Coming into her adulthood necessarily meant facing down those two demons, and she does it with idiosyncratic lyrics, outstanding vocal performances, and earworm hooks. It’s the closest step to an absolute classic album that Selena has ever taken.–C.W.

29. Polo G – The Goat

Polo G is the leading figure in the new generation of Chicago drill. He’s showed off why throughout The Goat, his thrilling, affirmative sophomore album. He’s right in line with his predecessors throughout the gritty, melodic project. But he’s transcendent through his avid curiosity for the “why” on songs like, “Trials And Tribulations” and “Wishing For A Hero.” Again, the environment Polo explores here shouldn’t exist — but he’s damn good at reflecting it.–A.G.

28. Bad Bunny – YHLQMDLG

It hasn’t taken long for Bad Bunny to become an international superstar. While his ascent has been aided by collaborations with established English-language stars (Cardi B and Drake), he stuck to his roots this time around by working with Spanish-language artists. It paid off, too: YHLQMDLG debuted at No. 2 on the Billboard and was therefore the highest-charting all-Spanish album ever.–D.R.

27. Aminé – Limbo

From the opening strains of “Woodlawn Park” to the semi-social-consciousness of “Becky,” Adam Amine Daniel offers up one of the genre’s most fully-imagined and emotionally-resonant works. He’s a bar-smith of the highest order on songs like “Shimmy Ya,” where he channels the spirit of the dearly departed ODB with a wicked, Biggie-Esque lyrical bent. Then he bares his heart on “Compensating” and “Riri,” fully embracing hip-hop’s turn toward romanticism and the heartbreak endemic to it. It’s on songs like “Becky,” “Mama,” and “Fetus” that Amine offers the most trenchant reveals, as he wrassles with the anxieties inherent to being a minority in America, leaving a legacy through offspring and paying homage to the ancestors before they’re gone. Limbo sets the bar as high as it’s ever been.–A.W.

26. Perfume Genius – Set My Heart On Fire Immediately

As the album title vividly suggests, Mike Hadreas’ latest Perfume Genius album is dramatic in an in-your-face way. That is territory he has navigated successfully throughout his career, but he chases it here perhaps more strongly than he ever has. He previously told Uproxx of the title, “It’s almost like a greediness for fuller feelings.”–D.R.

25. Bartees Strange – Live Forever

The debut album from Bartees Strange is also one of the most innovative and exciting LPs of 2020. Taking cues from alternative rock, hip-hop, jazz, and everything in between, the eleven-track effort is what Steven Hyden calls “a showcase for an artist who seems equally capable of sounding like The National, Frank Ocean, James Blake, or the dozens of artists that fit in the wide-open space between those reference points.”–Z.G.

24. Soccer Mommy – Color Theory

Following the massive success of Soccer Mommy’s debut album Clean, the pressure was on for the 23-year-old to pen a compelling follow-up. Color Theory took on the challenge and then some by honing Soccer Mommy’s moody sound with layered production while using colors as lyrical and sonic inspiration. The album touches on themes of blue depression, yellow illness, and gray mourning through the lens of a 20-something still learning to find herself.–C.D.

23. Charli XCX – How I’m Feeling Now

At the onset of the pandemic, Charli XCX set out to do something unheard of — writing, recording, and producing an entire album in just two months. To make her vision into a reality, the singer leaned on social media as a crowdsourcing tool for collaboration. Fans were able to help Charli select beats, lyrics, and even single art for her music. The result, How I’m Feeling Now, offers a unique snapshot of how we were all truly feeling in quarantine, coated with Charli’s signature beat drops and mechanical samples.–C.D.

22. Yaeji – What We Drew 우리가 그려왔던

“I’ve got waking up down,” Yaeji deadpans on her frenetic lead-off single, setting the tone for how muted her 2020 mixtape, What We Drew, will be. Singing and rapping in both Korean and English over foggy house production and jittering beats, she establishes herself as one of the year’s underrated pop stars, potentially a blueprint for how restrained voices might infiltrate the genre from the inside out. Leaning more into the producer role, but never backing off fantastic vocals and a flair for the dramatic, Yaeji is only just beginning to peel back her layers.–C.W.

