Musical McCool - Week 45 (November 5, 2021 - = (equals), I Wish, Lose My Mind, "Metallica")
Hi guys, welcome back to The Social Tune! My name is Fionn, and welcome back to a brand new edition of Musical McCool!
Holy shit, this week was busy! And of course, it has to fall on a weekend where I'm really busy and doing things every single day. Which means I'm probably gonna have to sneak off multiple times to write this in bits and pieces, great. Okay, thankfully I'm going to be taking some time off in the next week or so to realign myself and start working on some other material for the blog (wink wink) so that will give me some breathing room. But I still want to try and get this out as early as possible, so let's do this!
The Top 10
First of all, you might be expecting this week to be busy because Ed Sheeran just dropped an album, but thankfully we are saved thanks to the Irish chart rules! As we've said before, only 3 songs by an artist can be in the top 50 at once, even as a feature, which is why which is why we currently only have 3 Ed Sheeran songs to talk about and they're all in the top 10!
But before we get to that, Easy On Me by Adele still held the number 1. Yeah, not surprised by that, this thing is not budging an inch.
What surprised me a little bit more though is the fact that Cold Heart (PNAU Remix) by Elton John & Dua Lipa managed to hold the number 2. I fully expected Ed Sheeran to pass them, but Bad Habits is apparently still the biggest single on the album at the moment and, with it being an ACR, it didn't quite have enough momentum to vault back up to number 2.
Which leaves us with Shivers by Ed Sheeran at number 3, still holding strong, and of course getting a boost from the album sales...
... along with our new Ed Sheeran song, Overpass Graffiti, debuting at number 4. No surprise there, it's the new single with a new music video, so it was bound to do well. More on that song in a bit later though.
What's a little curious to me is our number 5 spot, which has Meet Me At Our Spot by The Anxiety. I knew the song was going to do well, but I wasn't prepared for it to surge up this quickly. Although the more I think about it, of course a band called The Anxiety is going to do well around Halloween.
Next we have number 6, where THAT'S WHAT I WANT by Lil Nas X actually took a bit of a dip. I knew this was going to happen, but it is still a shame, it's such a terrific song that really does deserve to be in the top 5. Maybe it'll rebound next week, who knows.
However, it wasn't the only loser, as Love Nwantiti (Ah Ah Ah) by CKay finally started to lose momentum and dropped in number 7. This song has been held up by streaming momentum and nothing else, I've no idea how this has lasted so long in the top 10.
Still, at least I kind of get the appeal of it, unlike My Heart Goes (La Di Da) by Topic & Becky Hill at number 8. The song is still doing pretty much what it set out to do, which is to fill up space until the next big dance hit comes along. And my opinions on it continue to remain unchanged.
Finally we saw the crack in the armor of Heat Waves by Glass Animals, as it dropped down to number 9...
..and rounding out our top 10, we have the resurgence of Bad Habits reentering at number 10. Again, had it not been for ACR, this would have probably vaulted all the way up back up to number 2, but it didn't quite get enough momentum to regain that boost. Still a good song though, happy to have it back.
Top 50: The Punished and the New
In terms of actual movement this week, this was technically kind of a quieter one. What really kept us busy was the slew of new arrivals which burst through. And even though = (equals) didn't impact the charts the way it probably would have if we didn't have the 3-song maximum per artist on the charts, things were still fairly busy this week in terms of new arrivals. But before that, we actually had 2 big songs move to ACR:
Better Days by Dermot Kennedy - number 7 to 11
Happier Than Ever by Billie Eilish - number 10 to 25
This actually shows the difference in terms of these 2 songs' "income", so to speak. While Billie is mostly being propped up on streaming, Dermot's audience is a fair bit more balanced in terms of age, meaning organic sales are still keeping him very much afloat. Same thing happened with Giants and Outnumbered, watch this stick around well into the new year. And yeah, we lost Billie, which is a real shame considering what a great song it is, but it still lasted a lot longer than predicted. Plus, it's still getting played on the radio here and it's going to make the year-end 100, so it's not like we have much to worry about.
