#16 on the 2025 Bacon Top 31 — Florence + the Machine

January 16, 2026 by Royal Stuart in 2025, Top 31

Everybody Scream by Florence + the Machine

In the immortal words of our Queen Bey, who run the world? Girls do, of course. And despite my best efforts to try and ignore the artist at #16, Florence Welch and her band The Machine have been in the ruling class for the better part of two decades. It took six albums, but I’m finally here to pay homage to one of the greats.

Florence + the Machine have been making music since 2007. Of the eight musicians in the band, four of them (Florence Welch – the primary songwriter of the band – on lead vocals, Isabella Summers on keyboards, Robert Ackroyd on lead guitar, and Tom Monger on harp) have been together for all 19 of those years. The other four (Cyrus Bayandor on bass, Aku Orraca-Tetteh on percussion, Dionne Douglas on violin, and Loren Humphrey on drums) joined the band in 2018.

The band released their debut album, Lungs, in 2009, which went to #1 in the UK and Poland, and #14 in the US, selling over 3 million copies globally on the strength of singles “Kiss With a Fist” and “Dog Days Are Over.” They were also given the British Album of the Year award that year at the Brit Awards. All worthy accolades. The band released four albums over the next 12 years, landing at #1 or 2 in the UK and within the top 10 each year in the US – amazing feats. And I still didn’t pay close attention.

In the time between their fifth album, Dance Fever, in 2022 and this latest in 2025, Welch made a high-profile guest appearance on what I would call the best song on Taylor Swift’s (#29 this year, and #4 in 2020) lackluster 2024 album Tortured Poets Department, “Florida!!!.” She even performed its anthemic, triple-exclamation-point worthy chorus on stage with Swift at Wembley Stadium during an October 2024 stop on the Eras Tour.¹ Because I live with a couple of Swifties, this meant for a brief time Florence’s voice could be heard throughout my house.

One of the main drivers of The Bacon Review early on was to share music videos. As a child of the 80s, and a designer by trade, I have a deep affinity for the visual forms that music can take. And that is how this album, Everybody Scream, Florence’s sixth, found its way to the front of my playlists in 2025: through a video. I stumbled across the video for “One of the Greats” (featured above), and was enthralled. It features Florence, 39, in the back of an old whale of a car, white leather and polished wood finishes. She’s wearing wayfarers, a black velvet suit jacket over a white button-down, and holding an unlit cigarette, giving a strong Patti Smith vibe, as if she’s on her way home from the shoot for the cover of Smith’s 1975 album Horses. The car is moving forward, with remnants of a recent rain splashed on the windows, and streetlights moving slowly by, while Florence lip syncs to the lyrics. The song is over six minutes long, and the video is done all in one take, locked on Florence and her flowing red mane.

The song is a slow burn that builds, not to a towering crescendo like a lot of F+tM’s songs do, but to a mild cacophony that disintegrates into madness at the end. Welch performed the song once in the studio, with IDLES (#16 in 2024) guitarist Mark Bowen taking lead guitar, performing alongside her during that one take. The song also features guitar and production from Aaron Dessner (he of The National and Big Red Machine, who has been featured on the Top 31 so many times I should probably try running for president of the Aaron Dessner fanclub). The song won me over instantly – the entire package: the video, Florence, Bowen and Dessner.

The video itself was directed by Autumn de Wilde, whose work I’ve been loving for a long while (check out her video for “Once In My Life,” the Decemberists song for their #14 in 2018 album I’ll Be Your Girl). Unbeknownst to me, De Wilde has had a long partnership with F+tM, having directed five videos for the band from their previous two albums.²

That partnership carried into Everybody Scream, starting with a great little teaser called “Bury a Scream” that was released a couple months prior to the album release. Then came the title song, “Everybody Scream.” That, and “Buckle” both feature Top 31 regular Mitski (#9 in 2023, #18 in 2022, and #24 in 2016) on backing vocals. “Sympathy Magic” rounds out the videos de Wilde has made for this album, and goes so far as to feature Welch naked at the beginning of the video (meaning, it’s mildly NSFW).

