Every year, around the time that windows are perpetually flung open and fantasies of being back beneath the sun are of paramount importance, social media is flooded with independent artists assigning their immature lyricism the title: “Song of the Summer.” Junior Elliot Holland says, “I feel like it is a marketing technique or a way to go viral; there is no real way to measure that.” In conjunction with this, sophomore Lucy Shepherd says, “There is not one song of the summer. Everyone has their own thing.” Despite this view, I was certain there would be some semblance of commonality between IHS students and new releases that were soundtracking their drives to and fro various ice cream establishments. This theory of mine was debunked when senior Grace Christopherson stated her anticipated listens: “Dominic Fike’s ‘Sunburn’ came out at the beginning of the summer. That one I was really excited about. Travis Scott’s ‘Utopia,’ and then ‘Speak Now’ as well,” and freshman Lincoln Barnard enumerated his: “Blink 182 and The Killers.” I went in thinking that I would hear about summer playlists consisting of grand, well-known albums with million-dollar production values, but instead got a queue of new songs to listen to, insight into the versatility of IHS’ music taste, and assured that the ‘Song of the summer’ does not exist.
Despite students like Barnard turning to more vintage tunes, summer 2023 did produce chart-topping hits. Billboard depicts a “Songs of the Summer” chart, with Morgan Wallen’s “Last Night” dominating at number one for 14 weeks. An article by Billboard notes this as monumental, as the country genre “tops the season-ending tally for the first time since 1974 – while, with Luke Combs’ ‘Fast Car’ at number two, country hits claim the top two spots for the first time.” Miley Cyrus’ ‘Flowers’ and Taylor Swift’s iconic ‘Cruel Summer’ are also featured in the top 10, as well as two songs from SZA.
Morgan Wallen and his Tennessean charm may have the rest of the world under a whiskey – induced spell, but I have escaped his realm of “Dangerous” actions, and I have “Had It” with the artist’s uninspired lyricism and guttural sound. Here are the albums released between June gloom and moment-in-time August that I believe deserve to top that chart.
Barbie The Album
The highly anticipated film from Greta Gerwig that began a phenomenon of plastic-fever and pink resulted in a gorgeous album of the same regard. According to Rolling Stone, “The album doesn’t take itself seriously, and it’s better for it.” This album made an impression; Christopherson agreed, “The Dua Lipa song from ‘Barbie’ was a pretty big contender for song of the summer.” The 17 tracks impeccably encapsulated the rollercoaster of tone that “Barbie” accomplished. A variety of Kens and Barbies contributed to the film: Lizzo catalyzed the film with “Pink.” Ryan Gosling earned his first musical credit since “La La Land,” in “I’m Just Ken,” and Charli XCX became responsible for traffic violations across the globe with her addictive track “Speed Drive.”
Speak Now (Taylor’s Version)
Latest on the roster of albums Swift has re-claimed, Speak Now (Taylor’s Version) is full of early 2000s influences, controversial lyric change, and nostalgia. Pitchfork describes the duality: “Swift was much younger when she wrote the crux of the original album, which means this new version may carry some of the wisdom that comes with being a 33-year-old,” which is hard hitting in introspective tracks like “Never Grow Up.” Five new tracks are reminiscent of the 2010 era but have additional expertise from Swift’s longtime collaborators Jack Antonoff and Aaron Dessner, making the album a holistic chapter in the revolution that is (Taylor’s Version).
Unreal Unearth
Andrew Hozier Byrne departed from his woodland residence to release Unreal Unearth, the artist’s first concept album, comparing a breakup to none other than Dante’s Inferno, a literary work detailing a journey through the nine circles of hell. Despite this seemingly weighty metaphor, the third installment in Hozier’s folklore is everything from danceable with “Eat Your Young,” and “First Time” to ironic and prophetic in “Damage Gets Done.”
Stick Season (We’ll All Be Here Forever)
Noah Kahan released the deluxe version of his poignant folk album about worms and dogs, an additional seven tracks set to make their way into therapist office conversations nationwide. Kahan continued to grow his platform, ensnaring Subaru-driving, hiking enthusiasts everywhere (everything). The newest additions to his Vermont-centric universe are heartbreaking and lovely, addressing his hometown dissonance with newfound confidence in sound and production.
The “Song of the summer” may be an illusion and a marketing scheme, but before Bon Iver overtakes playlists and autumn leaves start falling like pieces into place, revisit your summer through the lenses of these prolific artists, or recommendations from IHS’ own.
