Welcome to the inaugural Mass Mix. Each month we ask local music luminaries to tell us about the songs they just can't get out of their heads.

January's mix includes the electrifying new single from Sharon Van Etten, a catchy Motown-esque tune from local soul singer TEGA, a double dose of Maggie Rogers and more.

Lizzo, “Juice”

Lizzo released “Juice” at the beginning of the month, and I can’t stop playing it. Its upbeat vibe and catchy chorus make you want to dance - and if you’re like me and don’t dance, then it’ll at least get you to tap your foot to the beat. As with all of Lizzo’s music, “Juice” is both empowering and entertaining. The track promotes a positive body image and being comfortable in your own skin, all while keeping it fun. Check out the music video for an 80s throwback feel! -Alyssa Spector, Founder of Lysten Agency

pronoun, “wrong”

This is a great song from a great local artist, a Berklee College of Music grad who truly doesn't know how to write a bad song. It starts with something like a hiccup. The guitar strikes, and then retreats, and then swings again into a ferocious drop. "wrong" is a rock song, sure, but it feels like being hit with a tidal wave. This isn't something you call a “scorcher,” and Alyse Vellturo, whose anxious voice is buried within her synths, does not "shred." I love this song for that musical refreshment, and for the lyrics. Vellturo goes from "I feel embarrassed again" to "you can't go backwards" to "it feels so wrong...ah ah ah ah." Simple, but there's power in those everyday confessions. She's in Brooklyn now, but I'm holding out hope for an album release show in Boston and I am ferociously excited for her first record due sometime this year, and I will bask in “wrong” until then. -Phillip Jones, Afternoon Drive Host, 88.9 WERS

Pedro The Lion, "Yellow Bike"

If I told you my current favorite song was about a five-year-old receiving his very first two-wheeled bicycle for Christmas, you'd probably accuse me of not putting away my collection of holiday music in a timely manner. But while "Yellow Bike" is about just that, it's not a proper Christmas song. Pedro The Lion prime mover David Bazan takes this moment of Christmas morning magic and brings it into the present, tying the freedom he felt on those first childhood rides to his adult life as a touring musician, adding the slightest tinge of melancholy to the journey. It's sweet and relatable, and I love it. Take it for a spin and see if you do, too. -Adam XII, Afternoon Host, indie617

J.I.D, "151 Rum"

This lead single from J.I.D's November 2018 album Dicaprio 2 "151 Rum" is a dark look at the Atlanta in which Destin Route grew up. It covers subjects including growing up with hand-me-downs, living off of government-subsidized food programs, and neighbors getting shot on the street - all told through clever metaphors, showing Route has learned from his experiences. Despite everything, it’s clear that he still loves where he's from. The rapid beat gives you a building anxiety that fits the lyrics perfectly, mimicking the football metaphors in Run Ricky Run, a documentary about running back Ricky Williams, and "Cover Man," a common defensive play. It's a hyper self-aware song that takes you on a journey through the cyclical struggles in Atlanta in less than three minutes. -Christine Varriale, Editor-in-Chief, Allston Pudding

Maggie Rogers, "Fallingwater"

Ever since NYU grad Maggie Rogers first became an online sensation through a viral video with Pharrell Williams, she’s been doing nothing but rising. Prior to her debut album Heard It In A Past Life, Rogers released “Fallingwater,” as a single. On this track, Rogers’ powerful, raw vocals are reminiscent of Florence Welch’s, and they carry this song forward, accompanied with a steady drumbeat. Co-written and produced with Vampire Weekend’s Rostam Batmanglij, she takes this passion on the song of a love lost and blows it off the roof in live performances (especially on Saturday Night Live). She takes off in a full sprint with the first note itself and carries that energy throughout the entire performance— and in the process, selling out all the tickets to her shows. -Audrey Wang, Digital Content Co-op, WGBH

Sharon Van Etten, “Comeback Kid”

Sharon Van Etten is a musician whose career has been defined by a catalog soaking with lament and reflection. But after motherhood, college and exploring other professional pursuits, and a nearly five year recording hiatus, things have changed. Van Etten’s album Remind Me Tomorrow is methodical and commanding, and marks a new creative direction for the artist. “Comeback Kid,” the first single from the record, uses assertive vocals paired with synthesizers and sharp, loud drums to construct a powerful anthem that’s swelling with atmosphere. It’s confident and primal—a musical expression that’s explored several versions of itself and become wiser with each experience. “I want to be a mom, a singer, an actress, go to school,” Van Etten says in a recent release. “But yeah, I have a stain on my shirt, oatmeal in my hair and I feel like a mess, but I’m here. Doing it. This record is about pursuing your passions.” -Stacy Buchanan, Senior Producer, WGBH Music

