We’ve added songs, both old and new, but we’ve also shaken up the entire list to reflect our evolving taste as well as the durability of some songs over others. Now seems like the perfect time to dust off our record players and celebrate that most enduring of genres-even if it’s just in the privacy of our own homes. So it’s ironic that Billboard has paused publication of its club play tally for the first time in almost 50 years due to the coronavirus pandemic. More than a few gems emerged from the rush, though, including a handful of instant classics: Robyn’s “Dancing on My Own,” Rihanna and Calvin Harris’s “We Found Love,” and Hercules and Love Affair’s “Blind” among them.Įventually, the EDM bubble burst, but dance music seems to be on the upswing yet again, with disco throwbacks like Dua Lipa’s “Don’t Start Now” and Doja Cat’s “Say So” bumping and grinding their way to the top of the charts. Just a few years later, EDM exploded, with artists like David Guetta dominating pop radio with garish bangers more interested in pounding you into submission than luring you to the dance floor. But we lamented the apparent slow death of dance music’s popularity while holding out hope for its inevitable revival.īe careful what you wish for. Of course, hip-hop can be traced directly back to ‘70s funk and disco, and the origins of dance are firmly rooted in black music-a circle that’s impossible to dismiss. The Red Sox aren’t blasting the piano ballad, of course, but rather a more danceable remix by Tiësto.When we published the original iteration of this list back in 2006, dance music had been pushed unceremoniously underground, relegated to discotheques and niche radio stations that were increasingly incorporating hip-hop into their playlists. “I know ‘Dancing on My Own’ isn’t my song, it’s a privilege to sing it and to have released an interpretation of it but I maintain that Robyn and Patrick Berger are the masterminds behind this song and I wouldn’t for a second try and convince people otherwise.” But even he has tweeted about making sure everyone know Robyn gets the credit for writing such a flawless tune: That’s not to disparage Scott, who’s obviously very talented. Radio programmers and DJs everywhere, when you’re tempted to play the ‘acoustic’ version: don’t. But they pale into insignificance against the pure power and majesty of the original recording. “I’m not a monster the song itself is clearly so great that a piano version, whether performed by Robyn or Callum Scott, is still going to be a good version. Which only makes it all the more baffling that a maudlin piano cover by former Britain’s Got Talent contestant Calum Scott is doing much, much better than the original.”ĭabe Fawbert later explained, from a technical standpoint, why the song should always have a relentless electronic bass synth rather than a stripped-down piano ( via Shortlist): It’s a universal, arms-aloft-in-cathartic-release masterpiece for all occasions. It’s the ideal tears-on-the-dancefloor anthem, primed for lights up at the end of the night – but also suitable for a long train journey, a lonely walk in the rain, in the shower, on the way to the gym, while you’re cleaning the house, or at a karaoke bar with a shit Tinder date. Her sweet-tinged vocal is perfectly balanced against the thrumming tension of the beat. Grace Medford wrote about why the “miserable, faux-ballad shadow over a well-crafted pop song” is so cringe-worthy ( via VICE UK): If you take away the danceable music from it and just make it a melancholy sob story, you take away the very essence of its beauty.
Robyn’s song was made for people to cry to it at the club.
While I’ll save the music criticism for the more seasoned music critics, much of the critique is more than fair. Last year, Robyn said that Calum’s twist “made the song come alive again” and that she was “pleased” that it helped more people learn about her music.īut his recording of the song wasn’t without its own problems. Later, when Scott and Robyn finally met in December 2018, he said that he “ couldn’t tell her enough” about how a song she had written had totally changed his life. For at least a year and a half after he released his cover, however, he had no idea how she felt about it.
He has said that he reached out to Robyn several times to ask what she thought.
Scott’s interpretation of the track kickstarted the success of his career, though he was always curious what the original artist thought.
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