Carly Rae Jepsen released her Dedicated: Side B album last year in nearly total silence, meaning only truly, well, dedicated fans knew of its release. A smoky number called “Summer Love” dives into the excitement of summertime romance, focusing on the first rush of getting to know someone new. Jepsen nearly whispers into the listener’s ear, inviting them to join in her free-flowing love. Not too emotionally involved, “Summer Love” hits on the type of romance that’s about pleasure—and enjoying feelings spurred by the latest object of affection—more than anything else. [Gabrielle Sanchez]

Visionaries of the at-home music video, Chloe and Halle Bailey proved that the party is where you make it via a string of flawless live performances in support of sophomore album Ungodly Hour last summer. But a track like “Do It” really is entitled to its moment in the sun, the playful “homies-only kind of mood” a perfect accompaniment to some sunset drinks with friends, or soundtracking the ride to the night’s next destination. But making this note-perfect summer cocktail of pop and R&B seem effortless? That’s just how Chloe x Halle do it. [Cameron Scheetz]

With its distinct air of Olivia Newton-John rhythms and retro production, Miley Cyrus’ “Prisoner” could’ve been a contender for song of the summer in 2020 or 1981. The song hits all the beats—thumping mid-tempo groove, earworm refrain, dance-floor vibes—that make it an ideal track for just about any celebratory summertime bash. And that’s all before Dua Lipa shows up to add her slinky, seductive vocals alongside Cyrus’ powerhouse pipes. It’s an apt title: This synth-pop nugget works overtime to trap any ears within radius. [Alex McLevy]

“Tokyo Love Hotel” is the most straightforward track on Rina Sawayama’s debut album, SAWAYAMA. Synths glitter behind Sawayama singing about her relationship to Tokyo, a glowing neon city the singer sees tourists treat as an amusement park rather than people’s homeland. It’s a different type of romanticism, stemming from the undeniable connection and understanding. For listeners, it could be for that special someone they want to be more than a one night stand, with the overwhelming desire to keep them all to themselves. [Gabrielle Sanchez]

The thing about “God’s Menu” is that it throws you right in the deep end of the sonic pool. With its driving bass line and repetitive sirens, the track’s sense of urgency is immediate. The first two brassy rap verses are so intense that the melodic vocals of the chorus and pre-chorus are wholly unexpected. The “Du du du du du du!” rallying cry in the middle of the song, was made to be yelled at the top of your lungs with a group of friends. “God’s Menu” is dizzying and expertly discordant in a way that feels like fire in your veins. It’s an ice cold tequila shot in song form. [Shanicka Anderson]

Taylor Swift’s surprise eighth album folklore has a mellifluous cottage-core vibe that doesn’t immediately scream bright or summery, but “The Last Great American Dynasty”’s up-tempo guitar tune, actual beach setting, and catchy lyrics make it an ideal summer banger. Swift sings in third-person about philanthropist Rebekah Harkness, the previous owner of her Rhode Island mansion called Holiday House, drawing a personal parallel between both their lives turning into gossip fodder. Frankly, the track’s ability to bolster vivid imagery with its details and groovy beats can propel anyone to belt out “I had a marvelous time ruining everything” along with Swift. [Saloni Gajjar]

A highlight from HAIM’s Women In Music Pt. III, “3AM” is insatiably groovy, with Este Haim’s slapping bass lines and Alana Haim’s steady snare guiding the track. It’s the perfect song for driving with the windows down, thinking about your most recent booty call (and whether or not you’ll hit them up again). The Haim sisters channel R&B and psychedelic influences, creating a swirling sensation that mirrors the mix of feelings that arise when questioning whether or not to get up and go over to someone’s house in the dead of night for a little late-night comfort. [Gabrielle Sanchez]

A swooning ode to the basement house party, “Bodies” is a warm and infectious dance track that immediately transports you with its opening lyrics: “It’s another suburban summer / The street lights blink on.” Electronic duo The Knocks has crafted an evocative anthem that knows exactly when to simmer and when to sparkle. On vocals is queer pop-rock trio MUNA, giving singer Katie Gavin’s aching timbre the chance to breathe until they come together in harmony during the cathartic chorus. Resplendent and ethereal, “Bodies” will make you both nostalgic for summers of yore and eager to make some new memories. [Cameron Scheetz]

Although its nostalgic longing for sun-soaked romance did make an appropriate soundtrack for staring out the window and sighing, Orville Peck’s “Summertime” deserves better than the claustrophobic summer of 2020. It deserves golden fields of wheat and meadows covered in wildflowers. It deserves hot dry breezes that sting your cheeks, and skin that’s still warm to the touch after you go inside. It deserves wide open spaces to rival its epic sweep, and dreamy vistas to match Peck’s seductive baritone. It deserves driving with the top down on your way to finally meet the person you’ve been crushing on online all year. If romance is making a comeback in 2021, then so should this song. [Katie Rife]

Jessie Ware released her disco-pop album What’s Your Pleasure? in the midst of last summer, and, were it not for the pandemic, the thing would have absolutely shone on the dance floor. With sizzling synths and funky bass lines, standout track “Ooh La La” exudes sex appeal and romance, with images of meeting a lover on a night out and bringing them back home with you—which is exactly the energy needed for this year’s Hot Girl Summer. [Gabrielle Sanchez]