21. D Smoke – Black Habits

One of my early personal picks for top albums of the year, this one remained a favorite throughout a year packed with stellar releases mainly because of its dedication to an institution that doesn’t get nearly enough love in hip-hop: The Black family unit. That’s what Black Habits primarily deals with: D Smoke’s upbringing and how his family has helped shape him into the man and artist he is today. As a highly biographical work, it’s still expansive and inclusive enough to encompass a broad array of experiences, while from a technical standpoint, you’d be hard-pressed to find better lyrical displays than “Bullies” or “Like My Daddy” or “Lights On.” With this album, D Smoke proved that he’s got the scope for a career far beyond Netflix.–A.W.

20. Ariana Grande – Positions

Perhaps “Positions” felt like a curveball when it arrived out of nowhere in late October, but contextualized within the glowy, loved-up feel of the rest of the album, it’s a hell of a lead single. Horny, giggly, and still slightly terrified, Ariana is back with a whole new set of slow jams and casual bops that build on each other until her thesis becomes crystal clear on the massive final track “POV.” All relationships work best when they bolster self-love, and if she’s finally gotten there, bring on the romance.–C.W.

19. Harry Styles – Fine Line

Swooping in during the final weeks of 2019 to deliver a gut-wrenching, beautifully rendered pop classic, Harry Styles is sitting pretty on his Fine Line momentum even a whole calendar year later. Without a much-anticipated world tour, the songs from this era have still resonated all year, from the glorious smack of “Watermelon Sugar” to the shimmering title track and gentler love songs. Whenever he gets back on the road, Harry will properly flesh out his brilliant second record, building in golden moments where we haven’t even anticipated them yet.–C.W.

18. Sturgill Simpson – Cuttin’ Grass — Vol. 1 (Butcher Shoppe Sessions)

As Sturgill Simpson made clear speaking with Uproxx, his 2019 record Sound & Fury took that title to heart, with maybe an emphasis on the latter. But 2020 saw a Covid diagnosis and a canceled tour, with Simpson somewhat surprisingly sounding more at peace than ever on Cuttin’ Grass — Vol. 1 (Butcher Shoppe Sessions). The songs may not be new — they are bluegrass renditions of past favorites — but the spirit of them is something fresh, as Simpson finds a perfect marriage for his classic country croon. The resulting record was a beacon during a particularly rough year for his audience, with Simpson playing the role of steadfast captain with particular grace.–P.C.

17. Yves Tumor – Heaven To A Tortured Mind

Yves Tumor spent the past few years establishing himself as a compelling enough creative force to join the esteemed ranks of Warp Records artists. 2020 brought the experimental artist’s second album for the label, Heaven To A Tortured Mind, and it saw him present his adventurous tendencies in more accessible ways. As Uproxx’s Philip Cosores previously noted, though, “As much as this is the most accessible album in Tumor’s career, it’s by no means easy.”–D.R.

16. Flo Milli – Ho, Why Is You Here?

The dope thing about Flo Milli is that everything she raps clearly comes from a place of experience. Ho, Why Is You Here? sees the Alabama native spitting hyper bars over bouncy beats aided by catchy hooks. Her breakout single, “In The Party,” was a viral sensation in 2019 and though she didn’t have a project out at the time, the anticipation for a full-length collection of songs was high and Flo did not disappoint. Keeping the same energy that previously caught the attention of millions, Flo Milli spits rhymes that boast of confidence and braggadocio. Out the gate, between “Beef FloMix” setting the tone as the album enters into the essence of the rest of the project, Milli’s storytelling capability jumps out accompanied by affirmations of self-love. Ho, Why Is You Here? is an incredible debut from Flo Milli as a woman in rap who is fresh on the scene.–C.J.

