Sad13’s Power-Pop Memories, Anthony Ramos’s Feel-Good Exhale, And More Songs We Love

Sad13’s Power-Pop Memories, Anthony Ramos’s Feel-Good Exhale, And More Songs We Love


The search for the ever-elusive “bop” is difficult. Playlists and streaming-service recommendations can only do so much. They often leave a lingering question: Are these songs really good, or are they just new?

Enter Bop Shop, a hand-picked selection of songs from the MTV News team. This weekly collection doesn’t discriminate by genre and can include anything — it’s a snapshot of what’s on our minds and what sounds good. We’ll keep it fresh with the latest music, but expect a few oldies (but goodies) every once in a while, too. Get ready: The Bop Shop is now open for business.

  • Sad13: “Market Hotel”

    “I’m just an adult dirtbag,” Sadie Dupuis sings on “Market Hotel,” putting a new spin on a beloved power-pop touchstone. It’s yet another hallmark inside a reference-rich musing on Brooklyn shows, sexism, gigging until you die, and how all those concepts mingle inside memory. As the closer to her excellent new album Haunted Painting, “Market Hotel” punctuates the themes that likewise run throughout the song cycle. It’s also an incredibly potent two-minute firebomb, with the prototypically brilliant lyrical turns of phrase that makes Dupuis such a force: “I’m playing an adult / You’re just playing yourself.” —Patrick Hosken

  • The Mountain Goats: “Get Famous”

    Singer-songwriter John Darnielle says we “wouldn’t even believe” how much fun The Mountain Goats had writing and recording “Get Famous,” but I hear it loud and clear. The upbeat new single tackles the siren call of fame with characteristic cleverness. “You’ve been waiting for this ever since you were young / Be careful not to choke on your tongue,” Darnielle advises over a frolicking brass section. He would know. “Get Famous” is the second single off of Getting Into Knives, the prolific folk-rocker’s forthcoming studio album, and his 19th as The Mountain Goats. —Sam Manzella

  • Anthony Ramos: “Stop”

    From stage to screen to his own singing career, Anthony Ramos has already proven himself as a multifaceted and multi-talented performer. He leans into his pop sensibilities and peels back another layer with new single “Stop.” The feel-good track’s message of slowing down and appreciating life’s smaller moments might be well trodden, but Ramos’s soulful delivery keeps it feeling fresh. “Sometimes I wish my life was like a photograph / Double tap the good ones and just photoshop the bad,” he sings before resolving to “stop” – both metaphorically and literally, taking a beat going into the chorus. The video follows Brooklynite Anthony Payne, who lost his job during the pandemic and began giving outdoor haircuts in the city to support the Black Lives Matter movement. Ramos himself even gets under the clippers, taking a moment, and giving us all a breath of fresh air. —Carson Mlnarik

  • Travis Scott ft. Young Thug & M.I.A.: “Franchise”

    Seeing “Travis Scott” and “Franchise” together now immediately conjures associations with McDonald’s, but quickly after pushing play on his latest — a collaboration with Young Thug and M.I.A. — there’s a callback to Dem Franchize Boyz’s “White Tee,” and the title takes on new significance. Brawny and speckled with whimsy from its guests (“I’m higher than the plane / I’m where the Skypes be,” raps Thug; “Kawasaki, catch a fish, Sushi, maki, livin’ life,” raps M.I.A.), Scott’s latest is further proof of his comfortable spot at the top. —Patrick Hosken

  • Elliot Jones: “Do it Again”

    “Do it Again” is an end-of-summer daydream that puts me in the mood to, well, make mistakes. Can I squeeze in one last summer fling before the city completely cools down? Indie-pop sweetheart Elliot Jones seems to think so. His new single is a hazy musing on the question, is the high worth the low? It’s a self-aware conclusion as he sings, “Why do I do this? Falling in love with my own lies / Know the truth, but I’m so clueless.” Regardless, his dreamy vocals help put everything in focus and remind us that there’s only one way to learn, and that’s just to “Do it Again.” —Daniel Head

  • Mike Sabath: “Good Energy”

    A few years ago, producer Mike Sabath was a teenage budding sonic maestro, ready to make his mark in the pop realm. Since then, he’s written songs for everyone from Selena Gomez to Lizzo — and now he’s bringing “Good Energy” to a solo career. His debut single vibrates with all the kinetics of party music, nostalgic and ethereal as chillwave with horn stabs and soulful vocals lifted right from the pop charts. Treat yourself to some of his energy. —Patrick Hosken

  • Chappell Roan: “Pink Pony Club”

    Every now and then, I get this itch to drop everything, change my hair, and become a dancing gay Brooklyn bartender à la Coyote Ugly, never mind the fact that I can’t dance. I thought I might be alone in my disputatious daydreams until I heard Chappell Roan’s “Pink Pony Club.” The rising pop starlet has been charting her takeover since signing with Atlantic Records as a teen, and the dusty yet decadent single is a promising sign of what’s to come. In a rhinestone cowboy hat, Roan starts off slow with visions of “a special place where boys and girls can all be queens every single day,” letting the soft keys give way to a triumphant electronic chorus reminiscent of Kacey Musgraves’s “High Horse.” Her voice reads as hallowed as the halls she sings about, and there’s a palpable electricity in its glitzy video, as she gives a stadium-ready performance to a group of bored barflies. Add in a couple of cameos from RuPaul’s Drag Race legends like Meatball and Porkchop, and she’s got me already booking my ticket to L.A. —Carson Mlnarik

  • Carla Morrison: “Ansiedad”

    Even if you don’t speak Spanish, Mexican pop vocalist Carla Morrison’s face tells you everything you need to know in her striking new video for “Ansiedad” (“Anxiety,” in English). As she navigates the weight of mental-health struggles that saw her take a step away from the spotlight for the last few years — personified by her choreo collaborators — Morrison also resounds deeply with her voice, a magnetic instrument conveying both longing and hard-earned hope. —Patrick Hosken