The 50 Must-Hear Albums of 2024 (No. 50-21): A Definitive Guide to the Year's Best Music
All killer, no filler: 2024 edition.
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I’ve been saying for the past 12 months, but I’ll repeat it now: 2024 was arguably the best year for new music so far this decade.
From mainstream chart-toppers to underground delights, this year’s list of the best of the best literally has something for everyone. Familiar (I hesitate to use the word “legacy” acts, but there you go) acts enjoyed return-to-form moments, and fresh faces emerged to put their names in the “next big thing” conversation. Overall, the amount of quality music released weekly is staggering.
On a related note, if you’re someone who errs on the side of “music today sucks compared to when I was younger,” I’m optimistic I can change your mind at least a little bit with this list.
If you want even more excellent music to sink your teeth into, click over to last year’s best-of list.
Finally, if you want to support this (100% free) newsletter, the best way is by subscribing and sharing content you’re enjoying with friends and family. By growing this community, everyone benefits.
The Best Albums of 2024: The Honorable Mentions
Before launching into the list itself, I want to shout out a half-dozen records that, while they didn’t crack the Top 50, merit a mention alongside the best of the year.
“Brat” by Charli XCX
Leaving the record that gave us “Brat Summer” off the official list may be a sacrilegious move for some. But, while I wasn’t as gaga for this album as others, I can appreciate how precise and polished Charli’s execution is here.
“Saviors” by Green Day
Back in January, I wrote that the beloved power punk outfit’s new record was “easily their best, most ferocious release since American Idiot […] Whatever the in-point(s), it feels exciting to have this version of Green Day back in the saddle.” After a recent re-listen, I stand by that assertion.
“Almighty So 2” by Chief Keef
This century’s most influential Chicago drill ambassador returned with a sequel to the mixtape that initially got him nationwide recognition. Acting as a producer on nearly the entire record in addition to writing and spitting fire bars, this LP is one of the fiercest rap outings of the year.
“Head Rush” by Channel Tres
Part of what makes Channel Tres’ music so intriguing is how it refutes categorization at almost every turn. Most commonly pegged as some strain of house music (I’ve seen it described as “Compton house,” whatever that means), but it branches out into disco and G-funk territory, too.
“Born in the Wild” by Tems
It was another massive year for Afrobeat and amapiano artists. Among those who benefited the most from the genres’ crossover appeal is Tems, who served up some glittering R&B ballads alongside a strong dose of club-ready, bass-heavy bangers.
“Dark Matter” by Pearl Jam
The grunge veterans delivered a pleasant surprise this past spring. This collection of tracks is far more straightforward and reminiscent of their 90s heyday. It’s also another feather in producer Andrew Watt’s cap following similar resurrection efforts with Ozzy Osbourne and the Rolling Stones.
“Where I’ve Been, Isn’t Where I’m Going” by Shaboozey
Most casual music fans will know Shaboozey through his ubiquitous No. 1 hit “A Bar Song (Tipsy).” But the ensuing LP, Where I’ve Been, Isn’t Where I’m Going, has much more to offer than just that one cut. Like Cowboy Carter, it deftly blends hip-hop and country influences while leaving room for moments of unexpected tenderness, like on the Noah Cyrus duet “My Fault.”
“The Force” by LL Cool J
On his 14th studio album and first in 11 years, LL Cool J isn’t here to deliver nostalgia-based dopamine rushes. He’s come through with a carefully crafted artistic vision that proves he’s still a relevant force in hip-hop culture. His energy is contagious, bringing out the best in a long list of co-stars, including Rick Ross and Fat Joe. Clearly, LL is a man of his word.
“Slow Burn” by Baby Rose & BADBADNOTGOOD
She’s deliberately evoking the likes of Billie Holiday and Nina Simone, but Baby Rose’s vocal performance on the Slow Burn EP is something to behold. Whether she’s opining about love or loss, the combination of her singing and the jazz-fusion BADBADNOTGOOD production is nothing short of intoxicating. If you prefer your late-night listening on the smokier side, this one’s for you.
“Smoke & Fiction” by X
The bad news is Smoke & Fiction is (allegedly) the final X record ever. The good news is the band is hanging it up on a high note. This album artfully balances punk rock ferocity with more commercial pop sensibilities, a skill they’ve honed over four decades in the industry. On top of the searing riffs and catchy vocal hooks, X’s writing proves they still have plenty to say.
“Eternal Sunshine” by Ariana Grande
This LP is Ariana Grande’s first studio release since 2020’s libido-driven Positions, and let’s just say a lot has happened since then. Following a messy divorce from ex Dalton Gomez in 2023, the pop star clearly used her studio time as a refuge for soul searching. The back half of the record is arguably her best work to date, showing new, measured restraint on tracks like “I Wish I Hated You.”
