Eichy’s Playlist of Empowering Songs
For when you just want to put on some music that will help you take back your power…
With the latest election season upon us, it’s very easy for anyone to feel helpless or dejected. But it isn’t just politics that can create severe depression in one’s life. Daily challenges face us all year round.
So I’m going to take a moment to provide you with a musical playlist of 99 empowering songs that could help to energize you.
Whenever you feel worn down by all of the bad actors and toxic souls who are constantly pummeling our civic discourse…put on several of these tunes to help you take back your power.
In some cases, the lyrics are extremely relevant to our socio-political realities. Or, even if a song’s message isn’t blatantly political — its rhythm, by itself, could be enough to uplift you into a proactive mindset where you’re ready to make a difference.
I’m also going to leave this article unmetered, so it’s viewable to anyone without hitting Medium’s paywall. That means I won’t be making any money off of this piece. It’s purely a way for me to share the work of these artists and to help promote them, with zero financial gain for myself.
They are listed, chronologically, according to their original release dates.
The late-Civil Rights era and Final Decades of The Cold War
“For What It’s Worth” by Buffalo Springfield
Released December 1966: with roots in the antiwar movement, this medley would put any activist in the mental state to march and demonstrate. I first heard it 38 years after its original release, when I woke up drunk and naked in the basement of several male college classmates who’d hosted a house party the night before.
“Tracy” by The Cuff Links
Released October 1969: although this upbeat number is clearly a love song, check out the 1998 episode of Ally McBeal in which Dr. Tracey Clark (played by Tracey Ullman) uses it as an example of her own personal “theme song” — while encouraging her newest patient, Ally (Calista Flockhart), to pick her own “theme song.”
“Baba O’Reilly” by The Who
Released October 1971: originally conceived as a British rock opera that bids protagonists bon voyage as they depart for a pilgrimage, I find that its resonant cords plunge me in the perfect mood to speak truth to power.
“More Than a Feeling” by Boston
Released September 1976: another love song, this one can be channeled to overcome displeasure and yearning in one’s life. I first heard it in the February 2016 episode of The Walking Dead entitled “The Next World.”
“Lido Shuffle” by Boz Scaggs
Released February 1977: a combination of rock, pop, and blues, this piano-originated tune reminds me of something a pep band would play to encourage the home team at an athletic meet. It makes you want to conquer your worst enemy with a gleeful smile on your face.
“Solsbury Hill” by Peter Gabriel
Released March 1977: following his departure from the British band Genesis, Peter Gabriel composed this one to convey inner struggle. To me, it gives off a hopeful vibe of reinvigoration…almost a more upbeat cousin to the TV soundtrack of Hill Street Blues.
“Dreaming” by Blondie
Released September 1979: one of Blondie’s most iconic releases, “Dreaming” conveys how one’s initial daydreams for greatness can manifest into actual greatness. I first heard it 13–15 years later, during my middle school days.
“Bad Reputation” by Joan Jett
Released May 1980: my fellow Millennials remember this as the theme song to NBC’s 1999–00 teen angst dramedy Freaks and Geeks. But, as a contemporary favorite of teenaged Xers, this has become Joan Jett’s trademark hard rock ballad, encouraging audiences to embrace their rebellious sides.
“Hit Me With Your Best Shot” by Pat Benatar
Released September 1980: arguably Pat Benatar’s most famous anthem, “Hit Me With Your Best Shot” practically dares one’s enemy to come at them with everything but the kitchen sink. It emanates the veracity of one’s convictions and purpose.
“9 to 5” by Dolly Parton
Released November 1980: a timeless American classic, Dolly Parton’s megahit served as the lead-in for the comedy feature film in which she costarred alongside of Lily Tomlin and Jane Fonda. Originally a lyrical commentary on patriarchy and corporatism, “9 to 5” can be repurposed for anyone who recognizes the ways in which they’re being taken for granted.
“Don’t Stop Believin’” by Journey
Released October 1981: although Millennials and Zoomers first discovered this when it was featured as a regular cover on Fox’s 2009–15 musical dramedy Glee, Journey’s internationally-renowned single gave people hope and aspiration as the first year of the Reagan era commenced.
“Give It Up” by K.C. and the Sunshine Band
Released August 1982: along with “Boogie Shoes,” this is one of my favorite pop culture jams. Leaving behind an immeasurable legacy, Harry Wayne Casey perfectly summarizes giving your heroes their due accolades. I interpret it as drawing strength from those who inspire you…and then sharing their virtues with the rest of the world.
