It’s that time of the year again — Spotify Wrapped is here. While many are spending the first day of December decorating for the holidays, music lovers around the globe are checking their Spotify account to see a round up of their most-streamed artists, albums, and songs of the year. The data shows that Olivia Rodrigo had a massive year, as she had the most-streamed song and album worldwide. But there was another artist whose music was streamed the most times around the world on the platform: Bad Bunny.
Thanks to Bad Bunny’s prolific songwriting, the Puerto Rican rapper received the most streams on Spotify out of any other artist around the world. According to Spotify’s data, rapper was streamed 9.1 billion times globally this year, an impressive feat for an artist who didn’t even release an album in 2021. Following behind Bad Bunny in worldwide streaming numbers is Taylor Swift at No. 2, BTS at No. 3, Drake at No. 4, and Justin Bieber at No. 5.
When Bad Bunny found out the news, he still remained humble. The musician said he makes music for the love of it and his goal was never to be the most-streamed artists around the world.
While Bad Bunny may have been the top-streamed artist around the globe, the stats look a little different in the US. Bad Bunny was the fifth-most-streamed artist on Spotify in the US, while Drake took the No. 1 slot. Taylor Swift was behind Drake while Juice WRLD came in at No. 3 and Kanye West at No. 4.
See a video of Bad Bunny finding out he’s 2021’s most-streamed artist above.
Check out more Spotify Wrapped data here, and to get your own Wrapped info for 2021, check out the Spotify mobile app.
This year may have been filled with fewer unprecedented events than the previous one, but there was still a lot to adjust to. Little by little, cities across the world began reopening after nearly a year of lockdown and when they did, songs by our favorite artists were there to soundtrack it. Musicians delivered the perfect tunes to accompany a range of emotions felt this year from fun, flirty tracks and dancefloor-ready hits to heart-tugging ballads.
With chart-topping songs heard in reopened stores and restaurants, it was hard to miss some of the hottest tracks from this year by artists like Lil Nas X and BTS. But there are sure to be a handful of great releases that went under the radar. That’s why Uproxx is here to sort through the noise to round up the most memorable music from across genres. Check out Uproxx’s unranked list of all the best songs of 2021. And check out our favorite albums of the year here.
One of the most explicit songs Ariana Grande has ever released still does us all the favor of teaching solid math skills! That’s Ari, always multitasking. But if she wanted to ramp up the X-factor for this already outstanding Positions single, who better to ratchet the sexual tension up to eleven than Doja Cat and Megan Thee Stallion? Thanks to the two best female rappers currently doing it, “34 + 35” got the attention it deserved. These three were sweetly, simply, turning sex into wordplay until the morning light. – Caitlin White
Angel Olsen, Sharon Van Etten — “Like I Used To”
Sharon Van Etten has one thing in common with every other Angel Olsen fan: She has stood in the crowd of Olsen’s shows and cried her eyes out to the singer’s cathartic lyrics. The two famed indie songwriters hadn’t known each other too well before teaming up for the Americana duet “Like I Used To,” but they had always supported each other from afar. That air of mutual admiration is more than palpable in the collaboration, a song that boasts shimmering chords, a big-band chorus, and swirling harmonies that feature both singers’ velvety voices. The anthemic track calls back to the heart-wrenching ballads that arose out of the American heartland, but instead focuses on their own personal self-growth rather than a romantic relationship. – Carolyn Droke
Baby Keem — “Range Brothers” Feat. Kendrick Lamar
I want to offer some deep reflection, some thorough analysis to fully explain why this song belongs on the Best Of 2021. But to be honest, I can’t. There isn’t one. This one is solely here on the strength of its final 1:22 and those damned ad-libs. You can already hear them, can’t you? Listen, when a song so righteously burrows itself into your consciousness and hijacks all your good sense to have you screaming “Top o’ the morning” at your friends like a maniac… it’s a sign. Try not to think about it. Just enjoy the ride. – Aaron Williams
Bartees Strange — “Weights”
