Skip links

BEST SONGS OF 2017

[spb_text_block animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”0″ padding_horizontal=”0″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;” border_size=”0″ border_styling_global=”default” width=”1/1″ el_position=”first last”]

2017 is ending and there were more phenomenal songs than we could fit within a simple list. Similar to our other lists, there’s no order here; we can’t regulate our love that much. Peep the team’s top tracks and let us know your own personal year end list in the comments below.

[/spb_text_block] [spb_row element_name=”Row” wrap_type=”content-width” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”0.5″ bg_video_loop=”yes” parallax_video_height=”window-height” parallax_video_overlay=”none” row_overlay_opacity=”0″ row_col_pos=”default” width=”1/1″ el_position=”first last”] [spb_image element_name=”Overcoats” image=”22036″ image_size=”full” frame=”noframe” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” link_target=”_self” lightbox=”no” intro_animation=”none” animation_delay=”200″ width=”1/1″ el_position=”first last”][/spb_image] [spb_text_block animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”0″ padding_horizontal=”0″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;” border_size=”0″ border_styling_global=”default” width=”1/1″ el_position=”first last”]

Overcoats, “I Don’t Believe In Us”

Heartbreaking lyrics, enveloped by a very primal, beautiful soundscape that would make even the most jaded music fan sway their hips. -Meredith

[/spb_text_block] [spb_divider type=”dotted” text=”Go to top” top_margin=”0px” bottom_margin=”30px” fullwidth=”no” width=”1/1″ el_position=”first last”] [/spb_row] [spb_row element_name=”Row” wrap_type=”content-width” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”0.5″ bg_video_loop=”yes” parallax_video_height=”window-height” parallax_video_overlay=”none” row_overlay_opacity=”0″ row_col_pos=”default” width=”1/1″ el_position=”first last”] [spb_image element_name=”Pale Waves” image=”22041″ image_size=”full” frame=”noframe” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” link_target=”_self” lightbox=”no” intro_animation=”none” animation_delay=”200″ width=”1/1″ el_position=”first last”][/spb_image] [spb_text_block animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”0″ padding_horizontal=”0″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;” border_size=”0″ border_styling_global=”default” width=”1/1″ el_position=”first last”]

Pale Waves, “There’s A Honey”

The quartet hit their stride with their very first single, displaying glittery 80s synth-pop vibes reminiscent of the 1975. -Meredith

[/spb_text_block] [spb_divider type=”dotted” text=”Go to top” top_margin=”0px” bottom_margin=”30px” fullwidth=”no” width=”1/1″ el_position=”first last”] [/spb_row] [spb_row element_name=”Row” wrap_type=”content-width” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”0.5″ bg_video_loop=”yes” parallax_video_height=”window-height” parallax_video_overlay=”none” row_overlay_opacity=”0″ row_col_pos=”default” width=”1/1″ el_position=”first last”] [spb_image element_name=”Woah Dakota” image=”22042″ image_size=”full” frame=”noframe” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” link_target=”_self” lightbox=”no” intro_animation=”none” animation_delay=”200″ width=”1/1″ el_position=”first last”][/spb_image] [spb_text_block animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”0″ padding_horizontal=”0″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;” border_size=”0″ border_styling_global=”default” width=”1/1″ el_position=”first last”]

Whoa Dakota, “Patterns”

Light as a feather 90’s vibes despite the driven, “no bullshit” lyrics, executed perfectly by the craziest vocal range we’ve heard in awhile. -Meredith

