Best Songs of 2010: 55-41

55. Dom “Burn Bridges”
New love, passing love, lost love, and unrequited love have always each been staples of popular music, and in this anthem Dom rejects friends and lovers alike and suggests you try the same. “Burn Bridges” makes heart-breaking sentiment feel like a celebration. – Jon Kjarsgaard

54. Anais Mitchell feat. Ben Knox Miller and Justin Vernon
“Wait for Me”
Few songs have the potential to really break your heart. The minimalist opening of Orpheus’ song is succeeded by quiet desperation built up in the verse by layering in more strings, and culminates in Justin Vernon’s haunting chorus. The result stays with you, and then some. – Kelli Cohen

53. Sufjan Stevens “Too Much”
Some may say “Too Much” is just that, an overstuffed track with sci-fi sounds and exploding drums, horns, and strings flurrying through the song. It might be, unless the Stevens you prefer is the one from the earlier Enjoy Your Rabbit and A Sun Came. In “Too Much” Stevens channels his early sound but brings his sharp songwriting skills to create this regret-filled love letter. – Amanda Hammermeister

52. The Black Keys “Next Girl”
It may have something to do with the music video having girls dancing and fawning over a seductive stuffed dinosaur, but “Next Girl” sounds like the beginnings of a perfect stripper song a la “Pour Some Sugar on Me,” yet that turns into something more. With the wailing, bluesy vocals kicking in that The Black Keys are known for, the song stays sexy instead of turning trashy… but may still bring out the inner-exotic dancer in all of us from time to time. – Lindsay Juley

51. Wild Nothing “Chinatown”
Jack Tatum wasn’t quite born when 1980s indie pop was at its peak, but the 22-year-old kid who performs as Wild Nothing registers a retro sound that is an inspired and distinctive take on a beloved sound. A nice mix of urgency and melancholy, “Chinatown” is perfect for escapism — something to play on repeat when taking that long drive to wherever the road takes you. – Jon Kjarsgaard

50. Cults “Go Outside”
Pure of heart and dripping with sweetness, Cults’ “Go Outside” is childhood summer incarnate. Freckled faces, melting popsicles, double-dutch, bicycles, and the swerving, sweeping path of roller skates dominate the landscape, all moving in unison to the twinkling bells and fat, busted-speaker bass. With this song on repeat, it’s an endless summer. – Stacey Lansing

49. Cold War Kids “Louder Than Ever”
One word that describes Cold War Kids’ most recent single is “anthem.” It only takes one note before Nathan Willett cuts into the music with his raw, soulful vocals. The brevity of the song combined with its simplistic chorus makes this ballad a perfect choice to get in with the larger crowds. The end begs for crowd participation in claps and repeating the “I can hear you louder than ever” line that everyone will become familiar with even without any prior listen. Cold War Kids could very well be heading towards arena rock if the rest of their upcoming new album has a similar sound. – Lindsay Juley

48. Foster the People “Pumped Up Kicks”
What might happen if MGMT covered Pearl Jam’s “Jeremy”? With a killer melody that floats lightly over a chillwave surf guitar, it’s easy to lump “Pumped Up Kicks” in with the other killer summer jams featured here this year. But a close listen to the lyrics reveals that it’s just that, a killer jam. Who would have thought such a catchy, light-hearted sounding song would actually be about a homidical teenager? – Jon Kjarsgaard

47. Icarus Himself “Digging Holes”
Madison-based Icarus Himself haunts your eardrums with “Digging Holes” — a track that masquerades behind a hollowed and distant sound yet feels genuinely uplifting, thanks mostly to the bouncing organ and triumphant horns that kick in midway through. Nick Whetro’s ringing vocals beautifully round out the reverb that shrouds the song. – Chad Helminak

46. Bear Hands “What a Drag”
The verses of “What a Drag” claw their way along, close to the earth and steady in their pace. The choruses struggle to break free, with the floating, bouncing tenor of the guitar pulling against the roots of the bass. The melody never quite makes it to freedom, but that’s okay because the beauty is in the struggle. – Stacey Lansing

45. Broken Bells “The High Road”
Taking the high road is usually easier said than done. That is, of course, unless you’re Broken Bells. The melodic ups and downs of “The High Road” are reminiscent of a nerdy high school arcade romance. Its rapturing and haunting yet slow and undulating, a combination which is always worth it in the end. – Julie Gong

44. Sleigh Bells “Rill Rill”
Sleigh Bells take a hiatus from their super-sized sonic aesthetic and opt for a sweet, vintagey ditty. Snagging a riff from Funkadelic, the duo revamp it with clattering percussion and add Alexis Krauss’ sugary voice to top it all off. The result? Frothy pop perfection. – Claire Tiller

43. The Pass “Cross Walk Stereo”
The Louisville quartet’s impressive debut Colors EP contains this bright, dancy tune reminiscent of Phoenix in both its opening riff and Kyle Peters’ vocals. Comparisons aside, it’s a perfect pick-me-up track for when the alarm clock goes off in the morning and you need to get up and get going to meet the day. – Derek Hagen

42. Frightened Rabbit “Swim Until You Can’t See Land”
Casting off the shackles of the breakup that made previous album Midnight Organ Fight so gut-wrenching, Frightened Rabbit drowns the past to start anew. A rolling guitar, choir-like backing vocals, and Scott Hutchison’s at once sweet and troubled voice suggest hope for a new beginning and belief that anyone can make it across an ocean of sadness, damned be the depth and the distance. – Stacey Lansing

41. Broken Social Scene “World Sick”
Returning in 2010 with their first proper album in five years (following a pair of “Broken Social Scene Presents” solo discs from founders Kevin Drew and Brendan Canning), the starry-eyed rock in album opener “World Sick” sounds like waking up on the beach: waves of guitars crash on a thick drum and cymbal beat. It’s a fantastically idealistic-sounding, ’80s-infused, charmingly unbalanced love fest. – Claire Tiller