Sam Rankin / Daily Nexus
Artsweek staff’s favorite tracks of April 2026.
“End of August” by Noah Kahan
“End of August” by Noah Kahan is melancholic, an ode to a New England late summer breeze, wishing for time to slow, even if just for a moment. Released as the opening track of his highly anticipated senior album, “End of August” sets the tone for Kahan’s most resonant work yet, a snapshot into growing older and relishing in the newness of the future. The beginning of the song hinges on soft, melodic keys, with lyrics including “Late August angst and a pointless night / Oh, and the feelin’ of being alive / For the first time in a long time” continuing into Kahan’s signature belt. Earnest, sincere and introspective, “End of August” begs the listener to be transported back to a brisk summer night, porch swings, fireflies and all.
-Maya Schwarz, Staff Writer
“First Light” by Lana Del Rey
Lana Del Rey’s “First Light,” released as a standalone track in April 2026, serves as the official theme song for the soon-to-be-released James Bond video game “007: First Light.” Del Rey is often regarded as having her own genre, one that merges hyper-feminine Americana with a melancholic longing for love and nostalgia. This song is no different, as her anticipatory and striking beat plays before the chorus, making the song unfold as an intense and theatrical production of an old Hollywood romance. It reflects a cyclical pattern of striving for improvement only to be sunk back into one’s old ways. This tension is captured through lines such as “Like a moth to a flame” and “Promise you’ll never change.” The song encompasses the bittersweet sensation of leaving a lover for personal liberation and a movement toward the “light.”
-Daisy Hernandez, Reporter
“Planting Tomatoes” by Lucy Dacus
Lucy Dacus is back following her 2025 album “Forever is a Feeling” with her newest single “Planting Tomatoes,” released on April 24. The song opens with an upbeat tempo as Dacus’ velvety voice laments about the grief of past losses and the weight of knowing more loss is to come in the future. Yet, despite the undertone of sadness evident in the lyrics and powerful base track, Dacus takes an optimistic approach, singing that “But before then, I’ve got some ideas” in reference to her celebration of the present despite the grief of past and future. With a sprinkling of reverb amidst a crunchy guitar sound, “Planting Tomatoes” is funky, fresh and full of heart. Balancing grief and a grounded appreciation for the present, Dacus crafts the perfect listen for chronic overthinkers and existentialists everywhere.
-Gianna Dossa, Reporter
“Up Out & Gone” by Ne-Yo
Ne-Yo takes us back to early 2000s R&B with his new release “Up Out & Gone.” A record about living in the moment, housed in a night that should never be forgotten. The R&B legend revisits his magic from “Champagne Life” and uses it here in this slinky production of pop-country vibes. With a guitar-lead instrumental and Ne-Yo’s smooth trademarked voice, he really does create a tune that vocalizes the power of the moonlight in ascending freedom, passion, euphoria and romance. This song enhances any sanctuary of ecstasy — whether you’re on a late night drive, a steamy night with a lover or dancing in the eye of club lights, this song is perfect for shaking off all burdens and opening up your wild side.
-Rachel Mitchell, Reporter
“I Feel So Free” by Madonna
Making her comeback with her newest album, “Confessions II,” Madonna released her album opener, “I Feel So Free.” Out on April 18, 2026, it quickly charted #1 on the Billboard Dance Song Sales chart. The song uses styles such as electric pop and dance. Madonna references her past lyrics from “Into the Groove” and uses samples from Donna Summer’s “I Feel Love.” Although these references are made, they aren’t overbearing and feel original. As an album opener, the song is strong. Listening to it has the same sensation as listening to early 2000s futuristic pop; the rhythm feels authentic and natural, as if Madonna is preparing you for her album with this song. The song is very distinct and different from the type of music being produced today. Just listening to this song serves as a reminder of why Madonna is the “Queen of Pop.”
-Montserrat Romero, Reporter
“I Saw Your Face” by Malcolm Todd
“I Saw Your Face,” Malcolm Todd’s second single from his upcoming sophomore album “Do That Again,” blends the agony of emotional longing with an infectious upbeat melody. The song captures the awkward and conflicting experience of seeing someone you care about in public and choosing to turn around and go in the opposite direction, both out of love and fear. The chord progression of the bass and repetitive drumming builds up tension that gives the chorus the sensation of a powerful emotional release, working hand in hand with the lyrical narrative. Todd makes you feel like you’re in a 2000s movie, only you’re not the star and there’s no happy ending. It’s spunky, addictive and a punch to the gut to all yearners who wish their life was more like the movies.
– Kelsey Perillo, Reporter
“Madwoman” by Laufey
Laufey’s “Madwoman” track encapsulates how intense and irrational love can be — which has been featured in her discography previously. Love for a person can be so deeply rooted, leading to attachment, which is highlighted when she sings “but still, I want you like a mad, mad woman.” Her music video furthers this idea, as one of her friends seemingly disapproves of her idealized love for a man while others support her delusions. The music video brings together what netizens have dubbed the Wasian avengers: Olympic gold medalist Alysa Liu, actress Lola Tung, girl group member Megan Skiendiel and the new title heartthrob Hudson Williams. Throughout the music video Laufey innocently falls in love with Williams, but by the end an eerie turn is made as everyone turns robotic. The twist reinforces the idea of an unrealistic love that appears when emotions grow too strong. The last scene shows Williams waiting for Laufey in a mysterious house, indicating that some may not be as they appear and that love can cloud judgement.
– Carly Rattner, Staff Writer
“BROKE BITCH FREE$TYLE” by Slayyyter
Riding off the high from her legendary Coachella performance, Slayyyter surprise drops her “BROKE BITCH FREE$TYLE.” The track seems to follow the formula that “CRANK” and “YES GODDD” succeeded with from her recent record, “WOR$T GIRL IN AMERICA,” which is influenced by industrial hip-hop and electro industrial. The high bass, energy production and BPM paired with the loud, gritty and aggressive vocals make the new single sound like a demo adaptation of the two songs. The song follows a growing tension throughout the song following repeated beats. It is clear that the “BROKE BITCH FREE$TYLE” is for the fans with its fun, nonsensical lyrics that are laced with western imagery of poverty. The single is a rambunctious and light hearted track to add to the next pregame playlist.
– Andrew Olmos, Reporter
“SAME LA” by Tiffany Day
There is a beauty to realization in Tiffany Day’s “SAME LA,” the third track from her latest album “HALO.” “‘Cause if only you could know who I am in an instant,” Day sings to a friend, longing for a connection — for a crush to be mutual. Despite the melancholic feeling, the track is somehow as warm as a sunny day along the 101. The lyrics convey the immediate feeling — the shock of unrequited love — whereas the synthwork feels like a reflection of the freedom that comes from letting go. A melding of both immediate and more reflective emotions. It’s powerful. A go-to cry and dance club track, akin to Robyn’s “Dancing On My Own” or Lady Gaga’s “Dance in the Dark.” It’ll have you questioning your own life after the party, but while listening all you will want to do is dance. Infectiously fun, the vocals, production and lyrics are superb, making it endlessly relistenable. Give it a listen, and give the album a chance too. Day is someone to watch.
– Zack Kramer, Staff Writer
This article appeared in the May 7 print edition of the Daily Nexus.
