Pamela Z: Singing the body electricIn the mid-1980s, artist Pamela Z was working at Tower Records on Columbus Street in San Francisco, where one of her jobs was replacing pages in the store’s Phonolog, an enormous alphabetized directory of all the music available at the time, which formed a kind of bible of pop. When she ripped one loose-leafed sheet from the book, she noticed that all the titles on that sheet began with “you.” You stayed on my mind. You stole my heart. You stepped out of a dream. When spoken, the repetition of the words had an undulating, musical quality. It soon found its way into one of her electronic compositions, the found poetry processed with four-track cassette recorder, the simple list of phrases made incantatory through the looped rhythms of the human voice. 

Pamela Z, the recipient of this year’s Eugene McDermott Award in the Arts at MIT, has become renowned for her pioneering work in live digital looping and interactive audio/video performance. Her voice is the centerpiece of these performances, manipulating and layering recordings in real time to produce complex sonic textures. Through the use of experimental extended vocal techniques, operatic bel canto, multimedia and sampled sounds, digital processing, and wireless MIDI controllers that use physical gestures to manipulate sound, Z creates immersive and magical aural collages.  

While her first tool was a hollow-body guitar, which Z would use to accompany herself in clubs at night as she sang opera arias by day, her art changed once she discovered a digital delay in the '80s. “I came home from the music store, hooked everything up and started singing through it,” she remembers. “I never went to sleep that night because I was just looping my voice over and over again, and discovering beautiful properties of repetition, of layering, of being able to harmonize with myself, of being able to make complicated things by feeding back into the delay as I added more and more layers. I really think that I was never the same after that.” Having new technological tools, she said, allowed her to listen in new ways, discovering all the polyphonic dimensions within a single sound. 

In the decades since, Z has sought possibility in the objects of everyday life — Slinkies, plastic water jugs, hair clippers, and power tools — working these found materials into densely layered compositions, woven through with her classically trained soprano. The sound of the freight elevator in her loft, a glass falling on the floor, or a fragment of conversation can all become defamiliarized and creatively repurposed in the work. What begins as a simple act of noticing, then, in the process of composition, evolves into much larger meditations on the human condition. 

In the 2010 work “Baggage Allowance,” for example, the experience of hauling suitcases through airport security expanded into a philosophical investigation of memory, belonging, and what it means to carry things with you. “Her process is ‘Let's explore a subject area, or take these objects and put them together. Let's take this language and cut it up, letting its meaning evolve through examining it in what seems to be an objective way,'” says Evan Ziporyn, Kenan Sahin Distinguished Professor of Music and faculty director of the Center for Art, Science and Technology, “and then ending up with something very subjective, personal, and moving.”
At MIT, Z worked with students on their own compositions incorporating found sounds. The students, says Ziporyn, submitted their sounds two hours before the start of class. By the time the group met with Z, she had not only listened to each one but found in each something unique. What she modeled for the students, says Ziporyn, was a form of deep attention to a world swelling with sonic potential. “It was a good lesson in the idea of recontextualizing a sound that you find out in the world somewhere,” says Z, “And just by the act of recording it and listening to it on its own, you've already begun making a piece.” By the last session, she says, each student “had made really beautifully sculpted sound pieces.” 

Z often performs her compositions with sensor-based, gesture-controlled MIDI instruments, wearing pieces of hardware as jewelry. Her gloved hands, like a conductor’s, summon sound from empty air. As part of her residency, Z performed a suite of her compositions for solo voice and electronics, ranging from early groundbreaking works to recently premiered ensemble pieces. Joining her, among musicians from the Boston area, were pianist Sarah Cahill, violinist Kate Stenberg, and flutist and MIT student Sara Simpson. Ziporyn conducted one of the pieces. For Z, the creation of the performance — its movements, feeling, and visuals — is deeply integrated into the process of composing itself. “It seems like magic — one voice becoming many, bird calls emerging and dispersing with the wave of a palm — but it’s really a multilayered virtuosity,” writes Ziporyn, “imbuing every aspect of Pamela’s work, smoothly masked by her grace as a performer. Pamela works with interactive music systems designer Donald Swearingen to develop the instruments and designs her own hardware, then learns how to use both as second nature.”