TEGA, "Scars"

TEGA may request "aloe vera lotion with vitamin E" to heal his scars, but "Scars" proves this local artist's vocals are too smooth to require the plant's moisturizing gel. There are hints of Hiatus Kaiyote-style jazziness as snappy percussion and bass lines build on the warm keys and soaring vocals that open “Scars.” “Come look at me baby,” TEGA begs over and over again, as shoo be doop's and ha's flit across the sonic landscape and layers of echoing vocals help keep things fresh. The track ends with a nod to rap with its fadeout of voicemail beeps and messages from a friend looking to catch up—the genre has a history of artists (Kendrick Lamar, Frank Ocean, and more recently St. Louis’s Smino) who leverage phone recordings as transitions or additional context or an audible memorial. -Knar Bedian, Editor-in-Chief, Sound of Boston

Margaret Glaspy, “Pins and Needles”

I went to see Neko Case last week, and – as things tend to happen – got introduced to Margaret Glaspy. A truly awesome singer-songwriter, she blends a hard rock aesthetic with the writing sensibilities of feminist icons like Joni Mitchell, Kate Bush or Patti Smith. Her song “Pins and Needles” is on the top of my list right now. -Andrea Wolanin, Digital Producer, WGBH

Elizabeth Colour Wheel, “23”

“23” by Elizabeth Colour Wheel stimulates the ultimate doomy shoegaze fantasy of the listener’s dreams, ripping through 6 minutes of pounding bass lines, tempo shifts, and a chaotic mid-song breakdown featuring screaming guitars. Elizabeth Colour Wheel aren’t afraid to get experimental—they kick the typically droning shoegaze genre up a notch by incorporating metal elements and singer Lane Shi’s throaty, wailing vocals. Throughout “23,” Elizabeth Colour Wheel supplements the dark, delicious noise with subdued, pastel moments of peace and quiet—just like complementary colors on a color wheel. Inspired by fear and anxiety, one can expect to hear more of these fantastical elements on their upcoming debut album Nocebo, out on The Flenser on March 15. -Mary Menzemer, Editor, Sound of Boston, marymenzemer.com

Maggie Rogers, “Light On”

Maggie Rogers has made quite a splash with her new album Heard It in a Past Life. Her unique blend of folksy songwriting and dance beats have positioned her as a rising star ready to make an impact in the current music landscape. The new album is full of shimmery tracks that will also make you want to dance. In “Lights On” Rogers shows her vulnerable side, which she wrote about her sudden rise to fame. It’s hard not to fall in love with her infectious energy. -Meghan Smith, Digital Producer, WGBH

daisybones, “Bang”

“Bang,” the fourth song off of daisybones’ second studio album Gold, is an instantaneous earworm. The simple lyrics, coupled by synth with a melodic mind of its own, a rhythm section that could drive an eighteen-wheeler blindfolded, and the angst of four “kids” in their early 20s form the beauty and brains that is “Bang.” On top of this all, the most enticing part is its relevancy - lyrics you can scream until you lose your breath. “I’m not scared of dying, I’m just scared of wishing I were dead.” With all of these components that truly define the line between song and anthem, what draws me back to loving this song to my core is the way it makes a person feel. From carelessness to trepidation to the facade of contentment, daisybones will hit all your personal pressure points, and will have you smiling while they do it. -Shae Carter, Writer, The Lowell Spin

Maroon 5, “Cold”

Maybe it’s because of the frigid temps this time of year in New England, or the comfort of Adam Levine’s soothing pipes, but I’ve been playing "Cold" by Maroon 5 off of their Red Pill Blues album nonstop at the gym. I’m not embarrassed to admit that it’s an extremely easy listen with a very catchy hook that’s perfect for passing the time on the stationary bike or treadmill, your morning commute, or to just usher in some positive weekend vibes. Plus, it’s the perfect time to catch up on Maroon 5 ahead of their Super Bowl Halftime Show. -Zack Waldman, Digital Social Producer, WGBH

ill Addicts, “Anthrax”

The ill Addicts are coming in hot. Before ill Addicts released the single and eerie music video for "Anthrax," the political verses and hooks came off as little more than gestural. Their impressive back catalog is laced with intoxicating songs with hooks diverse in subject matter, at times playful, other times actively provocative, though rife with irony. Now with the release of “Anthrax,” this south shore rap clique have sharpened an ideological architecture that is as large as it is sound, with a hook that has been (and is currently) electrifying my spinal column since the single’s release January 11th. -Chris Hues, Music Editor, Boston Hassle, @crsjh via Twitter and Instagram