![]() Neither of these two broadly generalized straw-man caricatures bear much holistic resemblance to the reality of a crowd that was A) surprisingly rowdy, and B) at the very least always head-bobbingly engaged, but you can blame both on the thousands of new listeners brought on by the band’s last LP, 2018’s Wide Awake. Viewed less charitably, one could also see a band in the throes of artistic uncertainty, belly-flopping on-stage following the chilly reception to their first album in three years – the proven Spotify hits careening into the low applause zone that followed nearly every new song. Observing from the most undiscriminating angle, you could perceive last night – the final show of a sold out tour and homecoming for a group three-fourths composed of Texas expatriates – as the self-conscious climax to nearly a decade of mounting word of mouth, the four piece finally nodding towards their upward arc of underdog excellence and staking a claim as one of the 2010’s few inarguable big-ticket indie acts (alongside Big Thief, one of the last to hail from the once fruitful hipster harbor of Brooklyn). When the Courts returned Friday to headline, greeted by a diverse crowd who, God bless em, at least *attempted* to chant alongside Andrew Savage’s imposingly logorrheic lyrics, the significance was clear: across a field of strong competitors, Parquet Courts has emerged as the humble proletarian’s choice in intellectually obtuse monologue-rock. Perhaps you remember Ty he’s the basement-psych hobbyist whose entire musical-catalog wobbles back and forth between the same G and D major chords. (Photo by Jacob Dapper last time Parquet Courts filled Stubb’s Amphitheater with their brand of shouty, shuffle-punk pantomime – call it “human performance,” to borrow the name of the band’s best album – they were playing opening act for Ty Segall as part of the 2019 Levitation Festival. But if they first debuted on or topped the charts in 2003 - like t.A.T.u.’s “All the Things She Said,” Coldplay’s “Clocks” or B2K’s “Bump, Bump, Bump” - we’ll commemorate their 20th next year.Ĭheck out our list below - with a Spotify playlist here of all 100 songs - and get ready to lose yourself in the music of the year where the ’00s officially became the ’00s.Parquet Courts performing at Stubb's on Friday night. Aside from singles that were released in 2002, songs were counted as being from ’02 if they debuted on the Billboard charts (or if they hit No. First, though, our list of the year’s 100 greatest songs - a mix of enduring classics, forgotten gems, and loveable one-offs that simply couldn’t have happened at any other moment in pop history. This week, we’re flashing back to a defining year in 21st century popular music with a number of 2002-themed articles to be found on, detailing some of the most compelling stories of that pivotal period. family were simply on top of the world, a commercial peak that wouldn’t last too long beyond 2002 - thanks in part to a feud with another ascendant New York star, whose own mainstream rise begin in earnest that year - but which defined the period as much as anyone. ![]() And Ja Rule, Ashanti and the whole Murder, Inc. The Neptunes, already riding a long winning streak of total pop ubiquity, had their biggest run ever, with both the biggest top 40 crossover hit and most acclaimed street banger of the summer to their credit. Missy Elliott and Timbaland had some of their biggest hits yet going back to the future, both via their own teamups and through work with other kindred hip-hop and R&B spirits. Eminem pushed his superstardom into multi-platform territory, officially becoming music’s biggest household mononym since MTV’s early years. Meanwhile, old rock and country icons found new vitality reinventing themselves for the 21st century - a couple from beyond the grave, even.īut the biggest music story of 2002 was of rap cementing its status as the most essential genre of the decade. Emo grew into a truly mainstream concern, while the supposed New Rock Revolution (much hyped the previous year) also finally exploded on radio and video stateside, and the clubbier side of the New York underground merged the indie and dance worlds in ways that would have long-lasting reverberations. The teen-pop explosion of the late-’90s was officially over, with its original stars matured and the mainstream’s hottest new up-and-comers sounding more at home soundtracking malls and minivans than TRL. The popular music of the ’00s found its center in 2002.
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