If some artworks fetishize the novelty of new technology, while others might dismiss it as somehow removed from what we perceive as human, Z has found a way to seamlessly combine digital tools with the ancient arts of performance, the manipulated sounds of the machine coalescing with the music of her own body. 

Z’s expressive form of electronic music, Ziporyn says, reflects how we live today. It reflects the condition of living in a world mediated by technology, a world of bits and atoms, where the digital and analog are continually overlapping zones of experience. Her work, he says, defies any artificial separation between the so-called natural and the synthetic. And, as Z reminds us, we ourselves are electric: Everything we do, think, and feel is powered by the electrical currents coursing throughout the body. Her performances, says Ziporyn, are arguments for accepting that both the material and digital are part of what it means to think, feel, sense, and express — part of what it means to be human.

Presented by the Council for the Arts at MIT, the Eugene McDermott Award in the Arts at MIT was first established by Margaret McDermott in honor of her husband, a legacy that is now carried on by their daughter Mary McDermott Cook. The Eugene McDermott Award plays a unique role at the Institute by bringing the MIT community together to support MIT’s principal arts organizations: the Department of Architecture; the Art, Culture and Technology program; the Center for Art, Science and Technology; the List Visual Arts Center; the MIT Museum; and the Music and Theater Arts Section.

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Three Game-Changing Tips for Doublers of the FluteThis is a guest post from the amazing Jane Cavanagh!

At rehearsal last week, the conductor of a Sydney-based band I play the flute in, excitedly informed me, “Hey Jane, I arranged a new piece for the band and I wrote you a fantastic jazz flute solo!”

I thought “oh no, here we go…” as I am a classically trained flute player, not a swinging, improvising jazz musician! The thought of performing this solo seemed like an embarrassment waiting to happen!

Preparing for embarrassment

For me to say that I’m not confident in my ability to sound “cool” when I swing on the flute is an understatement. I find it utterly embarrassing how un-cool I sound!!

Despite this, off we went. We began sight-reading the piece, called “Ya Gotta Try” (in case you know it!) at a breakneck pace, with two of our fabulous jazz sax players also joining in on flute.

The piece went so dang fast and I had no time to be embarrassed and instead focused on accurately sight-reading it.

Amidst all this discomfort, something nice and totally unexpected actually happened…

Running out of air on the flute!

Peg, one of the extremely experienced and talented saxophonists, who joined me for the piece on flute, commented that the piece was fun, but the long phrases were almost impossible to get through.

I casually replied, “Oh really?” implying that breathing wasn’t even an issue for me (because actually it wasn’t!). I was a bit worried I sounded arrogant actually…

Peg then asked for some help with her flute playing, as she wanted to fine-tune it for a musical she’s playing in soon.

Instead of giving her a lesson, I suggested something better – for her to do The 45 Day Flute Transformation course, which is part of my flute membership called The Flute Academy.

Typically, within a week, the students see significant improvements such as playing much longer phrases, or hitting higher notes with ease and control.

How doublers fix their flute “lung capacity”

Below is a fabulous screenshot of the message that Peg, who is a professional woodwind doubler with decades of experience, sent me a few days after starting the 45-day course:

I found it quite funny of course – about me not being alive yet, but what really made me happy was that on Day 2 of the Transformation, Peg realised that she had been missing some fundamental flute techniques for 49 years and was finally able to fix them!

This is actually a common issue I see with flute doublers. They are excellent sax players, but feel like they haven’t quite nailed their flute technique.

They know they have a fluffier-than-ideal sound and they are aware that they run out of air quickly. I hear them say things like “the flute needs so much air” (which is actually easily fixed – more on this in a moment!).

Now for the game-changing flute tips!

To help you with your flute playing, I thought I’d now take you through three common flute technique mistakes that many saxophone players make when playing the flute.

1. Embouchure

Why you can’t play super long phrases

Although the flute embouchure is obviously different to the sax embouchure, there’s a mistake that nearly all sax players make with their flute embouchures. And interestingly, it’s the same mistake amongst all the players!

