The world of popular music is filled with hits and misses. Critiquing both offers profound benefits. Understanding trends and developing sharper listening skills become possible. But what makes a song truly “bad?” Is it simple incompetence, or something more fascinating? This exploration delves into the murky depths of mainstream music. We examine charting songs, not obscure tracks. These entries stand out as interesting failures. They reveal more than just generic mediocrity. Prepare to question your own ears. Brace yourself for controversial opinions. Discover surprising inclusions that promise to redefine your understanding. Are you ready to navigate the abyss of “bad” pop?
9. Drake ft. J. Cole – First Person Shooter
Have you ever wondered how rap beefs can backfire spectacularly? “First Person Shooter” inadvertently placed J. Cole amid Drake and Kendrick Lamar’s feud. While the song offered Cole a chance to assert dominance, it also highlighted his struggles within high-stakes rap battles. Unlike Kendrick’s veiled shots, Cole fired first, responding directly. However, releasing then deleting his diss track raised eyebrows. Critics lambasted the track as a goofy misstep. Consider a rapper pressured to respond, yet failing to deliver heat. Cole, in essence, invented a new way to lose credibility. His action contrasts starkly with the calculated aggression expected in rap beefs. When will Cole’s next album drop, and will he address this fiasco, or dodge the topic altogether?
8. Jimin – I Am Not Okay
Observing the precision in some K-pop tracks often leaves me cold. “I Am Not Okay” by Jimin exemplifies this slick, machine-tool approach. This level of artifice just plain irritates. The song’s music seems engineered to be a Justin Timberlake hit, yet someone let Charlie Puth write the lyrics. Those lyrics are sentimental glurge about seeking that special someone. Imagine being a K-pop fan seeking genuine emotion, only to encounter this calculated sentimentality. The polished perfection overshadows any authentic expression. I wonder if anyone else feels this way. If I criticize BTS, will their fans come after me? That’s what I fear most about talking about Jimin’s slick precision.
7. Morgan Wallen – Cowgirls
Unlike classic country’s narrative depth, modern bro-country often falls flat. Morgan Wallen’s “Cowgirls” exemplifies these clichés. This song trades storytelling for whiskey-soaked scenarios and groupie fantasies. The reliance on these tropes has caused many, like my dad, to tune out. He observed that country music, once about real stories, has become predictable. Picture someone who appreciates Johnny Cash’s gritty tales encountering Wallen’s superficiality. They likely feel disillusioned. The focus on fleeting pleasures over profound narratives has shaped contemporary expectations. Are we sure the South is full of romance and nostalgia, or a caricature of itself? It’s time to bust that myth, isn’t it?
6. Tommy Richman – Million Dollar Baby
Consider the sonic landscape of the early 2000s, dominated by The Neptunes. Tommy Richman’s “Million Dollar Baby” serves as a modern case study in Neptune’s pastiche. The song evokes their signature sound, albeit with mixed results. Unlike Justin Timberlake’s recent attempts, this track arguably captures that magic more effectively. Even if “Tommy Richman” does sound like an asylum film’s evil billionaire. Imagine attending a Timberlake concert, yearning for the “Justified” era, only to find pale imitations. Richman, whether intentionally or not, highlights Timberlake’s decline. What does this mean for Timberlake’s future? Will the king reclaim his throne, or fade into nostalgic irrelevance?
5. MGK ft. Jelly Roll – Lonely Road
Ever hear a song and think, “They could have done better?” MGK and Jelly Roll’s “Lonely Road” suffers from lazy interpolations. The “Take Me Home” sample clashes with MGK’s angsty lyrics. His relationship problems, while personal, don’t gel with this familiar tune. Imagine watching the video, seeing MGK cosplay Ryan Gosling, all while this recognizable chorus plays. The disconnect feels jarring. A deeper exploration of the sample’s original context could have elevated the song. Instead, it seems like a missed opportunity. As more white rappers flock to Nashville, will they all rely on uninspired sampling?
4. Marshmello and Kane Brown – Miles On It
“Miles On It” blends Marshmello’s EDM with Kane Brown’s country vocals. Its cookie-cutter songwriting follows a predictable formula: new truck, big lift, and sexual innuendo. Add Marshmello’s signature “soft white goop” style. Picture someone used to complex EDM structures encountering this simple arrangement. The track feels diluted, the trap elements blending seamlessly, to the point of being pointless, with the country song. This suggests a production process prioritizing mass appeal over innovation. Is Marshmello a graham cracker and Kane Brown chocolate, making one big country/EDM s’more?
3. Jack Harlow – Lovin On Me
Jack Harlow once showed promise as a witty lyricist. “Lovin On Me,” however, reveals a stark emptiness. This vanilla baby, clad in cheetah print, raps about a preference for boring sex. Imagine listening to Harlow’s earlier work, then hearing this. The contrast is jarring. From sharp observations to bland pronouncements, the decline is evident. Where once there was clever wordplay, now only clichés remain. Is “Jack Flatlow” the new appropriate moniker? The song’s lack of substance only serves to highlight the emptiness.
2. Dustin Lynch ft. Jelly Roll – Chevrolet
My heart sinks when a classic song gets needlessly reworked. Dustin Lynch and Jelly Roll’s “Chevrolet” unfortunately embodies this. Reimagining old favorites can sometimes breathe new life into them. However, this collaboration feels more like a disservice. The lyrics depict a manufactured scenario: an “uptown girl” who inexplicably loves beer, trucks, and country music. Picture the song’s target audience, earnestly believing this fantasy. Does Lynch really love dirt roads and cheap beer, or is he cosplaying a lifestyle? The song feels so unnatural, so forced, it breaks your heart and makes you wonder.
1. Kanye West – Carnival
Recent polls show a rise in listener fatigue, and Kanye West may be to blame. “Carnival” presents a problem: it’s borderline unlistenable. I can say with confidence that the chorus is one of the worst I have ever heard in music. The lyrics, referencing R. Kelly and Bill Cosby, are tone-deaf and alienating. My initial reaction was disbelief, followed by a pressing desire to skip the song. It is the kind of track that could cause physical pain. The jarring production and questionable rhymes create an auditory assault. This song sounds like nails on a chalkboard mixed with broken glass. Kanye, please get off this planet.
