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That would help sell the tranquil fury aspect. But that doesn’t really translate well to pop music.įunnily enough, I think I’d actually like this more if she showed even less passion. Tranquil fury is a thing, and I know from experience that depression can sap all emotions from you, even sadness and anger. She completely sells the fury and sadness.īillie just sounds like she doesn’t care. It’s a similarly angry breakup song, but Adele puts a ton of passion into every single word she sings. Compare this with Adele’s Someone Like You, in my opinion the greatest piano ballad of all. It’s just a piano ballad with one really weird hiccup in the middle (CALL ME BACK). It’s not like the music itself gives me anything to work with. I’ve been able to capture feelings I haven’t felt out of other songs, why can’t I do it with this one? Is there something I’m missing, or does the emperor really not have any clothes?įrom the lyrics it looks like a breakup song? Maybe it’s because I’ve never been in a breakup, or any romantic relationship at all (since I’m aromantic) but it doesn’t really seem that intense. It’s like staring at a completely blank canvas to me. This song just gives me no emotions or feelings whatsoever. People say this is one of the most moving and emotional songs of the year, but I just feel nothing when listening to it. But for the life of me I just cannot understand why.īILLIE EILISH – WHEN THE PARTY’S OVER (YE: #67) Everyone I know seems to love this song and this artist. Those are two very, very, verydifferent things! I can’t stress this enough, WHAT THE FUCK WERE YOU THINKING?ĬHRIS BROWN FT. The result of this odd hybrid is that we get a song with two completely different tones, one self-defensive and the other ‘woke’, but more importantly (and worse) is that, either intentionally or unintentionally, she’s comparing people on Twitter calling her names to the institutionalised and often fatal oppression LGBTQIA+ people face on a daily basis. It’s entirely another thing to make your first verse all about that, and then make the second verse about gay rights! Taylor is no stranger to that, with Shake It Off and the aforementioned LWYMMD. And now she’s done a 180 and tried to crawl back to 1989.īut it would be one thing to make a song attacking your ‘haters’. Then there was the Famous by Kanye West debacle which led to the nuclear meltdown of Reputation and Look What You Made Me Do. Then she became a pop star and that came with allegations of selling out. Then there was the infamous “Imma let you finish”.
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Her early career was slammed with criticism of repeating the same song themes over and over again, namely songs about boyfriends. I feel like I ought to just link Buckley’s video here, since what I’m going to say is essentially just a rehash of what he says.ĭoes Taylor Swift get too much shit? Yes. SHAWN MENDES & CAMILA CABELLO – SEÑORITA (US YEAR END POSITION: #15) Not to say there’s good stuff, in fact I’d argue the good outweighs the bad, and overall this year was actually pretty good! So good, in fact, that I’m only putting nine songs on this list!īut while there’s less than the normal amount of trash, it’s still just as stinky. We probably won’t know what it is until 2025 at the earliest, but Gen Z artists like Lil Nas X, Billie Eilish, and Arizona Zervas seem on the vanguard of…again, something.īut the risk of being “okay, boomer”-ed myself, my generation can produce and propel some duds. I might be naive for thinking this but I really do feel like we are on the cusp of something at least. And apparently babies, judging by the success of Baby Shark. 2019 feels like the start of a new era in pop music, one where late millennials and Gen Z dictate the charts. The rise of what I call “TikTok-core” and the “okay, boomer” attitude towards the record industry came to the forefront.
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2019 was a pretty eclectic year when it came to the pop charts.