It is this:

Almost all the flute embouchures of sax players I’ve encountered have an embouchure opening that is too large.

This directly causes a fluffy tone and causes you to run out of air way too quickly. Did you know that an airy sound and running out of air are directly linked?

By “directly linked”, I mean that fixing one automatically addresses the other. For example, if you reduce the size of your embouchure hole, you’ll get an instantly clearer and stronger sound and immediately be able to sustain longer phrases.

Which is pretty awesome. Because you get to fix two playing problems with a single small adjustment to your embouchure!

An instantly clearer tone

If you would like to see demonstrations of how to correct your flute embouchure, feel free to register for the free flute course here.

As well as learning how to play with a smaller embouchure opening, you’ll learn how to:

Tweak the shape of your embouchure to instantly improve your tone quality.

Position your lip on the lip plate in exactly the right spot for optimal tone production.

Find the ideal angle for your airstream to instantly strengthen your tone.

Since it’s impossible to actually demonstrate proper embouchure techniques in a written blog post like this, I’d encourage you to watch the flute demo videos in the mini-course to help you fix your airy sound and achieve longer phrases.

2. Avoiding dizziness

The doubler’s super power that disguises a problem

Saxophone players absolutely excel at not getting dizzy when playing the flute!!

When I used to see a sax player’s flute embouchure, I would assume they were getting dizzy. Surprisingly though, sax players don’t seem to have this problem! At least, nowhere near as much as flute-only players.

If an amateur flute player attempted to play using the same embouchure, they would 100% become extremely dizzy.

I’ve since realised that experienced sax players have highly adaptable bodies (ie their brains) that help them avoid dizziness. Even when playing the flute and breathing in more often than ideal, they seem to manage just fine.

However – it hides a problem with their embouchure…

The saxophonist’s super power!

Doublers possess an exceptional ability to inhale frequently without getting dizzy, thanks to their experience as wind players. Their brains are well-trained to handle the extra air, which would leave flute-only players falling over from dizziness!

However, this ability masks an issue with their flute embouchure. And it means that doublers may not seek help because they are not uncomfortable enough from dizziness to need to go and investigate why they can’t play long phrases.

Doublers often think that the flute requires a lot of air, but the opposite is true. With the right embouchure technique, a good flute player can hold a note for at least 25 seconds.

And it’s nothing to do with how big their lungs are! It’s about mastering your embouchure, and using your airstream efficiently.

A stronger tone – with far less air

Playing long phrases on the flute comes from an accurately formed and well-positioned embouchure. That’s it! And it’s not that the flute “needs a lot of air” to play. To fix your embouchure in 3 simple steps (and learn how to use much less air!), remember you’re totally welcome to join me in the free flute mini-course.

The cool bit is that when you fix your embouchure shape, size and position, you are not only able to play longer phrases, but your sound instantly becomes clearer and stronger. Seriously – instantly. (Which is why the free mini-course is called How to Instantly Improve Your Flute Tone – an accurate title!)

3. Flute high notes

Why you don’t actually need to blow harder for high notes

I enjoy teaching flute players (both doublers and regular flute-only players) the correct way to play high notes, which does not involve relying on blowing harder.

While it may seem like a logical solution to use more air for high notes, this technique can actually cause more harm than good. Blowing too hard results in you being sharp up high, feeling like you can’t control high notes, and a rapidly running out of air.

By the time you read this, Peg above will already have completed the High Notes module on Days 4-8 of The 45 Day Flute Transformation and she’ll have mastered the art of playing high notes with ease, precision, and accuracy.

In The Flute Academy, I teach what I call “the real way to play high notes,” which involves producing high notes effortlessly, with excellent intonation, and minimal air usage.

Interestingly, even many good flute players never learn this skill. They rely on blowing harder for high notes, which is essentially a kind of “crude” way to get high notes to come out – making them sound sharp, sound loud, and, as you know, will make you run out of air quickly!

The real way to play high notes

Learning the correct technique for playing high notes involves two simple steps:

Firstly, you correct your flute embouchure.