“Karma Chameleon” by Culture Club
Released September 1983: Boy George’s memorable melody made a splash from across the pond with a music video set in a racially-inclusive alternate universe. As I wrote about in my semi-recent view of it, “Karma Chameleon” dares us to reimagine the world as it could be — rather than the world as it is.
“Break My Stride” by Matthew Wilder
Released October 1983: the bouncy reggae-inspired new wave hit is a great reminder to continue persevering even as rivals attempt to demean and belittle you. I first heard it in a 1995 National Car Rental commercial.
“Jump” by Van Halen
Released December 1983: although I first heard it as a bridge to future episodic previews during first-run episodes of Melrose Place in the late-90s, this Eddie Van Halen classic is simple in its catharsis, yet groundbreaking in boosting the subgenre of “glam metal.”
“The Warrior” by Patty Smyth
Released August 1984: while not as emotional as “Goodbye to You,” Patty Smyth’s self-explanatory single elevates the existential identity of anyone who is fighting for a cause greater than themselves.
“Tarzan Boy” by Baltimora
Released April 1985: my bro Jason accidentally introduced me to this one when he featured it on his MySpace page back in the mid-aughts. The electric melody of Maurizio Bassi’s composition invokes the visual of a loincloth-clad young stud kicking ass and taking names while standing up for justice.
“Never Surrender” by Corey Hart
Released June 1985: one of my favorite workout songs, Corey Hart’s “Never Surrender” is somehow heartbreaking and reassuring at the same time. He wrote it as an anthem to inspire others with his mother’s mantra of “never quitting on yourself or your dreams, no matter how challenging or daunting.”
“St. Elmo’s Fire” by Man in Motion
Released June 1985: this fast-moving British import by John Parr was recorded for the eponymous “Brat Pack” feature film, but it soon became a standalone sensation. It just radiates the aura of someone with boundless energy running a nonstop marathon, even as their body aches and writhes in a rush of agony.
“Walking on Sunshine” by Katrina and the Waves
Released August 1985: forever conjoined with the recorded vocals of Katrina Leskanich, the optimistic British rock hit can be played whether you’re pushing through your day amidst a burst of motivation…or sitting on the couch eating from a bowl of sugary breakfast cereal.
“Walk of Life” by Dire Straights
Released October 1985: I first heard this song while my family was driving through the night-lit outskirts of Austin, Texas leading up to Christmas 1996 when we traveled to spend the holidays with my aunt and uncle. It made me imagine something that could be playing in the background as the hypothetical protagonist of a nighttime soap subdues (and beats the crap out of) a home invader.
“These Dreams” by Heart
Released January 1986: with Nancy Wilson on lead vocals, this song channels grief and desire…but its tempo also spackles the listener with a veneer of courage to survive hard times. Stevie Nicks initially passed on covering this power ballad.
“Hold On” by Rosanne Cash
Released February 1986: as a fan of many of Rosanne Cash’s singles, her country track “Hold On” is perhaps her cover that most succeeds at recognizing the audience’s pain while offering them comfort and solidarity from the artist herself.
“Wild Wild West” by Escape Club
Released November 1988: another Brit sensation that was intended as a subversive love song, “Wild Wild West” blends hip-hop percussion with an anaerobic medley. The Wild West motif implicitly hosting its vibes could be seen as a loose allusion to the rat race in which any hero or heroine finds themselves immersed.
“Stand” by R.E.M.
Released January 1989: the irony of this alt-rock gem is that bandmates Michael Stipe and Peter Buck originally wrote it as an exercise in cobbling together the most inane and stupid lyrics they could think of. But, somehow, it morphed into a Gen X anthem representing the process of mindful decision-making.
“High Enough” by Damn Yankees
Released September 1990: furthering the mark of “glam metal” on pop culture, writer Jack Blades intended for his song to invoke the bravery one can find within themselves when trying to declare love for another person. Beyond romance, one could apply this concept to lifting oneself above all obstacles that seemingly stand in their way.
“Learning to Fly” by Tom Petty
Released June 1991: in its past couple of seasons, CBS’s Young Sheldon has used this classic for its pre-season promos. But the Tom Petty heartland/jangle rock score narrates the process of honing a new skill…like a baby bird preparing to spread its wings in the name of aerodynamics.
