By Ben Madden | @benmaddentweets
Ah, the Hottest 100. The one day of the year that you can prove to your friends how much more musically knowledgeable you are than them by claiming that every band in there should have been replaced by *insert band with 2 songs and 700 Facebook likes here*. In years past, I’ve spent time with my friends glued to the radio, growing more and more annoyed that my favourite song wasn’t getting in. With the recent debate about changing the date of the Hottest 100 (New Year’s Day, anyone?), as well as my tastes changing, I can’t exactly say I was looking forward to the countdown. Did it exceed expectations?
The thing about the Hottest 100 is it’s very easy to predict. Flume winning was almost as big a certainty as Dangerfield’s Brownlow last year (and probably paying the same at a TAB). There are a few certainties in life. Death, taxes, and Violent Soho getting half their album into the Hottest 100. However, that would be the case even if they got one song in, as the sound barely changes from song to song. That isn’t to say I was totally disappointed. The Avalanches are back, and hopefully it won’t be 16 years till they release music again, by which time I fully expect all music to be made by robots.
There’s one major positive to come out of the Hottest 100 this year, though, and that is the top 3. While Amy Shark couldn’t take out the gong, it was positive that the top 3 songs all featured/were written by a female, especially for a countdown famously known for having more winners from St Kevin’s high school than from the entire female population. The Triple J demographic at least got that part right.
I must admit, a lot of amazing Australian music came out this year. Cub Sport, Ceres, the aforementioned Avalanches all released wonderful albums (Ceres should have been in the Hottest 100 #travesty). But there’s always next year, I suppose.
Although, nothing is as bad as last year. I never want to hear the song ‘Hoops’ again.
All in all, this year was quite a disappointing year in the countdown, but in the end, Australia wins (I think). But seriously, change the damn date. And let the record show that whether or not you enjoy the DMA’s cover of Believe should be on some form of test, to say whether you should be allowed to vote. (Are they performing their next gig at Oakleigh RSL? I mean, seriously. I’ve heard better covers at Karaoke nights.) EDITOR’S NOTE: That cover is bloody fantastic.
However, there is one good thing. This year may have been a disappointment, but it’s still not as bad as 2013’s countdown.