With 2019 drawing to a close it seemed as good a time as any to look back over the 2010s and acknowledge some of the singers, songwriters and songs that defined the music industry over the past decade…in my opinion at least.
This is a slight “change to the published plan” — normally around this time of year I run through the new releases I’ve particularly enjoyed that year and highlight a few favourites.
But given that I recently discovered not just the song of the year, and not just the song of the decade, but the song of the 21st Century so far, that makes my usual end of year roundup seem a little redundant.
The song which made such an impression on me is “Monsters” by James Blunt, and if you haven’t heard it yet don’t judge the song by some of the opinions of the artist you read on Twitter.
You’ll never have heard a song as gut-wrenchingly emotional as “Monsters” in your life. You’ll cry like you’ve never cried before.
When I stopped crying myself, I wrote about “Monsters” recently and you can find that article here. Make sure you have the Kleenex handy and if you haven’t put the mascara on yet today, I’d hold off doing that until you’ve listened to this superlative song.
But much as I love “Monsters”, I’d concede that other acts have perhaps defined the 2010s a little more comprehensively than James Blunt, with the greatest of respect to his artistry.
In no particular order, here’s my list of the 10 singers, songwriters and performers who, in my opinion, set the standard for the music industry in the 2010s. Your own list may be different, but that’s the great thing about music…in this realm we can still agree to disagree without rancour. And there are not many places in the world where you can say that any more.
I’ll concede that some of my choices are more arguable than others, but let’s start with one of the slam-dunk defining acts of the music industry in the 2010s…
1 — Adele
Adele Adkins first started making waves in the music industry in the late 2000s. Her first album, “19”, was the sort of first album every musician dreams about — it went platinum many times over in the UK and the US, picked up two Grammy’s and enjoyed critical and commercial success around the world.
But as the 2000s gave way to the 2010s, Adele put any notion of “the difficult second album” to one side and easily surpassed even the astonishing global success of “19”.
Released in 2011, “21” brought us worldwide chart-toppers like “Rolling In The Deep”, “Set Fire To The Rain” and, of course, “Someone Like You”.
“21” went 17x platinum in the UK, became a diamond record in the US and garnered six Grammy awards. Not only that, “21” is the longest-running number one album by a female solo artist in the history of both the UK and US charts.
Then Adele did it all over again with “25” in 2015 — that became a diamond record in the US too and another five Grammy awards duly followed. The lead single from “25”, “Hello” was feverishly anticipated in a way I don’t remember any record being greeted since “Thriller”.
Although currently on hiatus, Adele has been spotted in and around recording studios lately and, having just gone through a breakup, rumours are rife that there’s another break-up themed album of astoundingly great songs on its way.
Whether that’s true or not, Adele, still only 31, is one of the best-selling musical artists of all time. She’s sold 120 million albums, has several mantelpieces full of awards, and her succession of iconic, self-penned songs will live on for as long as people have their hearts broken…which is to say, they will live on for all time.
If anyone could be considered to have defined the music industry in the 2010s, this young woman from West Norwood in London would be at or near the top of most people’s lists.
Here’s the song that ignited the booster rockets on Adele’s already comprehensive global success and sent it into warp drive…the moving ballad that had hard-bitten critics weeping into their drinks at the 2011 Brit Awards when they realised that night, if they hadn’t realised it before, they were in the presence of greatness.
With her live performance of “Someone Like You” from the 2011 Brit Awards, and a great intro and outro from British comedian James Corden, who’s done pretty well for himself since too, it’s Adele…
(On Spotify here, if you prefer…https://open.spotify.com/track/6QPKYGnAW9QozVz2dSWqRg )
2 — Billie Eilish
At the other end of the 2010s, but no less impactful, is Billie Eilish, the most unusual music act I’ve come across in quite a while.
Billie Eilish has picked up a considerable amount of on-line ridicule lately for confessing she wasn’t familiar with the works of Van Halen, which is beyond ridiculous — it’s like criticising the Beatles for having an insufficient appreciation of the works of Rimsky-Korsakov.
Billie Eilish’s 2019 album “When We All Fall Asleep, Where Do We Go?”…possibly the best album title of the 2010s too, by the way…went to Number One on the album charts around the world, going platinum or multiple-platinum just about everywhere in the process.