“Just Another Day” by Jon Secada
Released March 1992: emblematic of the early-1990s, this Top Thirty hit brilliantly mashed together echoes of a church choir, a Latin discotech, and a funky boom box. It conveys the sentiments of a narrator unwilling to let go of the one they love, yearning to hold onto them. When you meditate on its message, “Just Another Day” tells audiences to think long and hard before deciding to cut loose someone for whom they have deep affection.
“No One Else on Earth” by Wynonna Judd
Released August 1992: although this was a radio mainstay during my Fifth Grade year, the memory it most vividly invokes was Wynonna Judd performing it during the January 30, 1994 Super Bowl (XXVIII) Halftime Show. It’s a testament to how powerfully one single individual can have an impact on someone else’s life to propel their faith and passion.
“How Do You Talk to an Angel” by The Heights
Released September 1992: one month after “No One Else on Earth” hit the charts, Jamie Walters shattered the Billboard Hot 100 with a pop rock ballad expressing the complexity of communicating with someone whom you revere. It served as the theme song for the Fox young adult musical drama bearing the same name as its cover band; while intended to be a love song, “How Do You Talk to an Angel” could be repurposed as social commentary on tough discussions that need to be hashed out between political kindreds.
“Moving on Up” by M People
Released September 1993: no, it isn’t the theme from The Jeffersons. This version of “Moving on Up” was more of a dance floor beat intended to pulsate with the listener’s tenacity and spunk. Its message is simple yet straightforward: you’re not going to stand in my way, any longer, of achieving power and self-actualization. I first heard it in the background of an October 1994 episode of Melrose Place (although two years after the episode had originally aired).
“Baby, I Love Your Way” by Big Mountain
Released February 1994: although it found success as an easy rock tune, Big Mountain’s reggae/pop remix of the original 1974 Peter Frampton song became a Top Ten juggernaut across many continents. Its intent is clearly to showcase the meaning in life one finds when they enjoy the company of someone. While most would interpret that in the context of romance, it can be extended to apply to platonic friendships or political allyship. Melrose Place also used this one as the intro soundtrack for its Season 2 finale in May of 1994.
“In the House of Stone & Light” by Martin Page
Released July 1994: the wildly-successful debut single by Martin Page debuted (unintentionally) amidst the summer of O.J. Simpson’s arrest. It pulls from Sanskrit and Havasupai influences alike, expressing the desires of a traveler’s enduring soul while seeking clarity and justice.
“Send Me on My Way” by Rusted Root
Released August 1994: peppered with shades of blues and folk music, “Send Me on My Way” offers a narrative medley designed to bestow guidance upon one’s companion amidst the rigors of life. Lead singer Michael Glabicki gives us an enticing glimpse of how hippies might have evolved their thinking if transplanted three decades forward in time.
Post-O.J., Pre-911, and the Leadup to “The Great Recession”
“Return of the Mack” by Mark Morrison
Released March 1996: I first heard this one during the cold open of an episode of Fox’s cop drama New York Undercover. This R&B tune is about making a comeback after facing betrayal.
“Flying Horses” by Dispatch
Released August 1996: emanating indie/folk vibes of the mid-90s, Dispatch originally recorded this ballad as a romantic tribute. However, the metaphor of “flying horses” can be wielded as a tool for finding joy and creating a sense of magic in one’s life…even if love doesn’t quite work out, the first time around.
“Nothing on Me” by Shawn Colvin
Released October 1996: perhaps best remembered as the opening theme song for Seasons 2 and 3 of the NBC sitcom Suddenly Susan, Shawn Colvin’s “Nothing on Me” declares independence and strength in the face of heartbreak. Colvin immaculately propels the overwhelmed protagonist to a tier of self-sufficient euphoria whenever others are trying to bring them down.
“Truly Madly Deeply” by Savage Garden
Released March 1997: during the second half of my freshman year (and the summer between my Ninth and Tenth Grade years), “Truly Madly Deeply” played constantly on the radio. It transcended Savage Garden beyond a “bubblegum pop” stereotype, expressing how synergy and passion can bind two souls even through the toughest of times.
“Bitch” by Meredith Brooks
Released March 1997: three weeks after “Madly Truly Deeply” dropped, Meredith Brooks followed it up with her feminist empowerment smash hit “Bitch.” She takes the moniker of “bitch” as a form of demonization…and reclaims it as an opportunity to take charge of one’s identity and define oneself for the rest of the world. Brooks shows how anyone — including men — can embrace their inner “bitch.”