[/spb_text_block] [spb_divider type=”dotted” text=”Go to top” top_margin=”0px” bottom_margin=”30px” fullwidth=”no” width=”1/1″ el_position=”first last”] [/spb_row] [spb_row element_name=”Row” wrap_type=”content-width” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”0.5″ bg_video_loop=”yes” parallax_video_height=”window-height” parallax_video_overlay=”none” row_overlay_opacity=”0″ row_col_pos=”default” width=”1/1″ el_position=”first last”] [spb_image element_name=”SZA” image=”22037″ image_size=”full” frame=”noframe” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” link_target=”_self” lightbox=”no” intro_animation=”none” animation_delay=”200″ width=”1/1″ el_position=”first last”][/spb_image] [spb_text_block animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”0″ padding_horizontal=”0″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;” border_size=”0″ border_styling_global=”default” width=”1/1″ el_position=”first last”]

SZA, “Broken Clocks”

On her sophomore album, “CTRL,” SZA delivers emotional vulnerability wrapped in biting one-liners over hypnotic melodies. Picking a highlight of the 14 tracks on “CTRL” is not easy, but “Broken Clocks” is equal parts melancholic and buoyant in a way that will bring you back listen after listen. -Anna

[/spb_text_block] [spb_divider type=”dotted” text=”Go to top” top_margin=”0px” bottom_margin=”30px” fullwidth=”no” width=”1/1″ el_position=”first last”] [/spb_row] [spb_row element_name=”Row” wrap_type=”content-width” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”0.5″ bg_video_loop=”yes” parallax_video_height=”window-height” parallax_video_overlay=”none” row_overlay_opacity=”0″ row_col_pos=”default” width=”1/1″ el_position=”first last”] [spb_image element_name=”MUNA” image=”17086″ image_size=”full” frame=”noframe” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” link_target=”_self” lightbox=”no” intro_animation=”none” animation_delay=”200″ width=”1/1″ el_position=”first last”][/spb_image] [spb_text_block animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”0″ padding_horizontal=”0″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;” border_size=”0″ border_styling_global=”default” width=”1/1″ el_position=”first last”]

MUNA, “Promise”

Photo by Anna Selle

I saw a few (dozen) shows this year, and without contention ‘Promise’ was my favorite song to see performed live. Both in the intimate confines of recordBar in February and in the open-air KC Live Block! Stage in June, MUNA’s introspective bop about romantic self-sabotage rolled with uncomfortable truth through a head-nodding crowd. -Anna

[/spb_text_block] [spb_divider type=”dotted” text=”Go to top” top_margin=”0px” bottom_margin=”30px” fullwidth=”no” width=”1/1″ el_position=”first last”] [/spb_row] [spb_row element_name=”Row” wrap_type=”content-width” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”0.5″ bg_video_loop=”yes” parallax_video_height=”window-height” parallax_video_overlay=”none” row_overlay_opacity=”0″ row_col_pos=”default” width=”1/1″ el_position=”first last”] [spb_image element_name=”Deer Scout” image=”22035″ image_size=”full” frame=”noframe” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” link_target=”_self” lightbox=”no” intro_animation=”none” animation_delay=”200″ width=”1/1″ el_position=”first last”][/spb_image] [spb_text_block animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”0″ padding_horizontal=”0″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;” border_size=”0″ border_styling_global=”default” width=”1/1″ el_position=”first last”]

deer scout, “sad boy”

Dena Miller aka deer scout has a knack for entrancing sad and non sad humans alike normally with her lo fi melancholy indie folk sound. With ‘sad boy’ Miller leaps into the realm of mesmerizing dream pop, ribbing on self loathing indie rock culture in the process. The single will linger in your earbuds days after (or in my case the latter half of 2017) begging you to play it again to hear Miller flourish in the sadness. -Austin

[/spb_text_block] [spb_divider type=”dotted” text=”Go to top” top_margin=”0px” bottom_margin=”30px” fullwidth=”no” width=”1/1″ el_position=”first last”] [/spb_row] [spb_row element_name=”Row” wrap_type=”content-width” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”0.5″ bg_video_loop=”yes” parallax_video_height=”window-height” parallax_video_overlay=”none” row_overlay_opacity=”0″ row_col_pos=”default” width=”1/1″ el_position=”first last”] [spb_image element_name=”Duncan Fellows” image=”22034″ image_size=”full” frame=”noframe” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” link_target=”_self” lightbox=”no” intro_animation=”none” animation_delay=”200″ width=”1/1″ el_position=”first last”][/spb_image] [spb_text_block animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”0″ padding_horizontal=”0″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;” border_size=”0″ border_styling_global=”default” width=”1/1″ el_position=”first last”]