“Fearless Movement” by Kamasi Washington
Kamasi Washington’s latest album is, above all else, a showcase for his flair for the dramatic. His tenor saxophone is still front and center but framed by unconventional, uber-confident funk and soul-leaning instrumentation. The result is his most accessible release to date and his most forward-thinking in terms of where he (and others) can take jazz for years to come.
“Quantum Baby” by Tinashe
Tinashe is quietly having one of the best decades of any mainstream R&B artist. Following the creative high point of BB/ANG3L, the songstress returns with a lean, sometimes mean, but always sexy outing. “Nasty” is an earworm tailor-made for your next house party, while “Cross That Line” and “When I Get You Alone” highlight her still-underrated vocal chops. She deserves all her flowers.
“Silent, Listening” by Fred Hersch
Before Silent, Listening, I knew Fred Hersch primarily for his gentle, soothing interpretations of the great American Songbook. You’ll find some of those here, but the absolute stunners are the pianists’ original compositions. Songs like “Night Tide Light” are so well-paced and pristinely recorded that they deliver on the evocative images embedded in their titles. Another W for Hersch and ECM.
“What Now” by Brittany Howard
What Now, Brittany Howard’s sophomore solo album, is a portrait of an artist in complete control of her considerable gifts. Drawing on inspirations from 60s psychedelic rock and pre-Purple Rain Prince, her performance will bowl you over with its raw power. The closing one-two punch of “Power To Undo” and “Every Color in Blue” are particularly goosebump-inducing.
“Starface” by Lava La Rue
Here’s a statement I didn’t have on my newsletter bingo card to start the year: One of my most joyful listening experiences was a sci-fi concept album. Starface, from West London’s Lava La Rue, is a delicious exercise in pure style, gleefully bouncing between ska, dance-pop, and synth-driven funk. “Push N Shuv” is easily one of the best singles I heard all year.
“Here in the Pitch” by Jessica Pratt
Jessica Pratt’s fourth studio album is a fascinating case study of distance as emotional connection. It sounds like an oxymoron, but that’s the effect Here in the Pitch had on me. Her songs frame her icy vocals with sunny, lush production, a combination that’s both engrossing and disorienting, like trying to get a clear picture of someone through an out-of-focus, dog-eared photograph.
“Breathe… Godspeed” by Verraco
Despite clocking in at just 20 minutes, Breathe… Godspeed, the new EP from JP López under the Verraco moniker, is one of the most exciting electronic music releases I’ve heard this decade. Perhaps that’s faint praise in a sea of derivative dance-pop, but there’s no shortage of suspense-driven tension and release. Few tracks from 2024 have a better beat drop payoff than “0∞.”
“People Who Aren’t There Anymore” by Future Islands
Set against icy synths, pulsating drums, and spacy, effects-drenched loops, Sam Herring’s elastic, open-veined vocal performance was the biggest draw on this record for me. Two different versions of his persona co-exist here, alternating between lovestruck vigor and lovelorn isolation, with the gorgeous “Deep in the Night” falling into the latter category. His contribution alone is well worth your time.
“Bando Stone and The New World” by Childish Gambino
Donald Glover gave fans a fun, fearless send-off for his beloved hip-hop character in 2024. On top of being the best Childish Gambino record since Awaken, My Love!, it plays fast and loose with expectations around Glover’s sonic interests. The second track, “Lithonia,” subverts those early on with an ode to 90s-era grunge and hard rock. Betcha didn’t see that one coming.
“The Collective” by Kim Gordon
Leave it to Kim Gordon to drop one of the most uncompromising hip-hop albums of the year. Her artistic vision is unwavering, layering experimental industrial elements and stream-of-consciousness lyrics over blown-out, sludgy trap beats. If you’re only familiar with her Sonic Youth output, buckle up because this one has the potential to seriously blow your mind.
Everything here is free and stays that way. If a review sent you to a record you love, you can buy me a coffee.
Buy me a coffee“Funeral for Justice” by Mdou Mochtar
There’s one adjective my mind keeps circling back to with this record: intense. The lyrics are the fuel that drives that engine, commanding you to stop and think about how many people are suffering worldwide. The arrangements prize fiery guitar riffs and brawny grooves where the drums sound like they’re ten feet tall. It’s invigorating to listen to a band firing on all cylinders.
“I Got Heaven” by Mannequin Pussy
Speaking of blistering rock albums, Mannequin Pussy’s I Got Heaven also dropped in 2024. Full of outsized power chords and biting songwriting, it reminds you how exhilarating rock can be when it doesn’t go for cheap emotional payoffs. Frontwoman Marisa Dabice’s vocal performance has a lot to do with that, too, delivering several moments that, arguably only in her hands, have the power to genuinely move you.
“Lives Outgrown” by Beth Gibbons
In what’s been a recurring theme this year, Beth Gibbons’ most recent solo effort explores the darker side of the human experience, touching on themes including parenthood and her own mortality. But, despite that tone, she also manages several moments of genuine wonder, including one that moved me to tears. It’s a record that merits a mention among Portishead’s best work.