“Thubthumping” by Chumbawumba
Released August 1997: another lively British import, “Thubthumping” epitomizes the essence of perseverance. Chumbawumba intersperses casual joy with confident reminders of how enduring the human spirit is. Here, the alt-rock band infuses merriment into a revolutionary message.
“Save Tonight” by Eagle Eye Cherry
Released October 1997: as the world reeled from Princess Diana’s tragic death, Eagle Eye Cherry provided an uplifting chorus that radiated hope following great loss. The Swedish alt-rock group masters guitar acoustics to let the listener know that the world is behind them when conquering fears and heartache.
“Believe” by Cher
Released October 1998: easily one of the most famous songs as we approached the turn-of-the-century, Cher’s “Believe” skyrocketed to the top of the charts and remained there for months. Often used as a dance floor and electropop staple, this song has one simple message: believe in yourself while reminding yourself of your greater purpose. It helped me through a particularly dark time during my junior year of high school.
“All Star” by Smash Mouth
Released May 1999: released right before the summer in which I was inches away from an early high school graduation, Smash Mouth added this megahit to our musical zeitgeist. It motivates any person to find powerful ways in which they can rise to superstar status within the context of their own lives…without letting it go to their head.
“Better Off Without You” by The Clarks
Released June 2000: I didn’t hear this one until two years after it was first released, when it was used as the outro for the first season of Anna Nicole Smith’s short-lived reality show. But The Clarks take this rock jam and encourage listeners to dump any dead weight taking up space in one’s life.
“Teenage Dirtbag” by Wheatus
Released June 2000: perhaps the Millennial version of Joan Jett’s “Bad Reputation,” Wheatus came out with this melody on the exact same day as the release of “Better Off Without You.” Lead vocalist Brendan B. Brown spins the outcast status of America’s youth (in the eyes of elders) into a positive, through a combination of storytelling and rebellious affirmation.
“I’m a Survivor” by Reba McEntire
Released July 2001: timed to lead up to the October 2001 debut of Reba McEntire’s titular WB sitcom, “I’m a Survivor” redefined country music by infusing it with bits of electric rock. McEntire tells the story of a woman who was born prematurely as a baby and then went on to struggle with a hard life of her own as an adult. It sends the message that self-esteem and strong social support are the keys to surviving life’s rigors.
“Kick Some Ass” by Stroke 9
Released August 2001: I first heard “Kick Some Ass” more than four years after its original release, when one of my classmates played it for us as part of a presentation in our Communication & Journalism course. It delivers a one-two punch, energizing us so that we can proceed to conquer the obstacles we face in each day ahead of us.
“Don’t Let Me Get Me” by Pink
Released February 2002: released in the middle of my sophomore year of college, Pink’s massive hit is a pop/rock tour-de-force that schools us on how to beautifully tell off the naysayers and toxic people in one’s life. She sings about overcoming rigid and unrealistic expectations imposed upon us by society, so we’ll avoid internalizing those biases.
“Unwell” by Matchbox Twenty
Released February 2003: an alt-rock sensation with a little twinge of country music blended in, “Unwell” lead vocalist/songwriter Rob Thomas intended for it to be a social commentary on humanity as a whole. He invites people to embrace the notion that everyone wrestles with psychological demons, and that mental health struggles are nothing of which we should be ashamed.
“True to Myself” by Ziggy Marley
Released April 2003: I first heard “True to Myself” on Lost supporting actor Dustin Watchman’s MySpace page, three years after its release. It quickly became my own go-to “personal theme song” (thank you, Dr. Tracey!), as a perpetual reminder of how one must not compromise their principles and values — no matter how tempting it might be, at times.
“Where is the Love?” by The Black Eyed Peas
Released May 2003: this hip-hop number was an attempt to prompt music-lovers to consider why compassion and appreciation always seems to be in such short supply. It reminds us to give credit to those around us who are trying to do good in the world.
“Eighth World Wonder” by Kimberley Locke
Released January 2004: fresh off her third-place finish in Season 2 of American Idol, Kimberley Locke bestowed this absolutely magical gem upon the music world. I didn’t discover it until two summers later, but I have fond memories of listening to it on the radio as I worked at the front desk of UWEC’s Putnam Hall throughout June and July of 2005.
