Writing something people want to stream one billion times is inconceivable for most of us. But then, most of us aren't Rock and Roll Hall of Famer Daryl Hall. Alongside John Oates, he is behind some of the greatest pop songs of all time: "Maneater"; "She's Gone; "Out of Touch"; "Rich Girl"; "I Can't Go For That (No Can Do)"; and of course, the billion-stream masterpiece that is "You Make My Dreams".

The debut album by Australian-Ghanaian artist Genesis Owusu is so musically restless it’s exhilarating. What’s clear is this guy doesn’t want to be placed in a box, marked hip hop or anything else. Over a wild variety of music, he adopts multiple vocal styles, reminding of beatbox genius Reggie Watts (most especially his recent Wajatta project with John Tejada).

Best known for winning Sweden's version of Got Talent, at the tender age of 10, Zara Larsson is a shining example of a prodigious young female talent being groomed by the music industry into the perfect pop icon.

Over the course of seven albums and nearly two decades, Kings of Leon have gone from spiky, short bursts of adrenaline-fuelled garage rock to swollen stadium pomp, full of big builds and grandiose gestures.

Theartsdesk is a labour of love. Bloody-mindedly run as a co-operative of journalists from the beginning, our obsession with maintaining a daily-updated platform for good culture writing has caused a good few grey and lost hairs over the years. But it has also been rewarding – and looking back over the 10 years of Disc of the Day reviews has been a good chance to remind ourselves of that. 

Mathieu Boogaerts has been recording since the mid 1990s, emerging from the nouvelle chanson scene in Paris, a chansonnier who’s performed at the likes of Cafe Oto over here, while establishing himself as a star turn on the Tôt ou Tard label in France, mixing Afro-pop and reggae as well as indie elec

It’s difficult to know where to start with Sia’s Music. The album is billed as a collection of songs “from and inspired by” the film of the same name – so not a soundtrack, except for when it is.

Dropped a month into the year’s first lockdown, Laura Marling’s seventh album landed like a soothing tonic to an odd and chaotic time. The stripped back production had an air of loneliness, yet the vocals were effervescent and soothing. The profoundly insightful lyrics of Songs For Our Daughter and Marling’s confident solitude was like a foreboding of how 2020 was to unfold.

It’s become something of an end-of-year list cliché to say that 2020 has been a great year for music despite being a catastrophic shitstorm when judged by any other metric you care to mention.

“Ah!” says 2020, “but clichés are clichés because they’re true,” and sits back smugly, arms folded, conveniently forgetting that this is a cliché in itself and so leading us into a whirlwind of circular reasoning. That’s just so 2020, right?

Gary Barlow’s Music Played By Humans is, in all but name, a Christmas album. Mixing big-band jazz, Latin and pop, it’s an assortment box of bubbly, broad-based business bangers deployed by the Take That veteran with help from a host of showbiz pals.