Albums I Liked This Year: 2023

Here is a list of albums I liked this year, and some brief thoughts on them.

Fall Out Boy, So Much (for) Stardust

This was, hands down, my favorite album of the year. I know we’re all mad at Fall Out Boy for their poppy transition several years back, but they’ve redeemed themselves ten times over with this album. Musically it’s a kickass balance between rock and emo and orchestral pop. Lyrically, it’s self-aware and beautiful. Vocally, Patrick Stump is as good as he’s ever been, and the songwriting is on-point and masterful. I don’t know what kind of music we call Fall Out Boy anymore, but I can assure you that, front to back, this album is finely aged rock and roll perfection.

Annie Blackman, Bug (EP)

I stumbled upon an NPR mention of Annie Blackman, and checked out her latest EP this April. I am still listening to it. I’m not sure what will become of her as an artist, but I’m willing to stick around. Her voice is akin to a less aggressive Dolores O’Riordan, and I dig it.

The National,

First Two Pages of Frankenstein/Laugh Track

In a very Taylor-Swiftian move, The National released First Two Pages of Frankenstein in April, and then surprised us in September with Laugh Track. I honestly had a hard time deciding which album I like better, except Frankenstein wins by a hair. However, Laugh Track includes “Weird Goodbyes,” which I was happy to see has found a home, since I’ve been listening to it since they released it as a single in 2022. It’s nice to listen to Aaron-Dessner-produced material, but it’s a whole separate experience listening to his actual band.

Matchbox Twenty, Where the Light Goes

For those keeping track, I was a pretty sizable Matchbox Twenty fan in the late-90s and early 2000s. When they went poppy and Rob Thomas went solo, I quit. I didn’t listen to their last album from 2012, North, but when I read they were releasing new material this year I thought I’d give it a shot. After all, I really enjoyed Hootie and the Blowfish’s 2019 album. Give me all the 90s power pop, please and thank you. It turns out this album is a dad rock banger, if that’s a thing nowadays. I loved it. If you want to also go down a pop culture rabbit hole, or if you’re into Aging Musician TikTok (like I am), here’s two things for you: 1) Brian Vander Ark, of The Verve Pipe, has a fabulous TikTok account where he goes out in public and people don’t recognize him, and he regularly trolls Rob Thomas, which is super fun. 2) Matchbox Twenty, in preparation for their comeback this past year, started using TikTok, and their TikTok account is primarily the band watching other people’s TikToks. It’s a fascinating study in how aging celebrities are trying to find relevance on today’s internet.

Foo Fighters, But Here We Are

If you’re a regular here, you know that Foo Fighters are one of my all-time favorite bands. Dave Grohl’s 2023 musical exploration of grief in this year’s album, But Here We Are, was a fantastic and healing experience. Grohl lost his mother and Foo drummer Tayler Hawkins in 2022. I don’t remember liking a Foo album this much since 2017’s Concrete and Gold.

Extreme, Six

I’m not even going to pretend that I’ve listened to anything from these guys since the 90s. But I read that this album was coming, and decided to check it out. It is decidedly a kickass rock album. There are several bops that I can’t stop listening to (including the song above), and Nuno Bettencourt can still absolutely shred on guitar. What we all knew about Extreme, even in the 90s, was that the reason “More Than Words” was so successful is that it was such a stray from what they usually produced. I never expected them to re-create that magic, and have always appreciated that they’ve stayed in their lane. I’m glad I didn’t sleep on this gem this year.

Lukas Nelson and Promise of the Real,

Sticks and Stones

Stick and Stones is probably my favorite album that my boy Lukas Nelson (and POTR) have released in years. It’s a peaceful voyage into their country rock sound, and I couldn’t stop listening to “The View” this year.

Hozier, Unreal Unearth

To be honest, I did not enjoy Unreal Unearth as much as I absolutely loved 2019’s Wasteland, Baby! but the collaboration with Brandi Carlisle, “Damage Gets Done,” is my favorite track of the year. I cannot stop listening to it. I adore Hozier, and this is a solid album that has grown on me in the months I’ve been listening to it.

Olivia Rodrigo, Guts

If Olivia Rodrigo’s last album, Sour, was an archetype of a breakup album, Guts is an archetype of a grunge album. That being said, I’m trying to decide if Rodrigo herself might just be an archetype of Gen X nostalgia, designed to pick our pockets and seduce our teen children. Either way, I’m also trying to decide if I care, because her music is just good. Whether it’s original or maybe lifted from decades of the past, she definitely wins the Earworm of the Year award for “get him back!” and I’m here for all of it, including her stellar and standout live performance recently on SNL.

Honorable Mention: Rebecca Black, Let Her Burn

2023 saw the release of Rebecca Black’s first full-length studio album, Let Her Burn. I’ve been enjoying her EPs for a few years now, and this album was great. I look forward to what’s coming for her. Her voice is amazing and her pop is solid.

Honorable Mention: Kesha, Gag Order

I love Kesha. Gag Order is a solid album, front to back. I just didn’t enjoy it as much as her last two albums, particularly. There’s some great tracks, though, and I did enjoy listening this year.

Honorable Mention: Jenny Lewis, Joy’All

I adore Jenny Lewis and everything she’s ever done. But this album is probably my least favorite album she’s ever made, which is so disappointing because I loved her 2019 album, On the Line, so, so much.

Honorable Mention: Taylor Swift,

1989 (Taylor’s Version)

Listen. Hear me out. Max Martin is missing from this album. I appreciate the Taylor’s Versions of Swift’s catalog. I will continue purchasing them and listening. But 1989 is her second best album (behind folklore - fight me!) and there’s a certain sharpness missing from this album. Listen to the opening of “Style” or the guitar of “I Wish You Would” and you’ll hear it (or maybe not, it’s possible I’m just some kind of music snob). Either way, a valiant effort and an honorable mention, but I am a mix girlie and I do not like the new mixes on this re-record. I was mildly disappointed with the mixes on Red, but it didn’t take anything away from the album. But 1989 is different, and it matters.

Honorable Mention: Dolly Parton, Rockstar

I was really excited for this album, and it did not disappoint. It’s a lot to take in, however, and it’s the first time I’ve noticed the age in Dolly’s voice, which made me sad. Some of the covers seemed a little unnecessary, but I so appreciated this version of “Let It Be,” and I also love this version of “Magic Man,” because Dolly’s voice just meshes with that song so well.