Otherwise, yeah, this was quite a week in terms of our drops. We saw Moth To A Flame by Weeknd & Swedish House Mafia drop off its debut to 16, along with 2 strokes of luck for me as both OUT OUT by Joe Corry, Jax Jones, Charli XCX & Saweetie and Girls Want Girls by Drake dropped down to 21 and 26 respectively, not to mention taking Mimi Webb's 24/5 along with them to number 30! Good, that song does not deserve to become a hit. The losses continue from there, as Fair Trade with Travis Scott drops to 36 (not touching that one), Adele lost When We Were Young to 37 and Love In the Dark to 42, and we also saw Talk About by Rain Radio & DJ Craig Gorman drop back down to number 40, MONEY by LISA losing its momentum to 43, Boyz by Jesy Nelson & Nicki Minaj continuing to tank at 45, and finally, Wildest Dreams (Taylor's Version) by Taylor Swift falling down to 50.
And that's mostly it, but we did see a couple of gains here and there across the chart, even despite the new crop of singles. For one, Better Days by NEIKED, Mae Muller & Polo G rose off its debut last week to number 20 - I mean considering it picked up in America, I'm not too surprised - along with, for some reason, Ghost Town by Benson Boone to 29?! Look, I'm kinda fascinated by the type of bad this song is, but it does not deserve to be rising into the top 30!
And that's really about it. The rest of them are songs that you would expect around Halloween time: Thriller by Michael Jackson came back to 38 and Monster Mash by Bobby Pickett reentered at 48. Technically the latter one's a "new" arrival, but considering the age of the chart, that's not accurate. And with all of that out of the way, let's dive into our new songs, starting right at the top with Ed Sheeran:
Title: Overpass Graffiti by Ed Sheeran
So equals has finally dropped, and it has garnered the sort of critical response that I really saw coming ever since Bad Habits came out; fans love it, but a lot of people are saying that it's a big sellout move, as if his previous album divide hadn't already trended in a much more poppy direction. Because of this, many people have been writing it off without paying attention to the fact that the writing, the melodies, and the hooks are just as strong as ever for him. And as you can probably tell by now, I quite enjoy equals, in many ways I prefer it to his past couple of albums. It's at least more consistent than divide, and just like all of his albums, it has some incredible high points.
And this just so happens to be one of the best songs on the album. Much like a song like Castle on the Hill, the song really does know how to soar and feel huge, with those reverb-soaked guitars, the way that the instrumentation all but cuts out right before the chorus hits, and the wistful feeling of it all. As Ed Sheeran plays a guy looking back on a relationship, one where she's very happy to be over him, and yet there is still a part of him that thinks of her fondly. Even if he knows that her friends are happy they're not together anymore and they ended up working out, he's still going to cherish their time spent together, and he knows that a part of their love will never fade away from him completely, even if time changes the way that she thinks of him.
It's a very honest, consciously one-sided song, one that ultimately is accepting of the fact that they're no longer together. And while no, I wouldn't say it's quite one of the emotional peaks on the album, and I'm honestly not sure I would say it's my favorite single so far, this is still really fucking good. If you haven't heard it, check it out. I'm hoping it sticks around.
Title: Tell It To My Heart by MEDUZA (Ft. Hozier)
Man, I have been waiting for this all year, the day that Hozier would finally release new music and that I get to talk about it on Musical McCool. I'm a HUGE fan, I've even seen him live (which is very rare for me), and I'm honestly surprised that he hasn't had any crossover songs until now. Figures that he would finally do it by teaming up with MUDUZA, formerly the best known Italian act to hit the charts in 2021 until Måneskin came around. And considering these guys had one of the biggest early hits of this year by teaming up with Dermot Kennedy on Paradise and that was fine enough, I was at least somewhat optimistic about this. But oh wow... this is not good.