Billie Eilish wrote most of the songs on “When We Fall Asleep, Where do We Go?” with her brother Finneas, who also produced the album. The pair recorded the album in his bedroom at their parents’ house, which doubled as their studio.
For an 18 year-old woman and her 22 year-old brother to put out a record as quirky and unusual as “When We Fall Asleep, Where Do We Go?” and take it to the top of the charts around the world is unprecedented.
Many record companies have got out the habit of taking big bets on untested artists in recent years, so hopefully a few more will be emboldened to do so on the back on Billie Eilish’s recent success.
The first time I heard Billie Eilish sing “Bad Guy” on the radio, I had no idea what on earth was going on. As someone who listens to a fair bit of music, it’s rare I’m taken aback when I hear a new song as nearly everything builds on something I’ve heard before…at least until Billie Eilish came along.
Frankly I’m glad Billie Eilish never listened to Van Halen when she was growing up. In all likelihood, she wouldn’t have come up with anything half as original as the intriguing, off-beat, completely unique “Bad Guy” if she had.
By making off-beat and kooky an acceptable musical style, and refusing to be hemmed in by the way people have made music before her, Billie Eilish is definitely one of the artists who defined the music industry in the 2010s…
(On Spotify here, if you prefer…https://open.spotify.com/track/2Fxmhks0bxGSBdJ92vM42m )
3 — Pasek and Paul
OK, you might not know their names, but I guarantee you know their songs. Benj Pasek and Justin Paul are responsible for some of the finest musicals of the past decade.
And I love musicals…genuinely adore them.
I won’t get started on that theme here as we’ll be here all day if I do, but although they’ve been around for a little while, and had first attracted attention with their Dear Evan Hansen musical in the mid-2010s, Pasek and Paul first emerged from the shadows for most of us as a result of their work on La La Land’s Oscar-winning “City Of Stars”, for which they wrote the lyrics.
More recently they contributed new material for Disney’s 2019 live action version of Aladdin to supplement the songs from the Alan Menken/ Howard Ashman/ Tim Rice score of the original 1992 animated version.
Pasek and Paul’s contribution included Naomi Scott’s wonderful performance of “Speechless”, which you can read more about here.
But in-between those already significant impacts on the music of the 2010s, Pasek and Paul wrote the songs for what is truly one of the greatest musicals of all time… The Greatest Showman.
La La Land might have opened the door for a revival of the Hollywood musical, but The Greatest Showman drove right through that door with a tank , knocking out the door frame and most of the wall in the process.
Unless you’re a sucker for musicals like me, you’ll likely have missed Dear Evan Hansen, and might also have missed La La Land…but there’s no way you could have missed the impact of The Greatest Showman.
Critics mostly hated The Greatest Showman, but it proved unbelievably popular with the cinema-going public and is already one of the highest grossing musicals of all time. It seems an all-singing, all-dancing musical in the very grandest tradition of ambitious Hollywood musicals was exactly what the cinema-going public was waiting for.
I’ve already written about two of the biggest songs from The Greatest Showman… you can read about Keala Settle’s “This Is Me” here and Zac Efron and Zendaya with “Rewrite The Stars” here.
Benj Pasek and Justin Paul redefined the Hollywood musical and almost single-handedly revived a genre which had been out of favour in Hollywood for too long.
With their chart-topping soundtrack album for The Greatest Showman, and a string of multiple-platinum singles on that back of the film’s success, together with their contributions to La La Land and Aladdin, songwriters Benj Pasek and Justin Paul fully deserve their place in this list of people who have most impacted the music industry in the 2010s.
Here’s Hugh Jackman and the rest of the cast with another of the big numbers from The Greatest Showman… “The Greatest Show”…which indeed it is…
(On Spotify here, if you prefer…https://open.spotify.com/track/4ylWMuGbMXNDgDd8lErEle )
4 — Sia
This might be one of the more unexpected choices on the list, but for me Sia’s style — powerful, searing, emotionally-charged vocals with nothing held back— set the benchmark for female vocalists in the 2010s.
Sia is a talented songwriter too. In fact, she took refuge in songwriting after an early brush with fame back in the 2000s left her feeling there was more to life than being picked over by the tabloid press every moment of the day.
What would turn out to be her comeback single was as much of a surprise to Sia as it was to everyone else. Sia thought she was just putting down a demo vocal on a song she’d written to show David Guetta the sort of singing style she had in mind.