15. Phoebe Bridgers – Punisher

After the debut album Stranger In The Alps catapulted her into the mainstream, fans were curious to see where Phoebe Bridgers would take her eloquent indie music next. Proving her knack for stirring lyricism, Bridgers’ sophomore album Punisher is a collection of contemporary ballads for those coping with heartsick nostalgia, expertly striking a balance between soulful musings and refreshingly up-tempo tunes.–C.D.

14. Lil Baby – My Turn

After taking the melodic rap formula first popularized by Future and innovated by Young Thug then putting his own, confessional spin on it, Lil Baby straight up entered the flow state on his sophomore project. When he broke out in 2018 with the Harder Than Ever and Drip Harder mixtapes, it’s fair to say that some tweaks were needed. He had a strong sense of his identity and the things he wanted to do with his flow and lyrics, but he was still solidifying all those components, requiring timely assists from the likes of Drake and Gunna to up the “wow” factor while he tinkered. But on My Turn, he’s the star of the show no matter which guest is rhyming alongside him. He spends the entire album in the zone, from vulnerable revelations like “Emotionally Scarred” to boastful declarations like “Sum 2 Prove.” He even improved on the formula with the deluxe edition, adding “The Bigger Picture” and becoming an inadvertent focal point of the summer’s uprisings against police brutality.–A.W.

13. Run The Jewels – RTJ4

There was a point during this summer where everything aligned to make it feel like the latest dystopian (or maybe post-apocalyptic) effort from El-P and Killer Mike wasn’t just paranoid fantasy or pessimistic speculation but instead the soundtrack of a movie we were all trapped in like The Final Girls. The police had killed George Floyd and Breonna Taylor, people took to the streets in droves to protest the injustice amid a deadly global pandemic, and a demagogic wannabe dictator was making nihilistic pronouncements from his golf course in Florida. RTJ4 is damn near a history book in audio form, from the defiant “A Few Words For The Firing Squad” to the capitalism burning video for “Ooh La La.” We aren’t out of the woods yet, but shout-out to the Jewels for keeping our spirits high as we fought against what felt like the end of the world.–A.W.

12. Fleet Foxes – Shore

Though the album opens with a never-before-heard vocalist, Uwade Akhere, the surprise guest only makes the return of Robin Pecknold’s signature tenor all the more sweet a song later. On “Sunblind,” the strongest song of Fleet Foxes’ storied career, he celebrates and mourns, yearns and rejoices, replete with the harmonies and meticulously constructed melodies that have carried this Seattle band from warm, bedroom folk to songwriting legacies. Shore is a gigantic step forward for Pecknold and his mates, and more proof that the best bands only get better, and more believable, with time.–C.W.

11. Roddy Ricch – Please Excuse Me For Being Antisocial

Compton native Roddy has had one hell of a year, riding the success of his single “The Box” (which spent no less than 38 weeks on the Hot 100, 11 of which were at the No. 1 position) and popping up on fan-favorite singles from the likes of DaBaby and Lil Baby (their names get stuck together a lot, don’t they?). All of that, though, was launched from the impressive late 2019 debut album that saw him go from burgeoning hometown hero to a legit superstar as he wrestled with the results of trauma (“War Baby“), bragged on his newfound success (“Boom Boom Room“), and warned haters away from making any moves that might be hazardous to their health (“Start With Me” featuring Gunna).–A.W.

10. The Weeknd – After Hours

The road to After Hours began with “Heartless” and “Blinding Lights,” which were released within days of each other in late November 2019. The latter became the biggest hit of The Weeknd’s career; it’s still hovering around the top of the Hot 100 a year after its release. The singles accurately foreshadowed the quality of their parent album, a nighttime pop journey that brings synthwave to the modern age.–D.R.