I don't know what I expected from this, but I was sort of hoping for something similar to Paradise, a wistful yet grand love song with a big echoing chorus, kind of the perfect thing for the new year where it sounds serviceable, but you know better songs are going to come in later, at least hopefully. And while Paradise is basically just white noise to me at this point, at the very least Dermot Kennedy's vocals worked with the mix, he sounded enhanced by the instrumental! Whereas here... why does Hozier sound so muted? It makes no good use of his trademark howling vocals that we've heard on songs like dinners and diatribes, and it doesn't even make good use of this lower range. The mix they gave him has a very dull, low-key instrumental that never really builds or explodes outward in any other way, and the actual "melody" for as melodic as it is, feels weirdly derivative of the verses on Bad Habits.
It's just so somber and sour, I wouldn't even say that Hozier is trying that hard here. Sure, he's a powerful vocalist, but the writing is so bland and colourless for him, you could have swapped him out for any other singer. I never thought I would say that Hozier sounds interchangeable with John Newman, but that's how little personality I feel from this! So yeah, this kind of sucks. And I'm really disappointed in it.
Title: I Wish by Joel Corry (Ft. Mabel)
Okay, okay, this will get that bad taste out of my mouth. Because John Corry has had a really great year in my opinion. He's had 1 big miss, sure, but everything else has been either really good or great, including 2 of the biggest hits of the year, even if one was a carry-over from 2020. And seeing him team up with Mabel who brought us Let Them Know earlier this year, I was definitely excited for this. ... Oh my god, what is up with house music this week?! No, seriously, keep reading, it doesn't stop here!
Because all my expectations of this were let down again! Sure, at the very least it's not as downbeat and sour as Tell It To My Heart, but I almost kind of wish it was. Because instead, it's a very upbeat, cheery song about how you wish you hadn't fucked up so much in a relationship. And it doesn't even sound wistful like Overpass Graffiti, it just sounds generic. And that's really the most damning thing about this song: it sounds like a weird mix of Get Out My Head by Shane Codd and Head & Heart by Joel Corry himself, it's song where every beat feels painfully recycled. And the worst part of all is Mabel: her last single had so much personality and fire to it, and we go from that to this, where she sounds utterly anonymous, basically just a Becky Hill clone. ... Well, okay, I won't go that far, but it is disturbing just how devoid of personality she feels! Joel Corry is usually so good at enhancing his vocalists, but here he just stripped everything away from them. And unlike Charli XCX, I can tell that Mabel's actually trying, but for some reason, her performance just feels neutered and boring.
So yeah, we're 2 for 2 on bad house music! Can it get worse? Well
Title: Do it To It by ACRAZE (Ft. Cherish)
When I saw this, I genuinely thought I was having a stroke. You see, recently I went back to the year 2006 - for reasons that... well, stay tuned - but in doing so, I rediscovered a song that I placed on my worst hits of that year, Do It To It, one of the dumbest songs of the entire mid-2000s dance music fad. It was a song that had so few ideas, that it just stole from a bunch of other dance songs and then just encouraged you to "do it to it." Which is such a fucking lazy cop-out, a song which didn't even have a good instrumental, only saved because I thought the vocalist was okay, even if she did sound like a rip-off of Ciara.
Well apparently, somebody else remembers that song, that somebody being DJ ACRAZE, a Staten Island-born young man who's been building up some clout among the American house music scene. He thought it would be a good idea to take that song and remix it into a modern jam, adding on a drum-and-bass style dance beat, sampling her voice on the hook, and pairing the 2 together through a mildly spooky filter. It's the kind of song that's probably going to be on TikTok for a couple of weeks before fading away quickly. And for what it is... I'll say it doesn't disappoint me.