Duncan Fellows, “Fresh Squeezed”

Take a trip through Duncan Fellows past work and you’ll be driving through a ranging indie folk sound forest. Mindful of their roots yet yearning to evolve, ‘Fresh Squeezed’ takes a pit stop to pick up hints of a twangy, burgeoning synth pop helping craft a concoction the Fellows call “cheesy gordita crunch pop”. The buttery, dare I say melty, single should serve as delicious nectar to the ears along the vigorous trip that is their first full length, “Both Sides of The Ceiling.” -Austin

[/spb_text_block] [spb_divider type=”dotted” text=”Go to top” top_margin=”0px” bottom_margin=”30px” fullwidth=”no” width=”1/1″ el_position=”first last”] [/spb_row] [spb_row element_name=”Row” wrap_type=”content-width” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”0.5″ bg_video_loop=”yes” parallax_video_height=”window-height” parallax_video_overlay=”none” row_overlay_opacity=”0″ row_col_pos=”default” width=”1/1″ el_position=”first last”] [spb_image element_name=”The Wild Reeds” image=”22038″ image_size=”full” frame=”noframe” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” link_target=”_self” lightbox=”no” intro_animation=”none” animation_delay=”200″ width=”1/1″ el_position=”first last”][/spb_image] [spb_text_block animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”0″ padding_horizontal=”0″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;” border_size=”0″ border_styling_global=”default” width=”1/1″ el_position=”first last”]

The Wild Reeds, “Fruition”

Not long into January 2017, I stumbled upon The Wild Reeds, resurfacing my affixation for empowering harmonic folk music. 4 months later I sold my ticket to a friend’s sold out show, took a 45 minute solo trip to the Bottleneck in Lawrence, KS, and was in awe of the mind bending rhythms and sounds I had so obsessed over since the release of their 2nd LP “The World We Built”. The final act of the album, ‘Fruition’ hits you at your core, as the narrator strives for self actualization, letting you know you’re not alone in your own anxieties and welcome in the world that the Reeds built. -Austin

[/spb_text_block] [spb_divider type=”dotted” text=”Go to top” top_margin=”0px” bottom_margin=”30px” fullwidth=”no” width=”1/1″ el_position=”first last”] [/spb_row] [spb_row element_name=”Row” wrap_type=”content-width” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”0.5″ bg_video_loop=”yes” parallax_video_height=”window-height” parallax_video_overlay=”none” row_overlay_opacity=”0″ row_col_pos=”default” width=”1/1″ el_position=”first last”] [spb_image element_name=”Kevin Morby” image=”22033″ image_size=”full” frame=”noframe” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” link_target=”_self” lightbox=”no” intro_animation=”none” animation_delay=”200″ width=”1/1″ el_position=”first last”][/spb_image] [spb_text_block animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”0″ padding_horizontal=”0″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;” border_size=”0″ border_styling_global=”default” width=”1/1″ el_position=”first last”]

Kevin Morby, “City Music”

Purposefully simple lyrics give way to the full bodied, at times tingly guitar riffs in Kevin Morby’s song ‘City Music’, off the 2017 release of the same name. Best to listen whilst wandering a city, no matter how familiar, as it causes even the most knowledgeable urban dweller to reimagine and rediscover their concrete playground. Don’t fret, the weightlessness you’ll feel is natural, designed to put the pep in your step (or bike wheel if you’re so inclined) as you glide down the rivers that have taken the place of once daunting roads. -Austin