Bartees Strange, the most enjoyable indie newcomer of 2020, spent much of 2021 opening for seemingly every significant indie tour of the year. He also did a victory lap for his breakout album Live Forever, which he was reissued with a special bonus track that is every bit as good as the album it was somewhat inexplicably excluded from. “Weights” is Strange indulging his “fist-pumping Britpop anthem” side, in which shamelessly crunchy guitars give way to unexpected piano interludes and a swaggering vocal that represents his most “rock star”-like move yet. – Steven Hyden
Beabadoobee — “Last Day On Earth”
Beabadoobee made one of 2020’s best albums with Fake It Flowers, and she was quick to follow it up this year with Our Extended Play, a collaboration with The 1975. “Last Night On Earth” finds the middle ground between the two artists, living in the world of Beabadoobee’s shimmering ’90s-inspired alt-rock while also taking queues from some of the more reserved tracks The 1975’s recent output. There’s even a line on here that Bea basically delivers in the voice of Matty Healy. It’s awesome. – Zac Gelfand
BIA — “Whole Lotta Money”
BIA is certainly a new name to many, but the Massachusetts native spent years working towards the breakout moment she earned in 2021. Thanks to the powerful influence of TikTok, BIA’s “Whole Lotta Money” became one of the most popular songs of the summer. Its catchy hook and club-friendly production combined for a recipe towards a successful record. It later received a remix from Nicki Minaj, a guest verse that comes far and few nowadays, making BIA’s 2021 year all that much better. – Wongo Okon
BTS — “Butter”
The whole purpose of pop music is to help us forget the mundane doldrums of our banal everyday lives. The best songs should uplift and remind us that there’s always something sunnier and joyful on the horizon. Nothing accomplished those tasks with more precision this year than “Butter,” a goofy, sunny track from BTS that hit every mark on the perfect pop song list and kept right on climbing. Staying at the top of the charts for most of the year, “Butter” was a reminder of better days, and a promise that those lighthearted, celebratory moments are never fully out of reach. – C.W.
Cardi B — “Up”
For most artists, having a relatively quiet stretch doesn’t result in a No. 1 hit. Most artists aren’t Cardi B, though: Cardi’s last truly busy year (at least in terms of commercially available output) was 2019, but she still had a viral chart-topper in 2021 with “Up.” Cardi has proven herself to be a master when it comes to pumping out hooks that instantly implant themselves into the broad cultural consciousness, with “Up” firmly serving as another example of that. She insisted earlier this year she doesn’t try to make songs to inspire TikTok dances or for similar clout-chasing reasons, so it appears she just can’t help it. – Derrick Rossignol
Caroline Polachek — “Bunny Is A Rider”
Between her many years with Chairlift, and other solo project monikers like Ramona Lisa and CEP, it took a while for Caroline Polachek to finally settle into her own as an artist. But now that she’s there? She’s going full speed ahead. “Bunny Is A Rider” is more high-speed chase energy, run through the filter of summer flings and getaway cars. It’s an epic, left-field pop hit that should be on every year-end playlist, and hopefully means the follow-up to 2019’s excellent Pang will be coming next year. – C.W.
Cassandra Jenkins — “Michelangelo”
The opening track to Jenkins’ sweeping An Overview On Phenomenal Nature, “Michelangelo” is totally chorus-less. Jenkins takes us through a series of verses, contemplating our resilience as humans to deal with the circumstances of where we’ve been and how we’ve come to be how we are. She likens herself to “a three-legged dog,” an animal that finds harmony within a lack of balance and we begin to see ourselves reflected within her words. A drawn out guitar solo comes in midway through, acting as a giant mirror that makes you seemingly nod your head at, and agree with Jenkins, as if saying “Yeah…me too. I totally feel that way sometimes!” It’s what makes “Michelangelo” such an effective piece of music and a prime example of how Jenkins speaks to the listener through song in marvelous ways. – Adrian Spinelli
Chlöe — “Have Mercy”
This year marked the year of independence for Chloe Bailey. Not to say that Chloe X Halle are done as a duo, as many have oddly called for, but instead, Chloe will commemorate 2021 as her arrival as a solo entity. After months of unnecessary discourse about her social media habits and delightful covers of songs in varying genres, Chloe unloaded her debut single with the Murda Beatz-produced “Have Mercy.” If the bouncy trap-leaning track tells us anything about Chloe, it’s that the singer is set on doing things her own way and showing us what her own natural artistry looks like. – W.O.