It's very much exactly what you would expect from a song like this, taking one part of the original, looping it, adding a very standard beat, and adding some creepy effects and vocals here and there to add some distinct personality. It's only slightly more interesting than a standard Navos song, but at least it takes the part that I legitimately find catchy enough, even if that part is ripped off from a different song. Kind of ironic that this song is sampling a ripoff, but I digress. And you know what? I would probably still listen to this over the original. At least it's got a dance beat that you can actually dance to. So yeah, it doesn't do much and it's not like I'm going to remember it. But... meh, it's aight.
Title: Coming For You by SwitchOTR (Ft. A1 & J1)
Well, this certainly was unexpected. At the very beginning of the year, A1 & J1 had a hit called Latest Trends, which I certainly remember but I'm betting most of you do not, mostly because I can't fathom why it stuck around for so long, even cracking the top 10! Anyway, I didn't expect them to ever come back, but now they have another hit thanks to a remix of a song that came out a few weeks ago, by London rapper SwitchOTR. A song which in turn samples into Avicii's The Nights, fun fact.
Now, this song was kind of making the rounds on TikTok already, but the credit from the rap duo seemed to push it over the top and now it's actually threatening to be a legitimate hit. And I'll be honest, my initial thought was very similar to when I heard I Wish earlier, where I felt that the tone of the song really clashed with the subject matter. But upon repeated listens, I actually think it does work... kinda. It's all about throwing your head up. asking God why your friends have died and left you, and how if you come to "violate" any one of his guys, he's going to be coming for you with his crew. SwitchOTR also does that annoying thing on the remix where he shouts the two guest rappers in his verse, but on a song about losing your friends, it's mildly charming that he's shouting out the ones he still has around. Maybe it's the sample - it's almost definitely the sample - but I also like the hook, which comes across as genuinely forlorn. Sure, it doesn't tug at my heartstrings in any big way, but I can see the attempt at emotion through the tough veneer that all London rappers seem to think is cool.
But yeah, paired with the fact that I don't think A1 & J1's verses are all that bad - even though I think J1 is significantly better on this track, he actually stays on topic and sounds way better than the self-pitying crooning A1's doing here - it turns out to be a song that isn't so bad. It seems like the kind of track that could really take of based purely on the hook, and I honestly wouldn't mind that. It won't change your life, but give it a listen.
Title: I Don't Want You by RITON & RAYE
RAYE has had a pretty huge couple of years, with multiple big collaborations where she has been remarkably consistent. Now with that said, I still wouldn't say that she's left a huge impression on me. She has some personality on songs like BED, it's just not a personality that's particularly striking. She's kind of coquettish and stands up for herself, but that's about the extent of it. So seeing her team up with RITON, who've had their own huge hit with Friday this year - which has been absolutely inescapable all year even if it is fun to annoy my friends with - I had no idea what these 2 acts could really bring to each other. All I really know about RITON is that they have similar sampling tastes to Pitbull, what else can they do?
Well apparently, sampling Dominica. This is actually a sample of their song Gotta Let You Go, which I personally know because BICEP did an edit of it a few years back. But all that aside, is the song any good? Well, the interesting thing about the song is the context behind it. You see, technically speaking, it's a breakup song about a girl who wasn't appreciated in her previous relationship and wasn't loved in the same way she loved him. So she left, and this is her kiss-off anthem, where she spends the second verse telling him how much better the sex with the other guy is. Standard enough, but then you remember the fact that she actually left Polydor records in July of this year and that this is actually her first big solo single since then. Yeah, she's been on a couple of remixes and other songs here and there, but this is her first solo musical endeavor. And she did it by teaming up with a producer from a different label, making a song about how she was in a bad relationship where she wasn't appreciated, and how she's moving on to better things. Yeah, I know that her splitting with Polydor was apparently mutual and friendly, but apparently she wrote this the day she left... there's definitely something there.