9. Chloe x Halle – Ungodly Hour

Chloe x Halle really outdid themselves with their debut album Ungodly Hour. Breaking out of their perceived innocence, “Don’t ask for permission, ask for forgiveness,” is how Chloe and Halle Bailey decided to open up their album before diving into fan-favorite “Forgive Me.” The Bailey sisters certainly needed zero permission to give fans and listeners life with their angelic trill. It’s “Do It” that instantly hits a chord of relatability, though. “I beat my face / Moving fast ’cause the Uber on the way,” Chloe pipes. “Taking pictures, make sure you can’t see no lace / That wig secure like the money in a safe / I look like bae.” Accompanied by an easy-to-do TikTok dance, “Do It” was one of the girls’ largest records this year. There’s also “Tipsy” and the title track “Ungodly Hour” that make up the essence of these two incredible musicians. Chloe and Halle bring listeners into their fold while baring their souls throughout Ungodly Hour, showing promise as they continue to enhance their unstoppable and undeniable talent, through proper artists development thanks to Beyonce’s ingenious Parkwood Entertainment.–C.J.

8. Haim – Women In Music Pt. III

With a debut that put them firmly on the indie-pop map and a sophomore album that found some of that acclaim recede, the Los Angeles Haim sisters rolled into their third album with milder expectations from both fans and critics. And maybe that’s part of the reason why Women In Music Pt. III feels so titanic, as it not only eclipses the trio’s previous highs, it shows that we never really knew their potential at all. Some of the classic rock and ’90s pop touchstones that they’ve always cited are still there, but so is a firm identity that exists beyond the scope of their influences. Haim have truly arrived.–P.C.

7. Waxahatchee – Saint Cloud

A full-180 from the alt-rock revivalism of Waxhatchee’s 2017 LP Out In The Storm, Saint Cloud evokes the lived-in, earthy Americana of Katie Crutchfield’s hero, Lucinda Williams, whose 1998 classic LP Car Wheels On A Gravel Road is an obvious thematic and sonic touchstone. Sparking acoustic guitars and soulful keyboard tones echo through every track, with Crutchfield’s high, lonesome vocals positioned squarely at the heart of an understated country-rock mix. Her best album.–S.H.

6. Mac Miller – Circles

Circles, which was completed by Jon Brion after Mac’s tragic death, showed the Pittsburgh artist scrutinizing his discontent over a soundscape that fused rap, funk, and emo. The raw despair of thematic predecessor Swimming had lessened with songs like ”Blue World” and “Complicated,” where he eerily vocalizes “Some people say they want to live forever / That’s way too long, I’ll just get through today.” Through Circles, he lives forever.–A.G.

5. Dua Lipa – Future Nostalgia

With astonishing grace, Dua Lipa makes becoming a top-tier pop star look easy. Some artists fret over a second record, whether it will be well-received, whether it will be as good as their debut, Dua simply buckles down and produces more flawless, disco-flecked pop without worrying about the details. Future Nostalgia is a classic, sleek pop record with bubbly emotion that never overflows, making her a buttoned-up star in a messy era. As if that wasn’t enough, she came floating back in the fall with a reimagined, remixed alternative record that hails the heritage of all the disco and house she called on before. She’s already learned the most important lesson — no one can properly herald the future of pop without nostalgia for the past.–C.W.

4. Lil Uzi Vert – Eternal Atake

Lil Uzi Vert had the rap world waiting on Eternal Atake for years. When he finally dropped it at the top of 2020, he delivered. The 18-track project is a quintessential exhibition of why people love Uzi, with earworm melodies over vibrant, often-quaking thumping production. Maybe there’s a universe where the genre-bending stargazer isn’t one of the most fun listens in music — but it ain’t this one.–A.G.

3. Spillage Village – Spilligion

Imagine if Bob Dylan somehow joined the Dungeon Family in their late-90s heyday, but with all of the technical advancements and foreknowledge of the trash fire 2020 would turn out to be. They might make something similar to Spilligion, the first album from Atlanta-based super crew Spillage Village since 2016’s Bears Like This Too Much. Borrowing folk tradition, marrying it to Southern Baptist gospel, and slathering the whole thing in trap rap secret sauce, 6lack, Earthgang, JID, and the gang (Benjj, Jurdan, and Mereba — you thought I wasn’t gonna shout everybody out??) untangle their complicated feelings — and, by and large, ours as well — about the gnarly happenings of the last 12 months on songs like “End Of Daze.” The answers they tease out aren’t for everybody, but the musical process they use to do so sure is.–A.W.