CKay — “Love Nwantiti”
The success of afrobeats in 2021 will most likely be personified by the slow rise of Wizkid & Tems’ “Essence.” Another candidate for this is CKay with “Love Nwantiti.” The Nigerian CkKay takes slow-burning success to a new level as the original song arrived in 2019. However, thanks to numerous remixes and a viral moment on TikTok, a broader spotlight was placed on the infectious track. The song’s title translates to “small love” in Nigeria’s Igbo language, but the track received much more than its title suggests, and rightfully so. – W.O.
Coi Leray — “Twinnem”
Given the choice between “No More Parties” and Coi Leray’s other big standout from 2021, I’ll take the latter. There’s just something irresistible about that singsong chorus and the twinkling production. While the track does incorporate the crooning style for which Coi first garnered attention on her breakout, her choppy flow is fun, funky, and heartening to hear in just about any circumstance. – A.W.
Dijon — “Many Times”
This standout track from Dijon’s debut album perfectly showcases what makes Absolutely such an entrancing listen. Reveling in what Aaron Williams calls for Uproxx “a cycle of pain and confusion caused by a loved one who doesn’t understand the impact their chaotic actions are having,” the track bounces across genre boundaries seamlessly, from R&B to driving power-pop to introspective folk. Despite their seemingly conflicting sounds, all of these sonic influences actually function quite well together, working in tandem to reinforce what we all already knew: all eyes should be on Dijon. – Z.G.
Doja Cat, SZA — “Kiss Me More”
Drake — “Knife Talk” Feat. 21 Savage and Project Pat
There’s no telling what will be the fan-favorite record on an album Drake releases. That was made clear with “In My Feelings” and Scorpion in 2018. This time around, Drake’s sixth record, Certified Lover Boy, is spotlighted by the Houston-influenced “Knife Talk” with 21 Savage and Project Pat. It’s a menacing track from the trio that promises the worst for those who try them. A commanding intro from Project Pat, 21 Savage’s fear-inducing verse, and another installation of mob boss Drake combine for an ear-pleasing display of no-good evildoers. – W.O.
Dua Lipa — “If It Ain’t Me”
Opting to release her sophomore album, Future Nostalgia, a few weeks early as it became clear a pandemic was going to stop most fans from hearing these disco-bangers out on the dance floor last year, Dua continued to build on the wildly-successful album’s radiant sound with intermittent updates. “If It Ain’t Me” was part of one of these subsequent additions, as part of the The Moonlight Edition, and the glittering anxiety of being with someone you love but still worrying about it all falling apart was a very apt 2021 soundtrack. Sad disco forever. – C.W.
Foxing — “If I Believed In Love”
Foxing are no stranger to taking big swings, and this cut from Draw Down The Moon is one of the biggest jumps into new territory that we’ve heard from the band to date. Gone are the trappings of their emo beginnings, aiming instead for an indie-pop horizon. Showcasing Conor Murphy’s falsetto throughout, “the track is carried by synth hits and a drum machine beat, which start the song out calmly before it explodes into a more exuberant second half,” writes Derrick Rossignol for Uproxx. – Z.G.
Hovvdy — “Blindsided”
Hovvdy write truly beautiful music, and the additional resources provided to them for their new album True Love allowed the band to explore different soundscapes and truly create sonic worlds for themselves. “Blindsided” is the perfect representation of the band’s raw power as both songwriters and world-builders, serving as the centerpiece of what I called in a recent feature “the perfect album to throw on a fall drive with the windows down, hearing the leaves crunch under your car tires.” It doesn’t take long after hitting play on the track to get a full scope of its cinematic qualities. – Z.G.
IDK, Offset — “Shoot My Shot”
There’s something beautiful about a catchy record that also doesn’t see an artist compromise their natural style. That’s what you get with IDK’s “Shoot My Shot.” He and Offset arrive with overflowing confidence towards all the things in their life that they may want. Whether it’s women, money, or new opportunities, IDK and Offset use the song’s thumping bass and quick-fire hi-hats on the USee4Yourself highlight to make it clear that success comes their way when they shoot their shot. – W.O.
Isaiah Rashad — “Lay Wit Ya” Feat. Duke Deuce
At an outdoor daytime event on Fairfax premiering the leeead single from his long-awaitedcomeback album, I watched Isaiah Rashad whip the crowd into a frenzy, turning the 3 p.m. parking lot into a nightclub in full swing. Such is the power of “Lay Wit Ya,” which wisely pairs the supremely laid-back Zay with the incorrigible, chatterbox flow of his fellow Tennessean Duke Deuce. Splitting the difference between crunk and the languid TDE house sound, Isaiah Rashad found a way to push the boundaries while remaining firmly in his comfort zone. – A.W.