Bowen and Dessner combine with Welch to take production credits for the entire album. So, what I like about the songs in the videos above stretches across the entire length of the album. “Drink Deep,” is particularly good, with Welch’s drawn out vibrato, evokes another powerful female voice: Cocteau Twins’ Elizabeth Fraser, from This Mortal Coil’s cover of Tim Buckley’s “Song to the Siren.” Fraser is one of many voices with whom you can call Welch’s ancestry. You’ll hear odes to Janis, Stevie, Tori, PJ, Fiona, and Sharon throughout.

Who doesn’t love a great and powerful female lead? Don’t let this album slip past you – it’s a swift kick in the gut mixed with the unsettling warmth of a house fire. I’m now a committed Florence + the Machine stan, and I can’t wait to hear what they do next.

^{1. Welch also sang drowned-out background harmonies on The Weeknd’s “Reflections Laughing,” from his 2025 album Hurry Up Tomorrow, which also featured rapper Travis Scott. It’s such a minimal appearance, it barely begs mentioning at all.↩}
^{2. De Wilde directed “Big God” from 2018’s High as Hope, and “King,” “Heaven is Free,” “My Love,” and “Free from 2022’s Dance Fever. That last one, “Free,” is fun, starring Bill Nighy alongside Welch as her anxiety come to life.↩}

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#17 on the 2024 Bacon Top 31 — Nilüfer Yanya

January 15, 2025 by Royal Stuart in Top 31, 2024

My Method Actor by Nilüfer Yanya

I remember seeing the artist at #17 – London, England’s Nilüfer Yanya – back in 2019 when she was promoting her debut album, Miss Universe, by opening for Sharon van Etten’s national tour. Yanya made quite the impression on van Etten to ask her to open the tour, and on the crowd in attendance. It’s not an easy feat to open for a powerhouse like van Etten, but Yanya filled the spot easily.

Because of that performance, I’ve been tracking her career for five years, and I’m so glad to report that the strength of that opening act five years ago is finally translating to a recorded version that has ascended to a place on the Top 31. My Method Actor, Yanya’s third album, is fantastic. Her sound falls into the quieter side of Sharon van Etten, or somewhere alongside Mitski. Not as pop-y as Japanese Breakfast, and also not as unexpected as Naima Bock back at #23, My Method Actor is a perfect gem of an album.

Yanya, born to an Irish/Barbadian mother and Turkish father, was (according to Wikipedia) named after a Turkish pop singer from the 90s who went by the singular “Nilüfer.” Turkish and classical music were the most common sounds that Yanya grew up with, and she is apparently starting to embrace her Turkish heritage even more by learning the language.

My Method Actor was produced by Yanya’s longtime production partner Will Archer, who cowrote the songs and plays nearly every instrument on the record. Yanya’s voice is often doubled throughout the album, to give her a more full sound. “Like I Say (I runaway)” (featured above) is my favorite track on the album, evoking St. Vincent in its rhythm and loud treatment of the chorus. Yanya has released a couple other videos for the album: the title song “Method Actor” and the lovely acoustic-guitar driven “Just a Western.”

If you’re a fan of any of the strong female voices I’ve mentioned above, then you need to be listening to Nilüfer Yanya. Much like Doechii from yesterday, I suspect Yanya is just getting started. I’m excited to hear where she takes us next.

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#9 on the 2023 Bacon Top 31 — Mitski

January 23, 2024 by Royal Stuart in Top 31

The Land Is Inhospitable and So Are We by Mitski

Mitsuki Miyawaki, aka Mitski, had an eventful 18 months after the release of her sixth album, Lauren Hell. She had her first chart topper, when her song “The Only Heartbreaker” from that seminal 2022 album hit No. 1 on Billboard’s Adult Alternative Songs chart in March 2022. She continued to struggle internally with everything that comes from being famous. She co-wrote a song with David Byrne (#15 in 2012) and Son Lux (#17 in 2013) for the soundtrack to the best movie of 2022, Everything Everywhere All at Once. She got nominated for an Academy Award for said song. She chose not to perform the song during the ceremony, likely related to the previously mentioned inner turmoil related to being potentially even more famous¹. She and Byrne and Son Lux did not win an Oscar for said song, despite the movie taking home nine other academy awards. And she found the time to record her best album yet, her seventh, called The Land Is Inhospitable and So Are We.