“Hovvdy” by Hovvdy
The finest alternative records—often the ones that find a wider audience—double down on relatability. That sense of shared human experience drives Hovvdy’s self-titled LP, their fifth. The Austin duo maintains a distinctly meditative viewpoint, sifting through complex love stories and missed opportunities. That they expand their sonic range in the process is a plus.
“Don’t Forget Me” by Maggie Rogers
Don’t Forget Me is an excellent example of the “less is more” approach paying off significantly. Rogers favors a simplified, stripped-down sound here, a deliberate move away from some of the more polished pop songcraft that marked her debut. It’s a quiet, unassuming emotional powerhouse full of sharp songwriting and tender vocal performances. I can’t wait for her next record.
“Bleachers” by Bleachers
As one of pop’s most sought-after producers, Jack Antonoff has his fair share of haters. Maybe the culture’s weariness with his behind-the-board sensibilities made the fourth Bleachers record such a pleasant surprise. Anchored with some retro-leaning gems, including the Billy Joel-esque “Modern Girl,” this album proves that Antonoff still has plenty of creative juice left in the tank, haters be damned.
“Timeless” by Kaytranada
More than a decade into his career, Kaytranada’s discography certainly isn’t lacking in quality. But, even compared to that precedent, Timeless is, to my mind, his best LP to date. The reason is deceptively simple: he serves up banger after banger, some of which benefit from all-star cameos like Anderson .Paak, Childish Gambino, and Thundercat. It’s a top-tier party record.
“Everybody Can’t Go” by Benny the Butcher
Benny’s debut LP for Def Jam marked the culmination of a slow, steady climb up hip-hop’s underground ranks. The rapper gets an assist for an all-star supporting cast, including Hit-Boy and the Alchemist sharing production duties. Tracks like “Bron” and “TMVTL” would’ve completely stolen the show, too, if it weren’t for Benny’s ice-cold confidence on the mic.
“The Year I Turned 21” by Ayra Starr
As Afrobeats’ profile continues to rise globally, more of the genre’s most popular voices, like Ayra Starr, are making good on their crossover potential. Her latest LP, The Year I Turned 21, builds on her previous blockbuster, 19 & Dangerous, upping the ante with more poignant, nuanced ballads to go along with a healthy dose of club anthems in waiting. Like Tyla, she’s yet another young voice to watch.
“Fabiana Palladino” by Fabiana Palladino
This may be Palladino’s debut, but that doesn’t mean she’s new to the music scene. The daughter of Pino Palladino, she’s a studio veteran who’s supported artists like Jessie Ware and Jai Paul, the latter of whom also produces here. That track record informs this record, an uber-confident, off-kilter take on pop and R&B that modernizes that Prince/Jam & Lewis mid-80s sound.
“The New Sound” by Geordie Greep
The former Black Midi frontman has come through with a solo debut that makes good on its eponymous promise. These songs really do feel new in the sense that Greep is going for bigger, bolder, more imaginative artistic expression than he ever has. That level of ambition may overwhelm some listeners—only two songs clock in at under four minutes—but for those looking for legitimately boundary-pushing talent, look no further than The New Sound.
“Mahashmashana” by Father John Misty
After an experimental foray into big band and baroque pop on 2022’s Chloë and the Next 20th Century, Father John Misty (real name Josh Tillman) returns with a hearty helping of grandiose rock that owes more than a passing debt to 70s-era Bruce Springsteen. Tillman’s songwriting is the secret sauce here, giving these epic songs an intimate, intensely human feel.
“Riley” by Riley Mulherkar
Trumpeter Riley Mulherker has crafted an exceptional jazz record that plays both sides of the genre aisle perfectly. It’s both a wistful look at jazz’s storied past, where he covers standards like “Stardust,” and a peek at its future, where elements of avant-garde, experimental electronic, and classical seep into its sonic fabric. It’s a stunning listen from start to finish.
“As Grande As” by Grande Mahogany
Of all the stellar debut albums mentioned in this list already, Grande Mahogany’s As Grande As is arguably the most mesmerizing. Its distinctive combination of psychedelic rock, P-funk, and boom-bap hop sounds genuinely fresh and exciting. Think Jimi Hendrix and Funkadelic hopping on a collab album with DJ Premier and Pete Rock in the booth. It’s outstanding.
“GNX” by Kendrick Lamar
Shame on us for thinking “Not Like Us” was going to be the best we got from Kendrick Lamar in 2024. Out of nowhere, the Compton native dropped his latest LP, GNX, a record that’s just as deliciously petty and spiteful as that hit single was. Tracks like “Wacced Out Murals” and “Reincarnated” see him responding to haters as only he can: from the POV of the best rapper in the game right now.
What were some of your favorite albums of the year? Sound off in the comments.