Jack Harlow — “Luv Is Dro” Feat. Static Major & Bryson Tiller
The three artists on this song have one thing in common: each call Lousiville, Kentucky home. For Jack Harlow, the city is a proud place to represent thanks to those who came before him like the late Static Major and Bryson Tiller. So on his official debut album That’s What They All Say, Harlow made sure to commemorate a moment for his hometown. “Luv Is Dro” is carried by a sample of Static Major’s “Love Is Dro” and held together by verses from Harlow for what lands as an ode to the city’s developed sound and a well-executed comparison of bedroom magic to the effects of weed. – W.O.
Japanese Breakfast — “Be Sweet”
Japanese Breakfast’s Jubilee is one of the best indie albums of the year, and “Be Sweet” was the first taste we got into Michelle Zauner’s joyful world. Built upon a buoyant bass groove, funky guitars, and driving synths, “Be Sweet” is a notable high point on an album that is full of high points. Zauner’s infectious vocal melody drives it all home, crafting a track that will be quick to get you dancing. – Z.G.
Jazmine Sullivan — “Pick Up Your Feelings”
At the apex of the pandemic, Jazmine Sullivan thought it was the perfect time to remind the world of her existence with a steamy stack of songs titled Heaux Tales. Its second supporting single “Pick Up Your Feelings” encapsulates everything we missed about Jaz. Pure vocals, women empowerment, encouragement, and anecdotes. “I deserve so much more than you gave to me / So now I’m savin’ me / And I made my peace / So you can run them streets,” she relents. “But don’t forget to come and pick up your feelings.” – C.J.
J. Cole — “Let Go My Hand”
The closest thing to introspection on Cole’s wind sprint drill of an album, “Let Go My Hand” finds the North Carolina native contemplating the future, the past, his legacy, and the rumors that have circulated online for the past few years about that supposed scuffle with Diddy. And then Diddy pops up on the outro. I mean, if that doesn’t deserve one of those Italian chef’s kiss gestures, absolutely nothing on Earth does. – A.W.
Jorja Smith — “Addicted”
Good pop music tugs at the strings of desire in unique ways and on “Addicted” Jorja Smith does it impeccably. “The hardest thing, you are not addicted to me / I’m the only thing you should need, You should be addicted to me,” she sings in a well-penned plea. Joel Compass’ atmospheric drum and bass production builds a classic British pop sonic trope; the convergence of dance floor beats with the silken-voiced singer. Smith is radiant and audacious at the same time. She doesn’t just want attention, she wants addiction, and she reaches incredible emotional heights in the process. – A.S.
The Kid Laroi, Justin Bieber — “Stay”
It’s always a treat when a well-established star pairs with an up-and-coming newbie, and the combined power of The Kid Laroi and Justin Bieber was exactly what both needed to skyrocket to the top of the charts. “Stay” is a mournful but almost-banger pop-punk tune that fit the strange, uncertain mood that dominated most of 2021. As long as everyone else is hitting up the emo revival, why shouldn’t Bieber get a piece of the pie? – C.W.
Lana Del Rey — “White Dress”
Lana Del Rey had an exceptionally busy year between releasing two full-length albums. But even with the whirlwind of events, her Chemtrails Over The Country Club track “White Dress” was her defining moment of 2021. The breathy ballad not only showcases her far-reaching vocals and knack for reinventing tired piano ballads, but it also tells a true story. Through her lyrics and chilling melodies, Lana details the discomfort of what it’s like to be perceived in the male-dominated spaces of the music industry, particularly at such a young age. Although the lyrics and instrumentation are quite sparse, the way Lana delivers each line allows the listener to understand the exact feeling of discomfort and quiet rage she felt upon reexamining a memory from her early career. – C.D.
Lil Baby, EST Gee — “Real As It Gets”
Lil Baby’s reign of terror continued throughout 2021 as he dropped his first solo single post-My Turn, introducing the world at large to Louisville rhyme sniper EST Gee. The frenetic beat would be a challenge for just about anyone to wrangle, but Lil Baby does so with apparent ease, ceding his spotlight to the young up-and-comer for the anchor leg. Gee refuses to let him down, bringing every bit as much energy while insisting he’s “really livin’ what I rap.” – A.W.