Beyond all of that though, it's actually a pretty good song. I think that her vocalizing along with the sample works really well, she actually commands the mix fairly well, and delivers that hurt of the track as well as she can. I mean, we're not going to get the guttural growls of Kesha anytime soon, but this is still pretty serviceable. It ends up being a pretty catchy song too, even if it is mostly thanks to that sample. I do think the context behind it makes it far more interesting, but on its own, I could still see this doing well, we'll see. But I wish RAYE the best of luck striking out on her own either way; this isn't a bad start at all.
Well, my first big surprise of this week came when I glanced at the Homegrown charts, because why the hell isn't Hozier here?! Maybe somebody's fucking up here, it wouldn't be the first time. Or maybe I'm missing something obvious (please feel free to tell me in the comments) and I'm just being an asshole... even though they definitely made at least 1 other mistake this week, but we'll get to that. Anyway, other than that, this was a fairly busy week with a bunch of new arrivals.
Now we did see a couple of interesting shifts as well. That's what will happen after a week where so many songs were on their 13th week all at once. I Want It All by The Script went up to number 5 for instance, and Don't Say You Love Me by JC Stewart gained some ground to number 10. Along with that, we saw Planes in the Sky by James Vincent McMorrow rise up to number 13, and even a slight boost for Break the Silence by Robert Grace up to 16, which I will say has grown on me a little in the past couple of weeks.
In fact, our only loser is Noel's Creamy Pints by 2 Jonnies down to number 20, which I'm just surprised is still here. Lastly, our other noteworthy thing is Addict of Magic by Picture This, actually on its 13th Week, which means we're potentially going to get a new Picture This song next week, who knows?
And along with our new arrivals, we got 3 returning entries: Chain Reaction by Mick Flannery & Susan O'Neill at number 11 (not the best of their singles but whatever), High by Christy Dignam at 14, which has been counted as a new entry this week, but that's just wrong, I covered it weeks ago! Pretty sure that's because of the weird fuckery thing that happened in late September, which they're now trying to cover up. Finally, I Saw You at a Funeral by Pa Sheehy returning at number 18... the fact that Róisín stuck around for 13 weeks is kind of infuriating to me. But with all of those out of the way, let's get to our meaty list of new arrivals:
Title: Lose My Mind by LYRA
It's been over a year since our last single and she's back! New Day was one of the first songs I talked about in 2021, the kind of titanic anthem that got so big that it actually crossed over to the top 50 to hail in the new year. It was awesome, but I was kind of interested to see what else this Cork lady could do. Well, having listened to a few more of her songs, I'll say that she's the kind of artist I definitely appreciate, but I'm not personally all that into. The main draw is her voice, which is very grand and performative. Don't get me wrong, it's impressive, but it's also a type of music that is very much for show, a little bit like going to the opera. And sometimes - pretty often - you're just not in the mood for that, it really doesn't help your replayability.
So on this single, LYRA seems to have gone somewhere down the middle, almost going for a Lorde vibe, to the point where I genuinely had to make sure that Jack Antonoff didn't produce this. But no, it just takes a lot of similar vibes, with the hushed whispered backing vocals juxtaposed with the main hook, the pounding percussion which drives the song forward, it's certainly the kind of song that if you've heard before if you've listened to Melodrama. The weird thing about it though, is that it sort of takes away from LYRA's biggest asset, namely her full-throated voice, which feels weirdly restrained by the instrumental in my opinion. In fact, I think the best moment on the song is towards the end, where she just lets loose and starts howling the way that we all know she can and it sounds fucking beautiful. But I will also say you're kind of caught between a rock and a hard place listening to it, because even when it does work, this just kind of feels derivative to me, if not a complete ripoff.
