The Power Rankings: July 2020 (#50 – #41)

Welcome to the inaugural entry in the Michael Johnson Power Rankings, my subjective countdown of the 50 greatest acts in music based on the admittedly vague notion of “artistic momentum”! My intention from here is to update these rankings biannually, on the 1^st of January and 1^st of July each year. I figured this would be fun and informative and will provide both myself and anyone who reads this with an opportunity to discover some great new music and great old music too, as well as tracking the glacial pace at which music acts rise and fall over many years, and the rarity with which artists powerful enough to reach the upper echelons of this poll are unseated. I very much encourage people to shout at me to ask why I did or did not include a certain artist; I will have opinions but it’s perfectly likely that I have not heard their material, and it will therefore assist me to unearth new treasures!

I only applied one cast-iron rule, which was that an artist should have at least two studio albums (or “equivalent”) to their name to be eligible for inclusion. For example, this meant that artists who released debut albums which ranked among the finest records of 2019, such as Dave and Billie Eilish, are not included here. Another factor which is not a rule as such but came into consideration for me was that the longer an act has gone without making a definitive statement, the less likely they were to make this list, which eliminated some outstanding acts such as Joanna Newsom, Daft Punk and Sigur Rós. Otherwise, an act which has gone several years without a release but which I consider highly significant may rank well above a prolific artist with a great but less engaging catalogue; it is largely arbitrary and adheres to my taste, which is why I welcome any questions!

Music fanatics will know how hard it was to leave many incredible artists and performers off this list. Not everyone could make it, but there are troves of stunning music across the careers of all of the acts below, not least in the 100 albums mentioned as recommendations! All things being well, this will be the first time of many that I do this. I already know that you can expect change in January 2021, but for now, I hope you enjoy reading!

50. Drake

Many critics allege Drake sounds tired, but he always has. On the MJ-cannibalising quarantine smash “Toosie Slide”, with the laziest ever novelty dance, he sounds dead behind the eyes, but is the same icon of an overly-medicated, inherently sad generation long embodying bleary assimilation into capitalist exuberance as captured in Mark Fisher’s immortal review of his 2013 masterstroke “Nothing Was The Same”. k-punk is gone, but Drake is still trying to tell us things.

Most recent: “Dark Lane Demo Tapes” (2020)

You’ll also need to hear this: “Nothing Was The Same” (2013)

Most recent: “Tranquility Base Hotel & Casino” (2018)

You’ll also need to hear this: “Whatever People Say I Am, That’s What I’m Not” (2006)

48. Shabaka Hutchings

Rapidly becoming an icon of UK jazz and reviving the canonical Impulse! label, saxophonist Shabaka Hutchings has set the scene ablaze with Sons Of Kemet’s “Your Queen Is A Reptile” (2018), a record which channels the spirit, energy and defiance of punk and metal through jazz, The Comet Is Coming’s “Trust In The Lifeforce Of The Deep Mystery” (2019), a progressive tour-de-force, and now Shabaka & The Ancestors’ “We Are Sent Here By History” (2020), a marvellously accomplished record. Anything he now commits to tape is a must-hear.

Most recent: “We Are Sent Here By History” (2020)

You’ll also need to hear this: “Your Queen Is A Reptile” (2018)

47. JME

After 2019, the finest year in the history of British hip hop, this list would be simply incomplete without a leading light of the scene on it. Although his brother Skepta has become the genre’s elder statesman either side of the Atlantic, JME marginally has the better albums. 2015’s “Integrity>” may be the best ever British hip hop record and 2019 follow-up “Grime MC” is equally weighty from an artist who prizes authenticity and faithfulness to oneself above all else.

Most recent: “Grime MC” (2019)

You’ll also need to hear this: “Integrity>” (2015)

46. Insomnium

The Finnish outfit have no peer when it comes to the melodic death metal sub-genre. By this point, with the addition of “Heart Like A Grave” (2019), they have amassed a portfolio of albums to rival any. Theirs is one of the most emotional listens in metal, typified by cascades of tearful, lamenting guitar melody, sweeping stardust bridges and chugging power chord breakdowns laced expertly together. The secret is in the weight of feeling always counterbalancing the heaviness of sound.

Most recent: “Heart Like A Grave” (2019)

You’ll also need to hear this: “Above The Weeping World” (2006)

45. The xx

Possibly nothing influenced British music more in the 2010s than The xx’s jaw-dropping debut “xx” (2009), part of a rich lineage of UK guitar music debuts which arrived from the womb primed to shift psychic earth. The influence of their mercurial texture stretched far beyond rock, not least because it simply sounded amazing. Despite only three albums in 11 years, the trio remain essential listening as their glistening, serpentine indie takes on new colours and shades. It doesn’t hurt that Jamie xx doubles as one of the most exciting electronic artists out.

Most recent: “I See You” (2017)

You’ll also need to hear this: “xx” (2009)

44. Beach House

The Baltimore, Maryland dream pop auteurs may have numerous touchstones, but have unmistakably carved their own name into the heritage of the genre. “Teen Dream” (2010), “Bloom” (2012) and “Depression Cherry” (2015) is their classic trilogy but they continue to progress steadily; by 2018’s “7” they have more gorgeous, blissed-out numbers than you can shake a Flake 99 at (because this is aural ice cream!) and an intriguing career-long storyline regarding how percussion (the band has no official drummer) has driven their songwriting.

Most recent: “7” (2018)

You’ll also need to hear this: “Teen Dream” (2010)

43. Flying Lotus

FlyLo has long turned heads as an electronic artist breaking into new territory and has done a similar service for contemporary jazz, which has always defined the leanings of his material, reflective of his familial ties to the Coltranes. His artistic relationship with bass guitarist extraordinaire Thundercat puts him at the centre of the Los Angeles sound. His latest, 2019’s “Flamagra”, is a sprawling, diverse and jam-packed record buoyed by the character FlyLo has always brought behind the boards.

Most recent: “Flamagra” (2019)

You’ll also need to hear this: “Cosmogramma” (2010)

42. Freddie Gibbs

Gibbs is one of hip hop’s most overlooked talents, despite elucidating some of the most dexterous, velveteen rhymes in the game. The most concretely-realised amalgamations of his abilities are two albums with legendary producer Madlib, the modern crime classics “Piñata” (2014) and “Bandana” (2019), both displaying relentless lyrical talent. Gibbs just hooked up with another veteran in The Alchemist for “Alfredo”, and now possesses an enviable legacy playbook.

Most recent: “Alfredo” (2020)

You’ll also need to hear this: “Piñata” (2014)

41. Christine & The Queens

Héloïse Letissier is building an army of followers on the back of two glorious pop albums and a new EP, all bearing theatrical, bungee-jumping melodies, beats which are equal parts arty and danceable and lyrics which match Letissier’s vocals in their penchant for taking oblique turns. With an arena-sized ambition which always brings the spectacle and performative flair of her live show to a track, as well as growing mainstream acclaim, we can expect Christine & The Queens to ascend to far greater heights yet.

Most recent: “Chris” (2018)

You’ll also need to hear this: “Chaleur Humaine” (2014)