Lil Nas X — “Montero (Call Me By Your Name)”
In the event that you somehow managed to not hear anything about Lil Nas X since the historic No. 1 run with “Old Town Road” in 2019… well, a lot has changed since then. The rapper shed his squeaky-clean image (which he cultivated based on a song that references adultery and breasts) to make conservatives faint by becoming a gay icon and giving Satan a lap dance. The change was for the better, as “Montero (Call Me By Your Name)” made him a lasting cultural fixture, due to both the quality of the music and Nas’ masterful ability to promote it and himself in delightful ways. – D.R.
Mac Ayres — “Nothing Else”
Mac Ayres submitted yet another pristine body of work at the top of the year with Magic 8Ball. Just like a magic 8-ball, the project hones on the randomness of life, including a moment that finds Ayres looking to right his wrongs with love. That arrives on “Nothing Else,” a truly hypnotizing track backed by floating keys and a stuttering drum. As someone who tends to run away from his problems with love, Ayres goes against his natural instincts and decides to make things right with someone who he’s given his heart to. – W.O.
MICHELLE — “SYNCOPATE”
Although AFTER DINNER WE TALK DREAMS, the sophomore album from New York collective Michelle doesn’t drop until January, the samplings we’ve heard from the record so far are setting a very high bar. “Syncopate” arrived earlier this year with the album’s announcement, delivering a truly exciting number that is both groovy and seductive. According to the band in a statement, the song is, at its core, about exposing the vulnerabilities that come with communicating one’s desire. – Z.G.
Morray — “Quicksand”
If you’re looking for a contender for “most undeniable song of the year,” this one puts in a pretty strong argument. Not only did it more or less launch Morray’s career, but it also introduced a rapper for whom “soulful” seems a descriptor inadequate to the challenge of accurate labeling. He somehow croons and raps at the same time — kind of like Nelly — but with a melancholy that reflects the conditions he’s overcome, as well as a hopefulness that fully explains how he managed to do so. – A.W.
MUNA — “Silk Chiffon” Feat. Phoebe Bridgers
If you haven’t heard the lesbian anthem of the year, GTFO. Okay, sure, this song belongs just as much to bi women as anyone else (hi Phoebe), and it only takes a tiny stretch of the imagination to make it into a love song for just about anyone. But, in a heteronormative, patriarchal world that so often dismisses the idea that plenty of women could be completely happy loving each other, “Silk Chiffon” reclaims space in a deeply political way. The fact that it also happens to be a banger is just icing on the cake… or an extra bit of chiffon on the blouse. – C.W.
Olivia Rodrigo — “Good 4 U”
While Olivia Rodrigo‘s debut single “Drivers License” gave her a viral moment, her Sour track “Good 4 U” resonated with millennials and Gen Z alike to make her a certified star. Rather than singing about the woes of a broken heart, “Good 4 U” is instead empowering, sarcastic, and details the wildly relatable feeling of the jealousy and pain that comes from an ex moving on a little too quickly. As a whole, “Good 4 U” is an example of Rodrigo’s versatility that helped her become a household name. It showcases her genre-spanning songwriting along with the fact she can just as easily execute a rock-leaning banger as well as a piano-driven ballad. – C.D
PinkPatheress — “Just For Me”
PinkPantheress burst onto the scene via TikTok when her glitchy, footwork-style production and pristine house vocals hit a sweet spot for disillusioned Gen-Z listeners, stuck at home or full of the same longing her music contains. “Just For Me” is a bit more hopeful than some other tracks on her early mixtape, To Hell With It, but cut with just enough darkness to make things interesting. See if a single listen doesn’t get the melody stuck in your head for days at a time. – C.W.
Polo G — “Rapstar”
Polo G earned the first No. 1 album of his career this year with Hall Of Fame. With that also came the first No. 1 song, “Rapstar.” The track focuses on Polo G’s newfound stardom, one that became undeniably apparent when Hall Of Fame arrived. “Rapstar” is Polo G’s realization that he’s bigger than he’s ever been, and because of that, it requires a moment to stop and soak in the moment. It’s also a track that solidified the Chicago rapper’s presence in the mainstream realm of rap. – W.O.