However, David Guetta, being a very smart guy in these matters, decided…correctly in my view…that nobody would be able to improve on Sia’s demo. So he just used the vocal from the demo tape as it was and released the resulting collaboration as a single. (Side note: anyone who lays down that standard of vocal “just for a demo” is a tremendous singer.)
“Titanium” went multi-platinum around the world in 2011 and has since clocked up over a billion YouTube views (here if you’d like a look). On “Titanium”, Sia set the standard many female vocalists have tried to reach over the last decade, although few have come close.
That alone might have got Sia onto this list, but the song that really put Sia front of stage again, albeit with an assortment of elaborate wigs to help her keep at least some of the privacy she so desperately sought, was 2014’s “Chandelier”.
“Chandelier” has everything you could possibly want in a song. Sia’s vocal skills astonish, of course, but “Chandelier” is a ground-breakingly brilliant song. And for such a full-throated performance, it’s surprisingly full of emotional light and shade.
When Sia fires up the afterburners on her vocal chords for the soaring choruses on “Chandelier”, with the possible exception of Adele, she knocks every other female singer of the 2010s out the park.
But for now, please just enjoy one of the finest song of the 2010s with a great songwriter who helped define one of the key musical styles of the decade…(not that anyone’s counting, but the video below has had over 2 billion views in the last five years, so I’m clearly not the only person who considers “Chandelier” one of the defining songs of the 2010s)
(On Spotify here, if you prefer…https://open.spotify.com/track/4VrWlk8IQxevMvERoX08iC )
5 — Ed Sheeran
OK, now for a more obvious choice. Certainly, if we look at record sales, Ed Sheeran is the artist of the decade by just about every measure.
He’s a force of nature when it comes to songwriting, with his self-penned records filling his global best selling albums and romping up the charts around the world.
Records like “Sing”, “Castle On The Hill” and “Thinking Out Loud” dominated the charts during the 2010s, but even global best-sellers like those were dwarfed by the impact of “Shape Of You” and “Perfect”.
The Grammy-winning “Shape Of You” topped the charts around the world for weeks on end. It was the first record in history to reach two billion streams, and it’s the UK’s best-selling song of the entire 2010s. If anyone deserves to be on a list of people who defined the music industry in the 2010s, it’s Ed Sheeran.
The great thing about Ed Sheeran, though, is that he isn’t selfish. He has a fine nose for a good collaboration, working with artists like Stormzy, Camilla Cabello, Justin Bieber and Beyoncé.
And he’s had a hand in writing some great songs for other people as well…just to fill in the time when he’s not busy doing something else, I imagine…including “Eastside” for Benny Blanco, “2002” for Anne Marie and “Thursday” for Jess Glynne — all monster sellers in their own right.
Songs like “Shape Of You” have certainly sold a lot more copies, but I don’t think Ed Sheeran has written a better song than the very first song of his to hit the big time, “The A Team”.
I find the lyrics for “The A Team” profoundly upsetting. The slightly jaunty tune softens the impact of a song about a young woman living on the streets, addicted to drugs and forced to fund her habit through the company of men.
“The A Team” is a reference to the UK’s criminal justice system for illegal narcotics, with “Class A” being the most potent and damaging category attracting the highest penalties for possession or distribution.
Someone whose addictions keep them on the “Class A Team”, therefore, has problems none of us would wish on another human being.
Ed Sheeran might be one of the best-selling artists of all-time, but in “The A Team” he also wrote an incredibly moving song, highlighting the plight of those living on the streets with nowhere to go, no safety net and no-one to look after them.
Not that he’ll be all that impressed by this accolade from me among the hundreds of others he has…but on the strength of “The A Team” alone, Ed Sheeran would win a place on my list of artists who defined the music industry in the 2010s…
(On Spotify here, if you prefer…https://open.spotify.com/track/1VdZ0vKfR5jneCmWIUAMxK )
6 — Tony Bennett
You might not have immediately expected to find Tony Bennett on this list, but he made a major contribution to the music industry in the 2010s.
What he did was keep some of the greatest songs of the 20th Century alive so a new generation could discover the wonderful talents of my songwriting heroes — people like Cole Porter, Jerome Kern, Harold Arlen, Johnny Mercer, George and Ira Gershwin, Richard Rogers and Lorenz Hart.
Tony Bennett started on this journey back in 2006 when he released “Duets: An American Classic”, but that’s obviously the wrong decade for this listing.