“Extraordinary” by Liz Phair
Released March 2004: the first time I heard Liz Phair’s “Extraordinary” was actually ten months prior to its official release, while watching the Season 5 finale of Charmed. Somehow, The WB had secured the rights to air a “sneak preview” of Phair’s future release as the intro soundtrack for the episode “Oh My Goddess!” It perfectly served as a musical allegory for how each one of us can find that “supernatural phenom” within ourselves.
“Float On” by Modest Mouse
Released March 2004: one week after the full-length release of “Extraordinary,” Modest Mouse came out with a slightly slower instrumental cacophony from the indie/alt-rock world. “Float On” tempers just the right amount of exuberance and positivity to encourage music fans to reject the temptation of giving up. The road might get rocky, but you can touch others around you by gliding forward with a smile on your face.
“Breakaway” by Kelly Clarkson
Released July 2004: over the years, Kelly Clarkson has treated us to some amazing songs; but “Breakaway” remains one of my favorites of hers, as you can tell that Clarkson’s appeal for liberation and self-sufficiency truly comes from her gut.
“Nothin’ to Lose” by Josh Gracin
Released August 2004: despite the American Idol alum’s right-wing political leanings, Gracin breached the Billboard Top Forty with this fast-paced country single. As the narrator, he expresses frustration with being manipulated…whether it’s sexual, psychological, or emotional in nature. His lyrics are commenting on what drives starry-eyed people to do desperate things; drawing from his own experience, he encourages us to take a beat before going too far off the rails.
“Catch My Disease” by Ben Lee
Released January 2005: Australian vocalist Ben Lee brandished this indie-pop jingle with upbeat finesse as George W. Bush’s second U.S. presidential term began. In the context of Lee’s lyrics, the metaphorical “disease” he is promoting (for everybody to “catch”) would be excitement, gluttony, and leisurely satisfaction.
“Girl Next Door” by Saving Jane
Released August 2005: my Spring 2006 college roommate, Kris, would always be playing this one on his iPod. Serenaded by Marti Dodson’s throaty vocals, it tells the story of a woman grappling with jealousy toward a female rival within her social sphere. She soon realizes how such envy is unhealthy as it does a number on her psyche and wellness.
“Lay Down” by O.A.R.
Released October 2005: my college fraternity loved the discography of O.A.R., as the band was extremely popular throughout the aughts amongst GenXers, “Xennials,” and Millennials. This standout entry of theirs emphasizes how we all need a break from the stressors of our lived realities — and, sometimes, the best self-care is just to relax with someone whom you care about, regrouping to evaluate what’s really important in life.
“Shine On” by Needtobreathe
Released April 2006: I first heard this song during an episode of Oprah’s Big Give, almost two years after its original release. With an uplifting rock tune, it preaches the gospel of not letting other people sabotage or hijack your identity as they attempt to fulfill their own shallow whims.
“Waiting on the World to Change” by John Mayer
Released July 2006: John Mayer’s classic world unity anthem is cemented in my mind from my days working as a New Student Orientation Leader (Summer 2007) at CSUN, a full year after it was released. A mashup of pop, jazz, blues, soul, and soft rock — Mayer’s call for global progress resonates as our planet deals with terrorism, poverty, warfare, and corruption.
“Angry People” by Barenaked Ladies
Released September 2006: my buddy Ryan (“Muldo”) introduced this to me when I first heard it on his MySpace page. Barenaked Ladies are known for a lot of wild and vivacious lyrics; but “Angry People” reflects on how easy it is for any of us to let vindictive personalities belonging to our enemies get the better of us. By reminding ourselves of how unhappy and pathetic those folks are, we can avoid being pulled down their rabbit-holes.
“Streetcorner Symphony” by Rob Thomas
Released October 2006: this dynamic musical composition by Rob Thomas preaches camaraderie and creativity. By showing visibility and cross-racial unity, his words highlight the importance of humans helping one another through the hardest of times.
“Push it to the Limit” by Corbin Bleu
Released November 2006: as part of a promotional campaign to draw teen viewers to the January 2007 release of The Disney Channel movie Jump In! (starring Bleu), this frolicking musical score invokes the experience of being at a high school pep rally with a marching band providing a background chorus to student athletes. It underscores the importance of follow-through if one hopes to achieve a desired victory.
