Kristen S. Hé

The Critics Campus experience – including the late-night ramen and karaoke – makes up some of my most cherished memories. But, honestly, the specifics of what I learned from it are hard to recall; it’s all just become part of my DNA.

The film only succeeds at one thing: generating sympathy. But both the script and performances ring so false that the emotions you feel for Marisa Abela’s Amy do not transfer in any way to the real Amy Winehouse. Back to Black is vampiric, restaging her lowest moments for little more than dramatic bloodletting.

Shoegaze sits in a unique place in the last 40 years of popular music. It was never wrung clean or gentrified by major labels like grunge, or made culturally obsolete like Britpop. Unlike other alt acts like Teenage Fanclub, Neutral Milk Hotel, The Strokes or Arcade Fire, who were anointed as generational icons by Gen X and millennial journalists and bloggers, shoegaze bands don’t feel inextricably tied to their original time period or fandoms.

Looking forward, the modern shoegaze revival may have only just begun. But looking back at how shoegaze was actually heard and written about in its time, many of the nostalgic assumptions we have about it are more complex than we remember.

When this list was first published in 2018, upon the release of “No Tears Left to Cry,” it stood at an impressive 86 songs. Six years later, the song count has doubled. From wide-eyed ballads to pop spectacle to deeply personal songs of heartbreak, the definition of what an Ariana Grande song can be has drastically expanded — a shift comparable only to Taylor Swift among pop stars in recent memory.

victim impact statement, the third Jaguar Jonze EP, sits on a razor’s edge of confession and artistic expression, of exhaustion laced with rage. Stark and acoustic, with an atmosphere you could cut with a knife, its three songs are unlike anything she’s recorded before. In the accompanying press release, Jaguar takes the first steps to reclaim her image from those who prop up the glass ceiling, and those who’ve put her on an impossible pedestal — which is another form of objectification.

Ultimately, why has Taylor crafted such a gloriously excessive three-and-a-half-hour-long show? I think it’s simply because she can; for her own amusement. Because at 34, at the height of her powers, she’s still seeking new records to break. Now, with another album due in April and The Eras Tour extended until the end of 2024, the question is — how can Taylor Swift outdo herself again?

When ambient music is truly great, it can be a canvas for anything — from André 3000’s deep personal journey, to a soundtrack for a walk in the park. It would be easy to read New Blue Sun as a statement for patient listening and against algorithmic consumption — but there’s nothing calculated about it.

Maybe she was dangerous. Maybe the conservative elements of western, American society deserved to be scandalised. It’s hard to envision now, but around the turn of the new millennium, the concept of Britney Spears really did become the fulcrum of pop culture and celebrity gossip. Many pushed back against it, but everyone felt it — popular culture was changing, and accelerating.

If Greta Gerwig’s writing was as pure as the film’s colours, as detailed as the costumes and production design, more willing to question its corporate nature — then we might truly have an all-time classic on our hands. Instead, Barbie is less satisfying than it could be, but you’ll still end up watching it more than once — to be seduced by the technicolor fantasy, and to see if this time, you can figure out whether or not the film’s ideas actually work.

Both her fans and critics know she has the potential. But on Feed the Beast, Petras is merely playing everyone else’s game.

By the time the final chorus hits, Rodrigo has worked her magic again — reaching an even higher level of drama than anything on SOUR. It’s instantly one of the best songs of the year.

Jenny Lewis has been a storyteller her whole life. From child actor to indie rock icon as the frontwoman of her band Rilo Kiley, to beloved journeywoman solo artist, she’s lived dozens of lives. Each existence is united by the singular warmth of her voice and songwriting, which weave together sardonic wit and melancholy while never easily being pigeonholed as either.

The power of Victory Over the Sun is that it can be a vessel for seemingly anything. There can be terror in the quiet, or joy in sonic punishment.

It’s hard to imagine a more perfect run of gigs – for half a week, it feels as if nothing else exists outside the Forum Theatre. If there is a throughline at all, it’s that these are no ordinary shows; all four headliners are completely devoted to the embodiment of their art.