However “Duets II” came along in 2011, putting him firmly in the frame for our review of the 2010s.
“Duets II” included a duet with Lady Gaga on “The Lady Is A Tramp” which must have been a lot of fun to record…at least, it certainly sounds like it…because a couple of years later Tony Bennett recorded an entire album of duets with Lady Gaga called “Cheek To Cheek”.
“Cheek To Cheek” was also packed full of classics like Cole Porter’s “Anything Goes” and a particularly barnstorming version of Duke Ellington’s “It Don’t Mean A Thing (If It Ain’t Got That Swing)”.
And the good news, for me at least, is that finding a way to highlight the impact of Tony Bennett on the music industry of the 2010s means I’ve got a great excuse to link to a song by my all-time favourite lyricist, Lorenz Hart.
Lady Gaga’s light, playful style on Rogers and Hart’s “The Lady Is A Tramp” is a joy to listen to, and really captures the spirit of Lorenz Hart’s wonderfully humorous, yet satirical, approach to writing lyrics.
And, of course, Tony Bennett really brings “The Lady Is A Tramp” together to reinvent a genuine classic for the 2010s. (There’s a longer article on “The Lady Is A Tramp” here, if you’re interested.)
(On Spotify here, if you prefer…https://open.spotify.com/track/6ZsKRsnPsdZvXfqqE6bTPy )
7 — Mark Ronson
Someone I follow on Twitter for work once said something to the effect that you could record the sound of someone chasing a goat round a field dragging behind it a long piece of string tied to dozens of empty tin cans and give the tape to Mark Ronson who, within an hour or two, would have remixed it into a hit record.
That’s a great description of an immensely talented and, possibly more importantly, very humble songwriter and record producer.
Of course I loved Mark Ronson’s work with Amy Winehouse. She wrote the songs but Mark Ronson and Salaam Remi produced them. “Back To Black” is one of my favourite albums of all time.
Originally released in 2006, “Back To Black” underwent a revival in the wake of Amy Winehouse’s tragic passing (gulp…nearly a decade ago) back in 2011. So if I really put my mind to it, I could probably shoehorn Mark Ronson into the list on the strength of that alone.
However there’s no need. Although Mark Ronson speaks very fondly and tenderly of his time with Amy Winehouse and his genuine admiration for her talents and her humanity, he’s done other great things since “Back To Black”.
He’s moved into country music…or perhaps more accurately country-influenced music…with Miley Cyrus in “Nothing Breaks Like A Heart” which somehow musically represents the hole in your soul that’s created when someone walks out on you. It chills me to the core every time I hear it. (Longer article here if you’d like to check it out.)
Mark Ronson’s place on this list is not for “Nothing Breaks Like A Heart” though.
Back in the 2000s, with Amy Winehouse, Mark Ronson reinvented 1960s soul so effortlessly, you could easily forget “Back To Black” came out long after after the turn of the new millennium. During the 2010s, Mark Ronson showed this wasn’t a fluke when he reinvented 1970s funk to exactly the same high standards.
Yes, the record I’m referring to is the worldwide multi-platinum Number One “Uptown Funk”.
Some people say “Uptown Funk” has been played so often in the last few years they’ve grown a little weary of it. Frankly I’d listen to “Uptown Funk” every day if I could…I’ve listened to it three times just putting this article together, and enjoyed it every time.
Bruno Mars does a great job on the vocals and the music video is something else, not least for Mark Ronson’s slightly awkward presence perched on the bonnet of a slow-moving Lincoln while a team of sharp dancers and great movers, led by Bruno Mars, move around him. (I have a feeling that Mark Ronson may be about as good a dancer as I am — possibly the only attribute we share…)
The record is packed with great musicianship — “Uptown Funk” is so much more than a slick music video — with the best brass section I’ve heard for quite some time, courtesy of an inspired fusion between the musical talents of The Dap-Kings and Antibalas, moulded together under Mark Ronson’s guidance.
But let’s face it — if a thoughtful and knowledgeable composer and producer responsible for a record which went 11x platinum in the US, spent 11 weeks at Number One on the Billboard charts and is currently closing in on 4 billion YouTube views couldn’t be considered one of the decade’s defining musical acts, who could be?
