I reacted to this song with irritation the first few times it popped up on my local Top 40 station, and I have a healthy suspicion of retro pop like a kid born in 2002 making a song that sounds like it could've been written in 1959. But "Until I Found You" is a lovely little song that's really grown on me, great voice, great guitar tone. Here's my 2022 singles Spotify playlist that I update every month. 

I wasn't sure what to expect from new Paramore in 2022 and the first time I heard "This Is Why" I kind of went of course, it sounds like After Laughter produced like Petals For Armor. But I've really come to love it, especially after the fantastic "Tonight Show" performance. And I'm surprised by how well it's done at radio, the band's first top 10 alternative radio hit since "Ignorance" way back in 2009 ("Ain't It Fun" and "Still Into You" bypassed alternative radio and went straight to Top 40). 

I kind of hate how quickly major label artists follow up album releases with new material these days, instead of continuing to promote songs from the album and giving it a chance to find an audience or spin off more hits. For instance, Tate McRae's pretty good debut album came out in May, and by the end of September she had a new single, I don't know if it'll be on a deluxe version of the album or a whole new project. But I can't really be mad at it because "Uh Oh" is really good and feels like the right sound for her. McRae already sings like Billie Eilish but she might as well do something different musically instead of moody Elish-lite stuff like her first hit "You Broke Me First." I'm surprised a 19-year-old got to sing a chorus about being drunk without a J-Kwon "teen drinking 

The first time I heard Memphis rapper Big Boogie was a few months ago when I was putting together a Remix Report Card and he had a hilariously profane scene-stealing verse on a song called "Put That Pussy On Me." And now he's got a solo hit rising up the charts that has some of the same brusque charm. 

I didn't much care for the singles from Lewis Capaldi's first album. But the lead single from his follow-up is a nice little change of pace with its glossy '80s bounce, and the campy video, I guess he's not just a bawling British balladeer. I like the way he fits the word "vitriol" into the lyrics and really makes a meal of it. 

I'd never heard of this Virginia band until my local college radio station WTMD started playing "Light Me Up" now and then and it's just fantastic, big hooky chorus and gorgeous guitar tones and snappy drumming, really looking forward to their album in January.

Meg has a great flow for uptempo dance tracks but singles like "Body" and "Sweetest Pie" have generally not been her best stuff. So I'm glad that Traumazine had a great dance track like "Her," although it surprisingly did better on R&B radio than pop radio. YoungKio, the kid from the Netherlands who sort of inadvertently made history producing "Old Town Road," co-produced this, probably his most high profile placement since his breakthrough. 

Tafia is a rapper from Boston who's signed to Meek Mill's label Dreamchasers, hadn't heard of him before I heard his song with a great verse from Young Dolph. Dolph's posthumous single "Hall of Fame" didn't get the love it deserved so I'm glad this is getting some traction with radio.

I have mixed feelings about Mr. Morale as a whole, but it has some excellent songs and I'm glad this one got a single release. I particularly love the ending with Blxst's mournful "I guess it's all for nothing" and the strings coming in.

I think people are generally just baffled at Panic!'s latest album but I like this song, even the goofy "heavy machinery" line. It was pretty funny when they performed this at the VMAs with like 20 guitarists for some reason, though. And Panic! are in the awkward position now that a 2016 album track, "House of Memories," blew up on TikTok and has been streamed about 8 times as much as the entire Viva Las Vengeance album combined.

Chris Brown is another artist who's in the awkward situation of promoting a new album when TikTok decides to make a years-old deep cut hugely popular, but Brown decided to lean into it and shoot a new video for the song.. I don't know why it even happened, it's just a lame druggy early Weeknd-style slow jam, I hate the "make you cry like a baby yuh" part so much. But at least the song was blocked from getting into the top 10 the week all those Taylor Swift songs debuted.