“Big Girls Don’t Cry” by Fergie
Released May 2007: I first heard this song five months after its initial release, when I was visiting my old fraternity chapter for UWEC Homecoming; one of the undergrads named Kabir was playing it loudly from inside his bedroom at the frat house. Fergie sings about the necessity of letting go — especially when people hold onto unhealthy attachments that prevent them from charting a new course in their lives.
“21 Guns” by Green Day
Released July 2009: over the years, Green Day has put out tons of incredible songs. But the beauty of “21 Guns” lies in its unabashed spotlighting of antiwar sentiments as a legitimate form of patriotism. It forces listeners to reexamine their morality while considering how collaboration might often be a viable alternative to aggression.
“Dynamite” by Taio Cruz
Released May 2010: I initially heard this one at the gym, when someone was playing it on their iPod in the lobby of Northridge’s L.A. Fitness. A blend of electropop and R&B, Taio Cruz designs this dance floor carol as a celebration of spontaneity and excess energy. It contains allusions to friendship, endurance, self-agency, and personal liberation.
“Marching On” by One Republic
Released June 2010: One Republic is known for its jaunty and buoyant tunes fused with uplifting lyrics. “Marching On” perhaps best exemplifies this durable spirit. Like a drum major leading a marching band procession across prickly terrain, its narration speaks to overcoming loneliness and subsisting on the magnitude of one’s desires.
“Magic” by B.o.B.
Released July 2010: this hip-hop beat wasn’t everybody’s cup of tea, but it really resonated with me. Here, Bobby Ray Simmons Jr. goes beyond merely examining one’s potential; he explores how genuine skill and talent can lead to great things happening. Simmons solicits a participatory vibe from the proverbial peanut gallery that can be visualized as watching him groove with glee.
The Rise of the Tea Party and early-MAGA
“Save The World” by Swedish Home Mafia
Released May 2011: four months after the nonfatal shooting of Arizona congresswoman Gabby Giffords, and as the world grappled with the Fukushima Daiichi nuclear meltdown, this posse of Swedish songwriters/DJs gave our battered planet a new spark. Their lyrics challenge listeners to step into a role of heroism that could transform us into a much better state of being.
“Hold On ‘Till The Night” by Greyson Chance
Released August 2011: first made famous by YouTube and Ellen DeGeneres, teenaged music prodigy Greyson Chance belted out a powerful testimonial about faith, stamina, and courage. His message is passionate yet innocent: keep going, keep fighting, and stay focused on your greater purpose even when you stumble.
“International Love” by Pitbull
Released November 2011: in this magnificent musical feat, Armando Christian Pérez effervesces Latin electropop mixed with a hard-core dance floor rhythm. His intention is clear: set off a chain reaction of global kindship. He emphasizes the power of making one’s impact felt even over long distances.
“The Fighter” by Gym Class Heroes
Released November 2011: featuring a cameo from U.S. gymnast John Orozco, this burst of melodious mania offers a teachable moment from lead vocalist Travie McCoy. His mantra rallies phenoms in any field to refrain from giving their critics the satisfaction of watching them fail. Instead, he underscores the importance of proving people wrong when they underestimate you.
“Titanium” by David Guetta & Sia
Released December 2011: French songwriter/DJ/producer David Guetta recruits Australian electronica icon Sia to headline this excellent anthem about strength in the face of adversity. Throughout the onslaught of energetic sound, Sia sings about a proverbial metallic shell that can inoculate its wearer from the incoming projectiles that life hurls at them.
“Little Talks” by Of Monsters and Men
Released December 2011: two weeks after “Titanium” dropped, the Icelandic indie-rock/pop/folk band Of Monsters and Men tantalized the world with this composition of enchanting melancholy. “Little Talks,” as their debut single, is a pure piece of choral artwork. Amongst the song’s lessons are the importance of getting well-rested for life’s battles while resisting self-doubt caused by naysayers.
“Drive By” by Train
Released January 2012: across the late-aughts and early-2010s, Train produced a smorgasbord of heart-pounding and blood-pumping singles. But “Drive By” remains the gold standard of their discography. Pat Monahan skillfully croons an “accelerated lullabye” about staying true to one’s commitments. Train pleads with music lovers of the world to push one another through bouts of fear so no one has to face difficult situations alone.