The second step is to learn how to use the corners of your embouchure to create a subtle pout shape. This movement shortens the length of the air jet (which is based on some simple physics), and results in effortlessly producing controlled and in-tune high notes on the flute.

Once you make the right adjustment, it truly feels effortless.

Here is a little example of how it’s easy to play high notes on the flute easily when you use the right technique:

View this post on Instagram A post shared by Jane Cavanagh Flute School (@janefluteschool)

A doubler’s breakthrough

Here’s a great story from Kerry, a doubler, who told me how he easily fixed his flute embouchure:

“I am a doubler with solid clarinet and sax chops. For flute, I was mostly doing long tones with the help of some flute player friends. When I got flute doubles, it was hit or miss whether I set an embouchure that worked at above B above the staff.

I went through your free flute tone course and practiced your suggestions for a few days. 

On Friday, one of my friends asked me to play flute duets right after a two-hour big band rehearsal. I had played a few duets once before and didn’t do very well. I almost declined, but he had a book of flute duets with him.

We started out with me on the bottom line of the first page. Surprised with my improvement, he had me play the top line on the next page.

In jest, I said we should try to finish the book.

Well, we did one sitting alternating top/bottom each page.

With the relaxation, you encouraged I didn’t get tired. He said I had chops of steel. Your long tone exercise gave me the range I needed. Similarities with sax got me through the fingerings even at modestly fast tempos.

What a boost to my confidence.

Thanks so much for your help!”

It’s fantastic to have Kerry as one of the doublers in The Flute Academy. His experience on sax and clarinet  means that he learns the new flute techniques extremely quickly!

Faster progress through proper flute technique

Saxophone players make excellent flute players. I also find that most of them feel as if there’s a “piece of the puzzle that’s missing”. And it definitely prevents them from being as incredible at the flute as they are at the sax.

When I started to write this blog post for you, I wanted to be sure to emphasise that the challenge is not the instrument itself.

My motto in my flute school is “Faster Progress Through Proper Technique.”

This means that it’s not the number of hours you practice that matters, but rather the little tweaks to your technique that make all the difference in how easy it is to play.

By making these tiny adjustments, you will instantly improve your high notes, sustain longer phrases with ease, and play with a stronger, clearer tone.

If you’d like to see clear demonstrations of how to fine-tune your flute embouchure, I encourage you to join me in the free course to instantly get you a stronger flute tone.

I wish you all the best with your flute playing!

Jane xx

About Jane

Jane is a music educator from Sydney, Australia.

Her speciality is showing adult flute players exactly how to progress faster on the flute by teaching them the small “tweaks” of proper technique.

Jane’s online program The Flute Academy, shows her students how to easily get faster progress on the flute – by learning proper technique.

A highlight of The Flute Academy is that the students get to go through The 45 Day Flute Transformation – which takes them through a series of tweaks and exercises, teaching them the fundamental playing techniques that players often miss when they initially learn the flute.

Find out more about The Flute Academy here.

Jane particularly loves showing saxophone players the specific adjustments to their flute embouchure and use of air that result in their flute playing becoming just as amazing as their sax playing.

Join Jane for free to instantly fix your own flute embouchure in 3 simple steps. You’ll hear yourself get a clearer, stronger sound, and instantly be able to play longer phrases (by learning to use less air!) 

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50 Best Boat Songs: Enjoy The Water (With Video!)We just had a week of 90-degree weather up here in Michigan (followed shortly by a week of 30-degree weather, but still…), which means that summer is approaching! 

Up here, one of our greatest pastimes is to get out on a boat, whether it be on one of our many rivers, bays, or lakes. 

While enjoying the waves and rays, we need some jams to enhance our time, right? 

Enter this list of the best boat songs to help you enjoy the water even more! 

I’ll go into detail on my top 20 picks and then offer dozens of more ideas past that. 