Here’s Mark Ronson ft Bruno Mars with the horn-tastic “Uptown Funk”…
(On Spotify here, if you prefer…https://open.spotify.com/track/32OlwWuMpZ6b0aN2RZOeMS )
8 — Beyoncé
Like some other artists featured here, Beyoncé would probably have featured in my listing for the 2000s as well, if I’d done one ten years ago (which I didn’t…).
From her early days in Destiny’s Child, with songs like “Survivor” to one of my favourite songs of the 2000s, “Crazy In Love” (another song with a great horn section, it has to be said, albeit one sampled from a Chi-Lites track), Beyoncé has ruled the airwaves for quite some time.
However nothing Beyoncé had done previously prepared us for her 2016 album “Lemonade”.
Beyoncé laid her emotions out raw for the world to see. And she was hurting.
The hurt in “Hold Up”, the lead single from “Lemonade”, is palpable. Random acts of physical destruction aside, the music video is a smiley, relatively good humoured one. But the lyrics…especially the spoken intro…really hit home.
How many of us spend our lives questioning our self-worth, thinking “I did everything I knew how…everything I could imagine…everything I thought might please you…and still it wasn’t good enough”. When that happens often enough, we give up trying, and reconcile ourselves to a life without love.
What makes “Lemonade” so challenging, if freeing at the same time, is that maybe it gives a bit of hope to us mortals who don’t enjoy the talent, wealth and recognition that a 21st Century icon like Beyoncé does.
For those of us whose relationship history is nothing you’d wish on your worst enemy, Beyoncé speaks of precisely the same emotions we spend our lives thinking about, wishing we could be better, wishing we could find someone to hold us close and accept us for who we are.
Through “Lemonade”, I learned Beyoncé has been where I’ve been. I’m not a woman, but “Hold Up” connected directly into my soul the first time I heard it. I’m not sure I’ve ever had a musical experience quite like it.
“Lemonade” was, rightly, critically acclaimed as well as a commercial success.
And “Hold Up” was a great record…not least for the inclusion of possibly the most brilliant, and utterly unexpected, sample of all time — the plucked strings from the old Andy Williams song “Can’t Get Used To Losing You”.
To see two great songwriters of yesteryear, Doc Pomus and Mort Shuman, get a writing credit in 2016 thanks to Beyoncé and her team sampling the strings from their 1963 composition for Andy Williams was a particular source of delight for me when “Hold Up” came out.
Given the evident thought that went into structuring the “Lemonade” album, I’d be staggered if the choice of this particular sample for “Hold Up” wasn’t also Beyoncé sending a message that goes far beyond just the chance discovery of a nice bit of work on the strings.
If you’ve ever given yourself completely to someone only to discover somewhere down the line that nothing you’ve ever done has been, or ever will be, good enough for them, “Hold Up” will speak to your soul the way it spoke to mine.
So there was no way I could leave one of the best-selling artists of the 2010s off this list. An iconic performer for over 20 years, Beyoncé move beyond mere worldwide commercial success during the 2000s onto another, almost spiritual, plane during the 2010s…and we were all better for it.
Here she is with “Hold Up” (please note: parental advisory on some of the lyrics)…
(On Spotify here, if you prefer…https://open.spotify.com/track/0rzNMzZsubFcXSEh7dnem7 )
9 — Luis Fonsi
I’ve always liked Latin music even though, as I don’t speak Spanish, I’ve no idea what any of the songs are about. I just like the way Latin music makes me feel.
Not so long ago, you’d rarely hear a Latin track on mainstream radio. Pop went all R&B about 20 years ago and that genre pretty much dominates the pop music airwaves nowadays.
But that’s been changing gradually over the years. Now Latin songs, or at least Latin-infused songs, are becoming much more popular — hardly surprising, you might say, given the huge number of Spanish-speaking people in the world but, still, it’s been a long time coming.
Despite the long wait, there’s nothing more likely to get a record company switched on to a new musical genre faster than one of their competitors having a major worldwide hit with a style they’d completely overlooked up to that point.
So Luis Fonsi did the world a great service back in 2017 when he released “Despacito”. In the process, he helped the global music industry finally wake up to the possibilities for Latin music outside Spanish-speaking countries.
Luis Fonsi wrote “Despacito” along with Daddy Yankee and Erika Ender. Daddy Yankee also performed on the track.
The original Spanish version of “Despacito” did very well in traditional Latin music markets, but Luis Fonsi’s masterstroke…and the reason he’s on this list, really…was when he allowed a Justin Bieber remix of his track with some additional English lyrics.