Pooh Sheisty — “Back In Blood” Feat. Lil Durk
Before Pooh Shiesty’s “Back In Blood” was officially released, the song was highly-anticipated. On top of that, the fiery verse led by Lil Durk, which includes the popular line: “Pooh Shiesty that’s my dog, but Pooh you know I’m really shiesty,” immediately took a life of its own. In an episode of How I Blew Up for Uproxx, the Shiesty Season rapper said he knew the song was a hit when footage of him and Durk recording the video went viral. It was hard to go anywhere without hearing “Back In Blood” and even though Pooh is locked up, the song is still being played worldwide. – C.J.
Roddy Ricch — “Late At Night”
Everyone deserves as a special someone to place their trust in. For Roddy Ricch, past traumas and future fears can combine to make that reality a bit harder to attain. The Compton native overcomes both on “Late At Night,” his first single in almost two years. The uncertainty of how this romance may play out is an afterthought in Roddy’s mind as he focuses on the intimacy from his new lover that awaits. In the grand scheme of his promising career, “Late At Night” is an excellent start towards the upcoming chapter, one that will be completed with his upcoming album Live Life Fast. – W.O.
Saweetie — “Best Friend” Feat. Doja Cat
The explosiveness of Saweetie and Doja Cat’s “Best Friend” is what you get when you two of the industry’s most idiosyncratic creative artists together. It’s a literal bop that celebrates friendship and serves as an uptempo feel-good song. “Bitch, you look goodt, with a T at the end I’ma hype her every time, that my mothеrfuckin’ friend,” Saweetie affirms. Let’s also not forget the moment Doja had with the perplexing “she off her fish” line that was absolutely wrong but her fans insisted on saying it anyway despite her correcting it to “she off her fifth shot.” Complete with the cutest music video, unforgettable bars (i.e. “Beep, beep is that my bestie in a Tessie”), and catchy production, the undeniable hit quickly went double-platinum and is now nominated for Best Rap Song at the 64th Grammy Awards. – C.J.
Silk Sonic — “Leave The Door Open”
Bruno Mars and Anderson .Paak announced their Silk Sonic duo back in February and left the music world to simply imagine how great this pairing could be. The things they imagined were brought to reality with Silk Sonic’s perfect debut single, “Leave The Door Open.” Undeniably catchy, impressively smooth, and irresistible altogether, Silk Sonic squeezed every bit of juice out of the record for five months before offering a new track to their fans. Nowadays, singles rarely get worked and promoted for as long as “Leave The Door Open” did, with life of Silk Sonic’s debut track acting as a testament to just how good the song is. – W.O.
Snail Mail — “Valentine”
The title track from Lindsey Jordan’s sophomore album under the Snail Mail moniker quickly set a high bar for what was to be expected from the remainder of the record. Where many indie-adjacent artists returning for their second release in 2021 opted for more sparse, delicate arrangements, Jordan instead leaned into fleshing out the Snail Mail sound and incorporating new instruments to take the music in unexpected directions. “Valentine” is what Derrick Rossignol called for Uproxx “a song that starts out guided by mellow, atmospheric guitars before bursting into a kinetic chorus.” – Z.G.
Syd — “Missing Out”
Throughout 2021, Syd, the lead vocalist of The Internet, delivered three singles that injected hope towards a new solo project from her. While we’ve yet to receive that, the records are notable releases from her. A standout from that is “Missing Out,” the emotive record that dwells on what a well-crafted love could feel like. Syd accounts for her missteps in romance with commendable honesty and self-awareness, while reminding herself, and in turn reminding us, that love will surely find its way to you when the time is right. – W.O.
Taylor Swift — “Mr. Perfectly Fine”
One of the best parts about Taylor Swift re-recording her old albums has been getting brand new music from her as part of the process. As Taylor returns to the timeframe when she wrote each record, she’s rescuing unreleased songs from the vault along the way, and “Mr. Perfectly Fine” is one of the finest new breakup gems of the year. The fact that the song’s probable subject, Joe Jonas, and his wife Sophie Turner are now IRL friends with Taylor and her own Joe (Alwyn) makes it all the better. Come for the Fearless-era guitars, stay for the welcome perspective on those I’m-gonna-die breakup feelings. – C.W.