Miyawaki’s voice and tone remain unchanged on the new album, but everything around it has been beefed up. Subdued are the electronic-pop intonations of Hell, replaced by the warm embrace of a Mitski-led 17-person choir, along with a full orchestra conducted by none other than Drew Erickson, who arranged the big band feel of Father John Misty’s Chloë and the Next 20th Century (#9 last year) and the fantastic strings in Weyes Blood’s And in the Darkness, Hearts Aglow, (also last year, at #25). This album has a majesty unlike anything Mitski’s done before. Check out the choir, as featured in the video above, for the song “Bug Like an Angel.” The only other song she’s released a video for from this album is “My Love Mine All Mine,” a shorter, non-choral song reminiscent of a number of Father John Misty’s recent songs.

On my past two reviews of Mitski’s albums, Lauren Hell at (#18 last year), and her fourth album, Puberty 2 at #24 in 2016,² I’ve written a lot about how it’s taken me a long time to understand Mitski. “Understand” is probably not the right word – I can feel like I know where she’s coming from with her songs and what she puts out in the world, but I can’t really say I know her, let along “understand” her. But my brain has finally caught up to her music. She was so far out ahead of me, I couldn’t see her past the horizon. I’m still behind her now, but I’m no longer losing ground. Here’s to hoping she comes through town when I’m available to see her in all her gory. In the mean time, I’ll keep Inhospitable on repeat.

^{1. Stephanie Hsu, the young actress who performed in the movie and was nominated for an academy award as well, performed in Mitski’s stead.↩}
^{2. I’ll never be able to forgive myself for being so disconnected as to not even put her genre-defining fifth album, Be The Cowboy, in the Top 31 of 2018.↩}

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#18 on the 2022 Bacon Top 31 — Mitski

January 14, 2023 by Royal Stuart in Top 31

Laurel Hell by Mitski

Mitski Miyawaki, who writes and performs under her first name, Mitski, quit music in 2019. Shortly after her critically-acclaimed fifth album Be The Cowboy entered the mainstream, at the final show of her tour supporting that album, she announced to the crowd that it would be her last show indefinitely, and she meant it. “I was thinking this was the last show I would perform ever, and then I would quit and find another life,” she told Rolling Stone when looking back at that time in the build up to the February 2022 release of her wonderful sixth album, Lauren Hell. Her triumphant return, in more ways than one.

Lauren Hell was not a return to form or an unexpected surprise to me — it was the catalyst to finally understanding Mitski and her music. Despite placing her fourth album, Puberty 2, at #24 in 2016, I’ve never really connected with Mitski before. Her fifth album, the one that got her so much popularity that she had to sever all ties from the music world “indefinitely” barely hit my radar in 2018. I think I probably listened to it only once, maybe twice, never to be heard again. Even in the build up to this year’s list, with Lauren Hell, — similar to Big Thief at #24 this year — I knew I should like it, and I tried a few times but it just didn’t click.

Then I compiled the 2022 list towards the end of the year, as I do every year. I took a stab at where things would likely land, and this album was somewhere in the upper 20s. But in the day or two before I was to write about it, like I do every album on the list, I played the album a few times back to back to back. This time, the light bulb turned on. This was not a bottom-of-the-list album, it was better than that. So I shuffled things around. I didn’t push it too far up – I’m not crazy enough to think it’s better than 17 other albums from 2022 – but where each album is placed is meaningful to me, and having this album fall in the middle of the list is saying something. This album is great.

The songs of Lauren Hell are predictable in the best way possible. They start off quieter, they swell to a crescendo in the middle, and then they fall slowly at the end. They’re approachable, and impeccably crafted indie pop. She carries the torch first lit by Kate Bush, carried forward by Tori Amos, and most recently hoisted up by St. Vincent (2009 #24, 2012 #15 with David Byrne,2017 #27).

Mitski conveys a little bit of “off-kilter” similar to those artists in her videos as well. Watch “Love Me More” above, as well as “Working for the Knife” and “Stay Soft,” and you’ll find a performer fully invested in themselves and without shame. She continually puts herself in strange and unusual positions that are fantastic to watch while listening to her beautiful constructions. I didn’t sit with them to try and sort out the deeper meaning, but I’m convinced it’s there. Let me know if you find it. I’ll be over here listening to the album and trying to sort out what’s taken me so long to get to where the rest of you have been all along.