Now in a way, the content kind of helps. It's a song about slowly losing your mind as emotions take you over, not being able to stay rational about the situation that you're in. That's something that we can all relate to in this day and age. I don't know though, I was waiting for that moment where the instrumental would burst forth with her vocals, and it doesn't have the tension or the build-up that the best songs on Melodrama had. And for me, it just ends up being a song I appreciate more than I like. It definitely sounds pretty good, I like the aesthetic, but it's not really something I can see myself going back to much. It doesn't exactly have the anthemic power of her big single from last year. So yeah, I can see why this has its fans, and I have no doubt they'll absolutely lap this up, but for me, it's just okay.
Title: No More Virgos by CMAT
Okay, if there was a single from this week that I was excited to see turn up here, it was this one from CMAT. I have been a minor fan of hers for a while, but she really impressed me earlier this year when she released her big single I Don't Really Care For You. She also had one of the most groundbreaking moments in music this year, when that same song topped the Homegrown charts, making CMAT the first solo female artist to ever do that. And she did it with an absolutely fantastic song which has continued to grow on me all year.
So yeah, I was excited for this new single... and yeah, it lived up to the hype! Not sure if I like it more than I Don't Really Care For You, but I do think that it's a terrific effort, where she's swearing off falling in love - or let's be honest, hooking up - with any Virgos who promise to do everything for her, then letting her down. Even though all of her friends are telling her not to, even though she even made a pact with them that none of them would have sex for a while, the temptation is just too great. I love the logic that she applies to herself in the second verse, where this guy comes up to her and she reminds herself that she's sworn off that stuff. But then she remembers "Wait, that's a promise you made to your friends, not to yourself." It's just such a human moment that I love, it makes for one of the more humorous songs I've heard from her. And yet there's also some genuine self-care behind it, particularly the line "my mental health is banking on my chastity", it's such a great mix!
Plus it just sounds great! The way that the warping 90s bass comes in at the start, before breaking into the liquid guitars and shimmering synths on the hook, with slight touches of pedal steel. Even the fact that the friends are personified by her own high-pitched backing vocals, it's just so fun, I love the way this song sounds and evolves. Once again, on the fence as to whether I like it more than her last big single, but it's damn close! And considering I'm comparing it to what will likely be one of the best songs of this year, that's saying a lot. Excellent song, let's get even more of CMAT in 2022!
Title: Nothing Else Matters by Dermot Kennedy
This is not what I expected. I knew we were going to get a new Dermot Kennedy song this week as The Killer Was a Coward was leaving, but I didn't realize it would be this one. I probably should have though; after all, in terms of the music industry, this is kind of a big deal, where hundreds of artists teamed up to make Metallica tribute covers in honor of the 30-year anniversary release of their self-titled 1991 album. And when I say that there are a lot of artists on this project, I mean that it contains everyone from Alessia Cara, to Ghost, to Rina Sawayama, to Weezer, to Jason Isbell, to St. Vincent and that's all on the first disc! It's also not one of those collaborations where each artist takes one song, no no, each song is covered multiple times by multiple artists! And since Nothing Else Matters is one of Metallica's biggest songs ever, Dermot Kennedy wasn't the only one to cover it. In fact, there are 12 versions on the album. And no, I have not listened to them all because I'm not INSANE, but I know for a fact that the Phoebe Bridgers one is great, the Chris Stapleton one is excellent, and Dermot Kennedy one does... nothing for me,
Look, I'm sorry to be the one to tell you this, but Dermot Kennedy over a piano doing a cover gives you Days Like This. It's never going to be a particularly great song, it's just going to be pretty good at best. And that's what this is, it's fine. It doesn't have any of the heft or the emotion of the original, because Dermot Kennedy doesn't have the emotional range of James Hetfield. He just sounds like he always does: kind of sad, but not to the point where he's actually emoting. And while I hear that he actually played this on piano himself, which is impressive, I would never ever listen to this over the original. At least with Days Like This Van Morrison is kind of a shitty person, whereas James Hetfield hasn't really got much dirt to his name, as far as I know. You know, outside of fans wanting "the old Metallica" back.