#1 “Sailing” by Christopher Cross (Pop)

“Sailing” by Christopher Cross is a timeless pop classic that captures the spirit of adventure and longing for freedom. Released in 1980, this Grammy-winning hit showcases Cross’s smooth vocals and melodic guitar riffs, creating a soothing and dreamy atmosphere. The heartfelt lyrics evoke images of sailing on open waters, seeking solace and escape from the challenges of life. With its catchy chorus and memorable melodies, “Sailing” remains a beloved anthem that continues to inspire listeners to set sail on their own personal journeys.

#2 “Come Sail Away” by Styx (Rock)

“Come Sail Away” by Styx is an iconic rock anthem that tells the story of a protagonist’s longing for escape and adventure. With its epic guitar riffs, soaring vocal harmonies, and powerful piano-driven melody, the song takes listeners on a musical journey. The lyrics evoke a sense of wanderlust and a yearning for freedom as the protagonist dreams of setting sail to unknown destinations. “Come Sail Away” is a timeless rock classic that continues to captivate audiences with its emotive storytelling and majestic musicality.

#3 “The Boat That I Row” by Lulu (Pop)

“The Boat That I Row” is a pop song by Scottish singer Lulu. Released in 1967, it features an upbeat melody and Lulu’s soulful vocals. The lyrics depict a confident and determined protagonist who navigates through life with independence and self-assurance, comparing her journey to rowing a boat. The song’s catchy chorus and Lulu’s powerful performance make it an enduring and iconic pop hit, showcasing her talent as a dynamic and charismatic vocalist. “The Boat That I Row” remains a beloved classic that continues to captivate audiences with its catchy melody and empowering message.

#4 “Dock of the Bay” by Otis Redding (R&B/Soul)

“Dock of the Bay” by Otis Redding is a timeless R&B/Soul classic that was released posthumously in 1968. It features Redding’s soulful vocals and a laid-back groove with memorable whistling melodies. The song reflects on longing and loneliness, with lyrics that capture the bittersweet emotions of watching the tide roll away while waiting for something that may never come. With its unforgettable hooks and emotive performance, “Dock of the Bay” remains a beloved song that has stood the test of time and continues to captivate audiences with its soulful sound.

#5 “I’m On a Boat” by The Lonely Island feat. T-Pain (Comedy Rap)

“I’m On a Boat” by The Lonely Island feat. T-Pain is a comedic rap song that humorously celebrates the joy of being on a boat. With catchy beats, clever wordplay, and exaggerated braggadocio, the song pokes fun at rap tropes while reveling in the absurdity of the situation. T-Pain’s auto-tuned vocals add to the comedic effect, making it a hilarious and memorable song that’s perfect for a lighthearted, comedic mood. It quickly became a viral hit and continues to be a favorite among comedy rap enthusiasts for its playful and entertaining lyrics.

#6 “Boat Drinks” by Jimmy Buffett (Country/Pop)

“Boat Drinks” by Jimmy Buffett is a catchy country/pop song that captures the carefree spirit of life by the water. With its laid-back vibes, playful lyrics, and infectious melody, the song is a quintessential anthem for those who love to unwind on a boat with their favorite drink in hand. Buffett’s signature blend of country, pop, and tropical influences creates a feel-good atmosphere that makes you want to kick back, relax, and enjoy the simple pleasures of life on the water. “Boat Drinks” is a classic Jimmy Buffett track that transports listeners to a sunny, beachy paradise with its breezy melodies and toe-tapping rhythm.

#7 “Orinoco Flow” by Enya (New Age/Pop)

“Orinoco Flow” by Enya is a captivating blend of New Age and Pop music that transports listeners on a soothing musical journey. With its dreamy melodies, ethereal vocals, and lush instrumentation, the song evokes a sense of tranquility and adventure. Enya’s enchanting voice floats effortlessly over the mesmerizing music, creating a sense of serenity and escape. “Orinoco Flow” is a timeless and evocative composition that has captivated audiences with its mystical and otherworldly allure, making it a beloved classic in the genre of New Age and Pop music.

