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As soon as the intro strings come in, it’s like Beyoncé, Kelly, and Michelle are summoning you into their world. “Survivor” is an anthem that truly felt larger than life. And Michelle’s bridge is legendary.

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It got weird when everyone’s mom starting singing this unwittingly. That’s the power of an earworm – and this one is a masterwork. (You just sang it to yourself, didn’t ya?)

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Lyrically, I genuinely cannot tell if this has aged well, but the track is a bop and the dance is insanely c*nty.

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You can always tell when a group or artist just can’t help themselves, and this is that moment for the Police. How can you not love this song? It’s just straightforward and painfully endearing, with a chorus you’re always going to get sucked up into.

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Besides being one of the most exuberant songs ever made, Natalie Cole’s vocals are ridiculous. Like, insane.

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This was *NSYNC’s moment. When you have a line as simple, as thought-provoking, as evergreen as “bye bye bye,” you just have to bring it to life like this – and history has treated it was the utmost reverence.

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It’s not often a song of this ilk feels melancholic without being overly-angsty, but it’s really a marvel of a production. Like, c’mon you’re drunk at the bar, this comes on… you’re scream-singing along like it’s about getting laid.

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Okay, people falling from the sky would honestly be terrifying, but I see you. This song’s arrangement is stellar, and tbh songs about objectifying men should always be sung like it’s gospel.

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Like, history classes use this song. For teaching. But Billy Joel’s classic doesn’t lose it’s cool… or whatever cool it already had, at least. Learning the words to this song is like a “thing you do,” but it’s the simple chorus that makes it a hit.

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An absolutely brilliant cover of an already brilliant pop song, but doused in all the sleaze it deserved. And it feels like none of the four of them really want to be there, which makes the whole experience way better.

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