[/spb_text_block] [spb_divider type=”dotted” text=”Go to top” top_margin=”0px” bottom_margin=”30px” fullwidth=”no” width=”1/1″ el_position=”first last”] [/spb_row] [spb_row element_name=”Row” wrap_type=”content-width” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”0.5″ bg_video_loop=”yes” parallax_video_height=”window-height” parallax_video_overlay=”none” row_overlay_opacity=”0″ row_col_pos=”default” width=”1/1″ el_position=”first last”] [spb_image element_name=”Richard Edwards” image=”22046″ image_size=”full” frame=”noframe” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” link_target=”_self” lightbox=”no” intro_animation=”none” animation_delay=”200″ width=”1/1″ el_position=”first last”][/spb_image] [spb_text_block animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”0″ padding_horizontal=”0″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;” border_size=”0″ border_styling_global=”default” width=”1/1″ el_position=”first last”]

Richard Edwards, “Lil Dead Eye-d”

“I got bored of California, bored of the sun that always shines.” Within one line the frontman of cherished acid-folk band Margot and the Nuclear So and So’s summarizes a fairly universal feeling for most of us in 2017: a disconnection from reality. Everything around us making us want to detach further and further, waiting for the next distraction to come along. It’s a calming song that somehow reminds you of how fucked things are while also helping you realize you aren’t alone. -Nick

[/spb_text_block] [spb_divider type=”dotted” text=”Go to top” top_margin=”0px” bottom_margin=”30px” fullwidth=”no” width=”1/1″ el_position=”first last”] [/spb_row] [spb_row element_name=”Row” wrap_type=”content-width” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”0.5″ bg_video_loop=”yes” parallax_video_height=”window-height” parallax_video_overlay=”none” row_overlay_opacity=”0″ row_col_pos=”default” width=”1/1″ el_position=”first last”] [spb_image element_name=”First Aid Kit” image=”22048″ image_size=”full” frame=”noframe” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” link_target=”_self” lightbox=”no” intro_animation=”none” animation_delay=”200″ width=”1/1″ el_position=”first last”][/spb_image] [spb_text_block animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”0″ padding_horizontal=”0″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;” border_size=”0″ border_styling_global=”default” width=”1/1″ el_position=”first last”]

First Aid Kit, “You Are The Problem Here”

This might be the most direct response, musically, to the outbreak of sexual harassment and abuse we have seen this year. The otherwise melancholy Swedish folk duo turns a sharp look towards those abusing others, twisting their beautiful harmonies into stinging accusations. Simply, there are no excuses, it’s not ok, and you need to keep your damn hands off. -Nick

[/spb_text_block] [spb_divider type=”dotted” text=”Go to top” top_margin=”0px” bottom_margin=”30px” fullwidth=”no” width=”1/1″ el_position=”first last”] [/spb_row] [spb_row element_name=”Row” wrap_type=”content-width” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”0.5″ bg_video_loop=”yes” parallax_video_height=”window-height” parallax_video_overlay=”none” row_overlay_opacity=”0″ row_col_pos=”default” width=”1/1″ el_position=”first last”] [spb_image element_name=”Young Fathers” image=”22047″ image_size=”full” frame=”noframe” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” link_target=”_self” lightbox=”no” intro_animation=”none” animation_delay=”200″ width=”1/1″ el_position=”first last”][/spb_image] [spb_text_block animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”0″ padding_horizontal=”0″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;” border_size=”0″ border_styling_global=”default” width=”1/1″ el_position=”first last”]

Young Fathers ft. Leith Congregational Choir, “Only God Knows”

This one came out all the way back in February and I’m almost certain I’ve played it at least once every week since it came out. It’s fast paced, a fresh take on punk, and is simultaneously hopeful and condemning. It’s a reminder that sometimes, when life is just too dang much, we just need to lift it up. Whatever that means for us as individuals. We can’t know and do everything. It’s just not possible. -Nick

[/spb_text_block] [/spb_row]