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19. Full Moon Project by Phosphorescent
20. Skinty Fia by Fontaines D.C.
21. I Love You Jennifer B by Jockstrap
22. Too Much to Ask by Cheekface
23. Dripfield by Goose
24. Dragon New Warm Mountain I Believe In You by Big Thief
25. And In The Darkness, Hearts Aglow by Weyes Blood
26. NOT TiGHT by DOMi & JD BECK
27. Preacher’s Daughter by Ethel Cain
28. Live at KEXP, vol. 10 by Various Artists
29. All You Need Is Time by Daisy the Great
30. Cool It Down by Yeah Yeah Yeahs
31. CAPRISONGS by FKA twigs

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#24 on the 2018 Bacon Top 31 — Noname

January 08, 2019 by Royal Stuart

Room 25 by Noname

I’ve spoken before about the distinct lack of gender parity within my musical tastes; I’ve never had more than ten woman-led acts on any Top 31. And gender is not the only place where the Bacon Review lacks diversity. Without doing a formal count, it looks like I’ve not had more than 20 non-white acts within the entire 10-year run of the Bacon Top 31. Not just in one year, but in all years, combined. The Venn diagram between those two minority representations within the Top 31 is consequently miniscule: I count six women of color across all past Top 31s — Sharon Jones (R.I.P.), Mitski, Grace Love, Beyoncé, FKA Twigs, and Brittany Howard of Alabama Shakes.

For the last few years, I’ve been pushing my musical boundaries, embracing albums that might never have made it into my purview 10, 15, 20 years ago. Enter Chicago’s Fatimah Nyeema Warner, better known by her stage name Noname. Female, African-American, jazz and neo-soul fueled rap is nowhere near my comfort zone. And yet, here we are.

While Room 25 is Warner’s debut, the word “debut” is dubious here. She’s been on the scene since 2013, when she appeared on the second mixtape from Chance the Rapper (whose own 2016 mixtape, Coloring Book, would definitely have been on the Top 31 that year had I only heard it in time — when listening outside of my comfort zone, it can take a little bit longer for the music to reach my ears). Since then, Warner made guest appearances on many people’s own albums, and released her own mixtape in 2016 that I have yet to hear.

Regardless of your musical proclivities, there’s something for everyone on this album. If you’re reading this and you’re a friend of mine, then it’s probably not something you’d normally listen to. But give it a shot — I think you’ll be pleasantly surprised.

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25. WARM by Jeff Tweedy
26. God's Favorite Customer by Father John Misty
27. Vessel by Frankie Cosmos
28. For Ever by Jungle
29. Twerp Verse by Speedy Ortiz
30. Remain in Light by Angélique Kidjo
31. This One’s for the Dancer & This One’s for the Dancer’s Bouquet by Moonface

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#24 on the 2016 Bacon Top 31

December 08, 2016 by Royal Stuart

Puberty 2 by Mitski

The album at #24, by the singularly-named woman, Mitski, sounds familiar and unique all at once. In her voice you can hear traces of other powerful singers like St. Vincent, Liz Phair, or Sharon van Etten. Her music, well- but not overly-produced, is a fluid blend of electronic and analog instruments, quiet and then pushed at times to the edge of breaking. Puberty 2 is her fourth album, and this is the only one I’ve listened to, but I aim to hear the others.

I don’t tend to hear the lyrics I’m listening to, the voice tending to be more like another instrument, and Puberty 2 is no different. She could be singing about death and destruction, or happiness and joy, and I’d be none the wiser. But that’s, again, part of the beauty. She’s a half Japanese, half American female Jónsi, leading her own New York-based Sigur Ros.

There. I think I’ve thrown enough confusion at you to spark some interest. Now go listen, won’t you?

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25. Light Upon the Lake by Whitney
26. A Corpse Wired for Sound by Merchandise
27. Away by Okkervil River
28. case/lang/veirs by case/lang/veirs
29. Love Letter for Fire by Sam Beam & Jesca Hoop
30. Barbara Barbara, We Face a Shining Future by Underworld
31. Preoccupations by Preoccupations