Oh, I have a bunch, and I'm including Off-Broadway!
"Telephone Wire" from FUN HOME (I was hesitant to list this, because it was also my favorite song LAST season, but FUN HOME is on Broadway now, so what the hell?)
"My Shot" from HAMILTON
I also thought "What Say You, Meg?" from THE LAST SHIP was very pretty, despite feeling that the show would have worked better as a song cycle. Essentially, it is a song cycle (for me, at least).
However, I have an absolute, number-one favorite, and it's not so much a song as a musical scene. It moved me very much, and was my favorite moment in THE VISIT...
"In the Forest Again"
With a season that included wonderful new scores on Broadway by Jeanine Tesori and Lisa Kron, Jason Robert Brown, and Kander and Ebb, and an Off-Broadway triumph from Lin-Manuel Miranda, I'd say it was a musically sound season.
I've realized I have a few this season and that makes me quite happy:
You, You, You--The Visit
When Your Feet Don't Touch the Ground--Finding Neverland (I loved the show in Cambridge, felt disappointed on Broadway, but this song is stuck in my head. I find myself singing it at least once or twice a day!)
Welcome to the Renaissance--Something Rotten
The Night the Pugilist Learned How to Dance - The Last Ship
"Telephone Wire"-no question. The urgency and heartbreak is gorgeous.
"The sexual energy between the mother and son really concerns me!"-random woman behind me at Next to Normal
"I want to meet him after and bang him!"-random woman who exposed her breasts at Rock of Ages, referring to James Carpinello
I only came to FUN HOME this season, so I will include it (and "Telephone Wire" and "Edges of the World" and "Days and Days") for my list this year.
I would also add the title song from THE LAST SHIP, which was chief among a number of songs in that score (including "Shipyard" "Ghost Story" "Show Some Respect" and the catalog-hit "When We Dance") that sold me on an authenticity to the working-class Catholic shipbuilding vocabulary Sting created for that show.
Also, since it's likely to be completely overlooked if I don't mention it (and it's not a new song per se but a new interpolation) - I was rather taken with the mashup of "I Get Around/Keep Ya Head Up" from HOLLER IF YA HEAR ME.
But "Ring of Keys" stands head and shoulders above them all, and for a most unexpected specific reason: it's use of silence, as Small Alison's words fail her and taper off as she can't articulate what she's feeling. Spellbinding, heart-gripping, inspiring and instantly recognizable. A catchy melody, perfect marriage of words (or lack of them at times, in this case), and a brilliant performance. Everything I could ask for in a musical theatre song.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.