Anyhow, that's all I have to say about this, I can't say I have any expectations for it. There are much better covers on the album, check those out if you're curious. And if you really feel like sitting through the whole thing... you are braver than I.
Title: Energy by Denise Chaila (Ft. MuRli)
Okay if Denise is going to become a recurring face on this series, I'm very okay with that. She absolutely blew me away earlier this year with her break-out song 061, repping her Limerick roots in the most aggressive and in-your-face way possible, revealing herself to be an absolute monster behind the mic. With a talent for wordplay, a ton of personality. and real intelligence, it made 061 the kind of fiery anthem that showed off her skill in spades. So I wasn't exactly sure what this new song would be like... can't say I was expecting this.
Before you say anything, this is definitely really good. It's just a style of rap music that I'm less inclined to listen to, a more R&B-inspired cut where it's more about the vibe and the smooth hook than the bars. One where she's talking about how nobody can take away from her energy, and she's not going to spend it on people who don't deserve it. And I think it works really well. She has a fairly decent chemistry with MuRli, who has a solid verse of their own, even though I wish there was a bit more interplay between them. And while yeah, it's nothing that I haven't heard done better by Oddisee, and I kinda wish she had flipped the soulful horns onto their head with a faster flow, I do kind of like the chill vibe. It's so pleasant and fun, uplifting in a way I can't deny every time it plays.
Sure, there are better examples of it out there - if you haven't heard Oddisee's The Iceberg, fix that right now - but not everything that she makes has to be as anthemic and hungry as her last single, at least this shows off some range. And for what it is, it's a really good rendition of it. Not something I knew I wanted, but I'm happy with what I got.
Title: Ladybird by NewDad
And last but certainly not least, let's talk about the return of NewDad. For those who don't remember, this is an indie band from Galway, who blend elements of shoegaze and dreampop to create their own little slices of goodness, for an absolutely adoring fanbase, as I have since learned. Now personally, I think that they're a really good band who just need a few more unique elements to win me over, maybe a few more popping hooks to really stand out. Their EP from earlier this year was really good, but there weren't as many emotional stakes as I wanted there to be. And while there were definitely some great stand-outs, it's nothing that you're not getting from bands like My Bloody Valentine or even ALVVAYS on the dreampop side.
Regardless of that, this is their new single from a brand new upcoming project. And yeah, I will say that this is an improvement in some ways. For one, in my opinion, they sort of built on the emotional stakes. There's real fear to this song, one of getting so caught up in losing a person that you become unable to enjoy the relationship you're in. Like she says, this relationship is all you'd ever dreamed up, but the fear of losing it is so great that your feelings about it aren't what you thought they would be. And lines like "I have no right to be upset but I'm a fucking mess" really do ring close to home.
Anybody who has suffered from anxiety, especially at the start of a new relationship, can definitely relate to this. And that certainly applies to me, the song just connects with me on a personal level. Sure, I do wish that the chorus stood out a bit more, I don't think it's quite as strong as, say How from the last project, but I still think this is an overall step in the right direction. Let's just see if they can follow it up.
So yeah, that was our week and boy was it a mixed one! Thanks to the Homegrown charts it definitely evened out a bit, thank you Ireland. Although ironically, it's an Irish artist who's getting Worst of the week, because I'm giving it to Hozier & MEDUZA for Tell it to My Heart. Mabel was disappointing as well, but I was looking forward to this one so much and it really let me down. As for the Best though... look, there are several contenders in the Irish camp that I wish I could give the credit to, and even Ed deserves a shout-out.... but who am I kidding? CMAT's No More Virgos is running away with it, a song that continues to grow on me every time I hear it. Fantastic little tune!
But as always, thanks so much for reading this far and stay tuned for something new and list-related very soon. In the meantime, feel free to like the post and share any feedback in the comments. Make sure you and your friends subscribe to the blog and follow me on Twitter to keep up with these releases! And until the next time, I'm Fionn and this is The Social Tune signing off!