“Starships” by Nikki Minaj
Released February 2012: I first heard this song played during an episode of 2 Broke Girls. Although she left a lot to be desired as an American Idol judge, Nikki Minaj takes a cluster of overly-repetitive verses and somehow transforms them into an exquisite chorus. Not only is “Starships” a nifty dance floor melody…but the “starship” to which the song refers seems to be a metaphor for one’s ambition wafting through the air. Don’t let that ambition fall by the wayside — or you could lose out on a once-in-a-lifetime opportunity.
“Hall of Fame” by The Script
Released August 2012: on the heels of rhythmic treasures such as “The Man Who Cannot Be Moved,” “Breakeven,” and “For the First Time,” The Script struck a gold volcano with “Hall of Fame.” In it, Danny O’Donoghue broadcasts a universal truth: everyday folks can become superstars. It just takes a high quality of dedication and time commitment to scale those heights of success.
“Troublemaker” by Olly Murs
Released October 2012: the most successful single by Olly Murs to date, this song embodies the soul of the phrase “Good Trouble.” With a vibrant refrain, Murs drives home the premise that so-called “troublemakers” are actually beneficial for society. He weighs the tradeoffs of sacrifice from those who take a stand with the public service they are performing to raise awareness of subjects that might otherwise fall by the wayside.
“Pompeii” by Bastille
Released January 2013: Ancient Rome is the setting for this melody of historical fiction, which apparently follows a conversation between two Italian casualties of the Mount Vesuvius eruption who converse during the afterlife while petrified in hardened volcanic lava. It sends the message that chaos and terror may be ever-present in our lives…but we can always find ways to meditate as a temporary escape from such devastation.
“Wake Me Up” by Avicii
Released June 2013: another import from Sweden, Tim Bergling sings a chilling testimonial to how intelligence and maturity are necessary in order for someone to effectively deal with trauma. With a medley of folk, country, techno, and electronica, Avicii penetrates the eardrum to make a case that those who are the most innocent, naive, and powerless amongst us shouldn’t have to deal with travails of such enormous magnitude.
“Classic” by MKTO
Released June 2013: longtime buddies Malcolm David Kelley (best remembered as Waaaaaallllt!!! on Lost) and Tony Oller embody Millennial flair with a black-tie spin on courtship. Although the heterosexist “chivalry” implied within this song is sorely dated, the musical bursts heard in “Classic” more than make up for that antiquity. Tweak the lyrics a little bit, and the song’s narrators could just as easily be singing to platonic friends of theirs.
“Roar” by Katy Perry
Released August 2013: there’s no doubt that Katy Perry has blessed the music world with a trove of platinum beats. Although “Roar” only made it to Diamond status, it packs a particularly zealous punch. Perry sings about overcoming shyness and gullibility…eventually undergoing a metamorphosis into a lioness who has found her voice and purpose in life. She’s self-sufficient. She’s a protector. She’s a warrior. Hear her ROAR!
“Waiting for Superman” by Daughtry
Released September 2013: one of the two people who arguably *SHOULD HAVE* won Season 5 of American Idol (instead of Taylor Hicks), Chris Daughtry puts his pipes to good use with this song about salvation. Daughtry’s underlying lesson is profound — it’s a fool’s errand to expect somebody else to save you when only you know what is going to bring you happiness and fulfillment.
“Trumpets” by Jason DeRulo
Released November 2013: using “trumpets” as a metaphor for love and passion, Jason DeRulo comments on the fundamental skeleton forming romance or affection. He’s essentially saying that the raw wholeness of his lover’s body and personality is all he needs to appreciate her. Like with MKTO’s “Classic,” this principle could be extrapolated to apply (in a less amorous manner) to close friendships.
“Raging Fire” by Phil Phillips
Released March 2014: another American Idol winner proves their worth…this time, it was the victor of Season 11. Phil Phillips hits this one out of the ballpark — quite figuratively generating the imagery of fireworks popping high above a packed stadium. With heartfelt and guttural fervor, Phillips inspires the listener to emerge with support that fuels the tenacity of our most purposeful leaders. This energy, he narrates, will go a long way toward helping us build experiences and capture memories.
“Centuries” by Fall Out Boy
Released September 2014: this mammoth of an alt-pop/rock gift remains one of Fall Out Boy’s most astonishing entries. It’s hard to believe that Patrick Stump doesn’t completely drain his vocal chords as he gives 5000% to this song about how one creates a long-lasting legacy for themselves. What makes certain historical figures so memorable? Well, according to Stump, it’s a combination of timeless actions, tragic mistakes, and miraculous feats.