#8 “The Wreck of the Edmund Fitzgerald” by Gordon Lightfoot (Folk)

“The Wreck of the Edmund Fitzgerald” by Gordon Lightfoot is a haunting folk ballad that tells the tragic story of the 1975 shipwreck of the SS Edmund Fitzgerald on Lake Superior. With its mournful melodies and poignant lyrics, the song paints a vivid picture of the perilous journey and the crew’s fateful fate. The most memorable quote from the song, “The legend lives on from the Chippewa on down,” has become iconic, capturing the enduring impact and legacy of this tragic event. Lightfoot’s emotive vocals and masterful storytelling make “The Wreck of the Edmund Fitzgerald” a timeless and unforgettable folk masterpiece.

#9 “Sloop John B” by The Beach Boys (Pop/Rock)

“Sloop John B” by The Beach Boys is a catchy and upbeat Pop/Rock tune that showcases the band’s signature harmonies and vocal prowess. Inspired by a traditional folk song, the track’s most memorable quote, “This is the worst trip I’ve ever been on,” reflects the song’s narrative about a troubled sailing trip. With its infectious melodies and tight vocal harmonies, “Sloop John B” has become a timeless classic that captures the carefree spirit of the beach and the joy of singing along to a catchy tune.

#10 “Beyond the Sea” by Bobby Darin (Pop)

“Beyond the Sea” by Bobby Darin is a timeless Pop classic that has been performed in various venues around the world. Originally released in 1959, the song has since been covered by numerous artists and featured in films, TV shows, and commercials. It has been performed in iconic venues such as the Copacabana nightclub in New York City, the Moulin Rouge in Paris, and the Stardust Hotel in Las Vegas. Darin’s smooth vocals and the song’s lively big band arrangement create a nostalgic and romantic atmosphere, transporting listeners to a bygone era of glamorous performances in renowned venues across the globe.

#11 “Boat on the River” by Styx (Rock)

“Boat on the River” by Styx is a soulful and introspective Rock ballad that has been performed in various places, showcasing the band’s versatility. The song’s acoustic guitar-driven melody and emotive vocals tell a poignant story of self-reflection and contemplation. Styx has performed “Boat on the River” in numerous venues, from sold-out arenas to intimate acoustic sets, showcasing the song’s timeless appeal. Its heartfelt lyrics and melodic hooks resonate with audiences, making it a beloved track in Styx’s discography and a cherished gem in the realm of Rock music.

#12 “Boats and Birds” by Gregory and the Hawk (Indie Folk)

“Boats and Birds” by Gregory and the Hawk is a tender Indie Folk song with poetic lyrics and delicate acoustic instrumentation. It has been performed in intimate settings like coffeehouses, small venues, and open mic nights, captivating audiences with haunting vocals and intricate guitar work. The emotive and evocative nature of the song has made it a favorite among Indie Folk enthusiasts worldwide.

#13 “Row, Row, Row Your Boat” (Children’s Song)

“Row, Row, Row Your Boat” is a beloved children’s song that has been passed down through generations. Its simple yet catchy melody and playful lyrics encourage kids to sing and engage in imaginative play. The song’s timeless charm and repetitive structure make it a favorite among young children, who delight in singing along and mimicking rowing motions.

#14 “Boatman” by Levellers (Folk/Rock)

“Boatman” by Levellers is a Folk/Rock anthem that combines energetic instrumentals with powerful vocals and thought-provoking lyrics. The song’s rousing chorus and driving rhythm create an infectious and uplifting vibe, making it a favorite among fans of folk and rock music alike. “Boatman” is a spirited and memorable tune that captures the essence of Levellers’ unique blend of folk and rock influences.

#15 “Boat to Nowhere” by David Crosby (Folk/Rock)

“Boat to Nowhere” by David Crosby is a Folk/Rock gem that showcases his soulful voice and poignant songwriting. The introspective lyrics and melodic guitar work paint a vivid picture of a journey without a clear destination. Crosby’s emotive performance and heartfelt storytelling make “Boat to Nowhere” a captivating and timeless addition to the Folk/Rock genre.