2. Fiona Apple – Fetch The Bolt Cutters

What makes Fetch The Bolt Cutters feel like a new high-water mark for Fiona Apple — is it possible to rank all five of her albums as tied for her best? — is how she has pared her music down to the barest essentials, while also deepening and broadening her lyrics, finding fresh nuances that eschew easy answers or reductions. This is her rawest record, but also her funniest, distinguished by sparse yet eccentrically detailed soundscapes that provide a backdrop for Apple to fully explore every aspect of her (and perhaps your) highly contradictory inner life. She’s furious and forgiving, full of love and hate, and capable of both eviscerating and soothing her subjects.–S.H.

1. Taylor Swift – Folkore

There are many reasons why Folklore deserves to be Album Of The Year, the most basic of which is that it’s a towering collection of songs by one of the generation’s most important voices, that sits comfortably among the best work she’s ever created. “The Last Great American Dynasty” proves she’s as adept at storytelling as ever, “Exile” offers up Taylor Swift as the ultimate collaborator (both vocally with Bon Iver and in the songwriting sense with Vernon and not-so-secret guest writer Joe Alwyn), and “Betty” reminds that genre walls are made to be burned down, with Swift still able to find as much success in the country world as she does on the Hot 100.

But Folklore also represents something particular about this year. Conceived entirely in quarantine, Swift was experiencing something that many were, with more time to create, learn, and grow. But she didn’t just get really into banana bread like the rest of us, she reached out to some of her favorite musicians and found the acceptance and grace to get firmly out of her comfort zone in unprecedented circumstances, creating something that couldn’t happen in any other time. Folklore isn’t a concession that her more overt pop gestures were somehow flawed, it’s just further example of Swift’s range, as she sounds as much at home working with Aaron Dessner of The National as she has in the past with Max Martin. But the lasting effect, how for a moment in the summer all the pain and anguish and anxiety of the world dissipated briefly and music fans took to social media to share in this glorious surprise — it can’t really be measured how much this album meant, and how it altered the cultural landscape. When we look back at this year’s 50 best albums, and the many more that aren’t on the list, that’s probably what matters most — how they helped us all survive.–P.C.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

While this year’s Macy’s Thanksgiving Day Parade was anything but normal, it did contain a special moment for Dwayne “The Rock” Johnson, who got to watch his younger, fanny pack-wearing self get turned into a massive parade balloon. After seeing his balloon form, The Rock got nostalgic for his early days when he had very little money in that pack, but a head full of dreams.

“I’ve been a lucky SOB to have done some pretty cool shit in my career, but after seeing my @nbcyoungrock FANNY PACK FLOAT in the #MacysThanksgivingParade, this might take the cake,” The Rock wrote on Instagram. “This time in my life may represent when I had just $7 bucks in my fanny pack, but at least I had enough COOL to tuck my turtleneck in and wear fake silver jewelry because it was all I could afford. And my massive plucked raised eyebrow is the stuff that dreams (and nightmares) are made of.”

You can see The Rock’s full Instagram post below:

As The Rock mentioned, the balloon was commissioned to promote his upcoming series Young Rock, which focuses on his formative years as he works his way towards dominating both the ring and the big screen. Here’s the official synopsis:

“Young Rock” is a single-camera comedy that tells the story of the wrestling star, Dwayne ‘The Rock’ Johnson and actor’s colorful early years. From growing up in a strong and resilient family, to being surrounded by the wild characters of his professional wrestling family, to playing football at the University of Miami, the show will explore the crazy roller coaster that has shaped Dwayne into the man he is today and the larger-than-life characters he’s met along the way.

Young Rock premieres on NBC in 2021.

(Via The Rock on Instagram)