“Misunderstood” by Fly Away Hero
Released January 2015: yet another American Idol prodigy who should have won — Dalton Rapattoni (who deserved the Season 15 title far more than Trent Harmon!) created this entry before he rose to national prominence. “Misunderstood” is actually an incredibly sad tune that manages to pull itself up to a more positive place. It’s about finding one’s place in the world by surpassing self-consciousness and taking solace in the ways we’ve learned from our mistakes. The narrator makes no apologies for being true to their identity or embracing flaws.
“Renegades” by X Ambassadors
Released March 2015: if you remember this song being used in the Spring 2015 commercials for the Jeep Renegade SUV, you’ll appreciate its rhythmic heft. Sam Nelson Harris summarizes the lifeblood of what makes someone a “renegade” — going against the grain by showing how they are fearless, visionary, and gutsy.
“One Call Away” by Charlie Puth
Released August 2015: vaulting into the Billboard Top Twenty, Charlie Puth put himself on the map with this crown jewel of pop/soul hybridization. He sings about the high value of reliability…whether it’s being a friend, a lover, or a savior. It’s a social commentary on the power of alliances — how they fill a void as a complement to one’s shortcomings.
“Stand By You” by Rachel Platten
Released September 2015: the first time I heard this song, it was part of the soundtrack to the closing scene of an episode of NBC’s short-lived 2016 medical drama Heartbeat. Rachel Platten intones an ethereal echo, voicing a strong desire to support the downtrodden. I would highly recommend that U.S. Senator Tammy Baldwin use “Stand By You” at her political rallies when she (presumably) runs for reelection in 2024.
“Alive” by Sia
Released September 2015: in early-2020, CBS used this magnum opus from Sia in its pre-season promos for Survivor: Winners at War. The Australian pop titan gives this entry everything she’s got — broadcasting to the world how she has been unwilling to allow pain or misery to cause her to self-destruct. Sia pantomimes as a ninja in her music video for “Alive”…and she deserves every inch of that mantle!
“Hello” by Adele (October 2015)
Released October 2015: as part of her comeback, Adele shattered the musical charts with this ageless entry. “Hello” sent shivers and tingles across the globe, seeing the British artist pay tribute to her failed relationships and the introspection she’s gained from having survived them. Within three months of its release, “Hello” had accumulated more than one billion views on YouTube.
As America is Plunged Under MAGA Control
“Heathens” by Twenty-One Pilots
Released June 2016: best-known from the soundtrack for the feature film Suicide Squad, Twenty-One Pilots combine the rock and rap genres to synthesize a haunting end product. “Heathens” tells the common stories of pariahs struggling with inner demons. It begs the listener to have empathy for those who are unduly vilified; that most of us have more in common than we’d initially assume.
“Whatever It Takes” by Imagine Dragons
Released May 2017: amongst the menagerie of tunes churned out by Imagine Dragons, “Whatever It Takes” remains perhaps their most purposeful entry. Dan Reynolds lilts a chorus that gives us a master class on how to endure and persist against the headwinds of merciless life circumstances.
“Eyes Closed” by In Real Life
Released August 2017: the now-defunct Zoomer boy band In Real Life made a splash with their debut single, “Eyes Closed.” The song unfolds like a sophisticated nursery rhyme, showing appreciation for the qualities that comprise one’s inner and outer beauty alike. It’s a love letter to the reality that feelings are ultimately stronger than aesthetics when it comes to love and brotherhood.
“These Days” by Rudimental
Released January 2018: pairing together R&B and pop, the British band Rudimental pulled off an orchestral trial that somehow married pizzazz with melancholy. “These Days” harbors the sound of a street ballad, channeling the vocalists’ gratitude spiced with a hint of premature nostalgia. It’s about how everyone needs a support system…and those bulwarks can lead to brighter and better futures for all involved.
“Rise” by Jonas Blue (May 2018)
Released May 2018: after first hearing “Rise” played during an episode of CBS’s God Friended Me, it’s become one of my playlist staples for self-empowerment. Jonas Blue basically constructs an anthem for Zillennials and Alphas (“Coronials”) — confronting the cyclical problem of anti-youth ageism and its role in perpetuating flawed systems throughout our society.
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