That transformed “Despacito” from the generally overlooked Latin music section at most record companies into a “must-have” style for every record company’s catalogue.
“Despacito” went to Number One in pop charts around the world. It would go on to be the first Latin song, and only the 18th song ever, certified as a diamond record in the US, quite an accolade in itself.
I also like Luis Fonsi’s approach to life — I’m sure his artistic sensibilities have been sorely tried by Justin Bieber’s occasional attempts to reproduce the Spanish lyrics he sings on “Despacito” at a succession of live concerts. Let’s just say the results aren’t pretty.
But when I’ve heard him interviewed, Luis Fonsi always reacts kindly to having his song mangled, and excuses Justin Bieber’s lapses as someone trying to do their best in a language he doesn’t speak. He’s a lot more generous and good-natured than I suspect most of us would be in similar circumstances, and I admire Luis Fonsi for that.
So, as one of the acts which shaped the music industry in the 2010s, I offer you (to give the remix its official credit) Justin Bieber ft Luis Fonsi and Daddy Yankee with “Despacito”.
Ironically, the Justin Bieber video below only has 25m YouTube views while the original Spanish language version has over 6 billion views (you can see that video here if you’re interested).
Much as I enjoy the remix too, I don’t think anything can say “Latin music truly arrived on the global music scene in the 2010s” more than that particular statistic…all thanks to Luis Fonsi…
(On Spotify here, if you prefer…https://open.spotify.com/track/1vnnXMrBeEWiRg3YCMCjQq )
10 — Lil Nas X
If Luis Fonsi opened up the global music market for a well-established style which was already popular in Spanish-speaking markets, Lil Nas X took a completely new style nobody even knew they wanted and stormed up the pop charts around the world with “Old Town Road” in the middle of 2019.
Lil Nas X is the riskiest entry on this list. While you might disagree with some of the other entries personally, most people would accept there’s at least some justification for the selections up to this point in time. (At least, that’s what I’ve convinced myself…)
As Lil Nas X only shot to fame towards the very end of the decade, it’s hard to tell at the moment whether he’s going to become this decade’s Crazy World of Arthur Brown or blossom into the leading light of a musical genre he popularised pretty much single handed — country rap.
I quite like country music, but I’ll be the first to admit the country music industry has not exactly been stacked full of 20 year-old gay black men up till now. (Although all credit to the Country Music Association who gave Lil Nas X a CMA award — the first to an openly LGBTQ performer.)
At first, the country music industry tried to ignore Lil Nas X and pretend his record wasn’t “proper country music”. You can draw your own conclusions about why they might do that but, undaunted, Lil Nas X invited country star (and Miley’s dad) Billy Ray Cyrus to join him on a remix to make it more country-fied.
I greatly admire both Lil Nas X for asking and Billy Ray Cyrus for accepting.
Whatever the country music industry thought of “Old Town Road”, the pop charts couldn’t get enough of it. “Old Town Road” stayed at Number One in the Billboard Hot 100 for a record 19 consecutive weeks.
For his courage in standing up to the country music industry, and in doing more than his fair share of work to popularise a distinctly minority-interest musical genre…up to that point in time at least…Lil Nas X owned the latter half of 2019 in pop music charts around the world.
As the fastest record in US music history to reach diamond certification (sales of 10 million units), “Old Town Road” came out of left field and hit record industry boardrooms with the power of an 8.5 magnitude earthquake on the Richter Scale over the past few months.
Since its release here in April 2019, “Old Town Road” hasn’t been out the UK charts, 39 weeks later…and counting…
I’ll be interested to see where he goes next, but even if Lil Nas X never released another record, the magnitude of his totally unexpected impact on the music industry in 2019 means he deserves a place on this list. Here he is with Billy Ray Cyrus…
(On Spotify here, if you prefer…https://open.spotify.com/track/0F7FA14euOIX8KcbEturGH )
I hope you enjoyed this personal selection of artists who, in my opinion at least, impacted the music industry of the 2010s more than just about anybody else.
I love music because it brings people together even while so many other things in the world are driving us apart. That’s a dear and precious thing.
Whatever style of music you enjoy the most, sharing your enjoyment with others helps bring the world together. Something we could all do with a little more of at the moment.
Here’s to the 2020s…may the next 10 years bring you joy, fulfilment and, of course, plenty more great music.