#16 “The Riverboat Song” by Ocean Colour Scene (Britpop/Rock)

“The Riverboat Song” by Ocean Colour Scene is a high-energy Britpop/Rock anthem that oozes with swagger and attitude. With its infectious guitar riffs, driving rhythm, and powerful vocals, the song exudes a sense of rebelliousness and adventure. It’s a timeless and electrifying track that has become a staple in the Britpop genre, capturing the essence of the era with its raw energy and catchy hooks.

#17 “Proud Mary” by Creedence Clearwater Revival (Rock)

“Proud Mary” by Creedence Clearwater Revival is a timeless Rock classic that features an infectious rhythm, powerful vocals, and memorable guitar riffs. The song’s energetic and soulful vibe, along with its iconic “Rollin’ on the river” chorus, has made it a beloved anthem that continues to captivate listeners with its irresistible groove and catchy melodies.

#18 “Boat Trip” by Ziggy Marley (Reggae)

“Boat Trip” by Ziggy Marley is a vibrant Reggae tune that brings the laid-back vibes of the Caribbean to life. With its catchy rhythms, infectious melodies, and Ziggy Marley’s smooth vocals, the song creates a feel-good atmosphere that’s perfect for cruising on the waves or dancing along to the reggae beats.

#19 “Boat Drinks” by Alan Jackson (Country)

“Boat Drinks” by Alan Jackson is a laid-back Country tune that captures the carefree spirit of the beach and the joys of escaping to the water. With its catchy melody, twangy guitars, and Jackson’s smooth vocals, the song is a perfect soundtrack for kicking back, sipping drinks, and enjoying the sun-kissed vibes of a coastal getaway.

#20 “Boat Leaks” by Beastie Boys (Hip-Hop)

“Boat Leaks” by Beastie Boys is a high-energy Hip-Hop track from their album “The Mix-Up.” With its funky grooves, catchy samples, and clever wordplay, the song showcases the Beastie Boys’ unique style and wit. It’s a standout track that embodies their innovative approach to blending genres and pushing the boundaries of Hip-Hop music.

30 More Examples Of The Best Boat Songs

#21 “Boat to Sail” by Loggins and Messina (Rock)

#22 “Boat Behind” by Kings of Convenience (Indie Folk)

#23 “The Boat That I Built” by Tom Chapin (Children’s Song)

#24 “Boat on the Ocean” by John Butler Trio (Folk Rock)

#25 “My Boat” by Little Joy (Indie Pop/Rock)

#26 “Boats on the Water” by Gregory Page (Folk)

#27 “Boat Drinks” by Zac Brown Band (Country)

#28 “Boat of Love” by The B-52’s (Pop/Rock)

#29 “Boat Song” by Woodkid (Indie/Pop)

#30 “Boat on the River” by Baba Shrimps (Indie Folk)

#31 “Yellow Boat” by Julia Holter (Indie Pop/Experimental)

#32 “Boat Dance” by The Black Lillies (Americana)

#33 “Boats Against the Current” by Eric Carmen (Pop)

#34 “Boat Club” by Blood Orange (R&B/Pop)

#35 “Rock the Boat” by Aaliyah (R&B/Pop)

#36 “Boat to Nowhere” by Johnny Reid (Country)

#37 “Boat” by Minus the Bear (Indie Rock)

#38 “Boats and Trains” by George Michael (Pop/R&B)

#39 “Boat” by Yusuf/Cat Stevens (Folk Rock)

#40 “Boat Behind” by Lykke Li (Indie Pop)

#41 “Boats on the Shore” by Adam Cohen (Folk Rock)

#42 “Farewell to Tarwathie” by Judy Collins (Folk)

#43 “The Boat is in the Barn” by Built to Spill (Indie Rock)

#44 “Boats on the River” by Moon Taxi (Alternative/Indie)

#45 “Shrimp Boats” by Jo Stafford (Jazz/Pop)

#46 “Boat to Liverpool” by Nathan Carter (Country)

#47 “Boats” by Kenny Chesney (Country)

#48 “Boatman’s Call” by Nick Cave & The Bad Seeds (Alternative Rock)

#49 “Boats on a River” by Peter Gabriel (Progressive Rock)

#50 “Boat to Nowhere” by Randy Travis (Country)