Turnstile — “Blackout”
With their latest album Glow On, Baltimore hardcore heavyweights Turnstile stepped out of their comfort zone a bit and started to experiment. “Blackout” represents the perfect mid point between Turnstile’s past and future, with 808 accents and non-traditional percussion working together to build the track’s tension. It all eventually explodes into a cathartic chorus that finds Brendan Yates screaming “if it makes you feel alive / well, then I’m happy to provide,” all before fully breaking down into a heavier hardcore outro. – Z.G.
Tyler The Creator — “MASSA”
“I paint full pictures of my perspective on these drum breaks / Just for you to tell me it’s not good from your lunch break.”
Look, hit dogs holler. I’m not one to jump in front of a stay bullet that doesn’t have my name on it. But just to be safe: This song is good. Tyler brags a bunch, he explains himself a little, he addresses some controversy, and he reminds you that yes, he is Black. Blackity Black-ass Black. Adjust your attitude accordingly. – A.W.
Vic Mensa — “Shelter”
As a longtime member of the Vic Mensa Protection Squad (est. 2011, shout out Kids These Days), all I wanted was for the Chicago rapper to return to the rap-inflected roots I knew still resided within him after a rocky past few years. Then “Shelter” happened, not only granting my wish but also reuniting Vic with longtime friend and collaborator Chance The Rapper. I’m afraid I’ve used up all my good karma for the next two years on this tender anthem. Totally worth it. – A.W.
Young Thug, Gunna — “Ski”
This year is divided into two chapters for Young Thug’s. The second half is comprised of his sophomore album, Punk, a project that’s much more timid compared to his previous bodies of work. The first chapter, however, comes with Thug and his Young Stoner Life Records’ compilation album Slime Language 2. All the fun and exuberant rhymes we’ve come to love from Thug appear on the project thanks to highlight records like “Ski” with Gunna. The frequent collaborators invite listeners to hit the slopes with them — quite literally thanks to its accompanying TikTok dance — for an infectious reminder to always have fun and enjoy life. – W.O.
The War On Drugs — “I Don’t Live Here Anymore”
On their 2021 album I Don’t Live Here Anymore, The War On Drugs once again deliver a collection of insinuating synth-rock songs that recall the glories of bygone stadium rock infused with a post-modern sensibility. On the title track, Adam Granduciel might have very well distilled his “indie rock Born In The U.S.A.” aesthetic down to its purest form. Backed by the sultry duo Lucius, he sings about going to a Bob Dylan concert and arriving at a life-changing catharsis, a momentous turn signified by the surging keyboards and guitars that bring the song gloriously home. – S.H.
Wizkid – “Essence” Feat. Tems
Afrobeats reached a new level of popularity in 2021. Proof of that lives in Wizkid and Tems’2 hit song “Essence.” Released at the end of 2020, the Made In Lagos highlight became the first afrobeats record to enter the Billboard singles chart, and thanks to a later remix from Justin Bieber, it propelled its way to No. 10 on the Billboard Hot 100. Tems’ captivating presence on the song, Wizkid’s smooth-guy demeanor, and the track’s hypnotizing production made it incredibly easy to fall in love with. And that’s exactly what happened as fans from all over the world belted its lyrics at the top of their lungs long after the song’s original release. – W.O.
Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Anybody who thought the vinyl resurgence was just a fad was mistaken: The industry has experienced a legitimate revival. As a result, music fans are interested in physical media in ways they may not have if the decades-old medium hasn’t made a comeback. That doesn’t mean everybody is listening to just their parents’ old music, though. That’s part of it, sure, thanks to rereleases that present classic albums in new ways. A vital part of the renewed vinyl wave, though, is new projects being released as records, of which there are plenty.
Whatever you might be into, each month brings a new slew of vinyl releases that has something for everybody. Some stand out above the rest, naturally, so check out some of our favorite vinyl releases of November below.
The Black Keys — El Camino (10th Anniversary Deluxe Edition)
Nonesuch
The Black Keys were at the height of their power with 2011’s El Camino, and in just a few days, the album celebrates its tenth anniversary. To mark the occasion, the band has re-released it in various expanded editions. Aside from the remastered album, bonuses include a photo book, a limited-edition poster, and a previously unreleased concert recording from a 2012 show in Portland, Maine. Coincidentally, I was actually at that concert, and if my memory serves me correctly, it was a good one.
Lil Wayne’s Tha Carter series is an iconic hip-hop institution, and now he’s collected the highlights all in one place. On Tha Carter Singles Collection, you get 19 of the finest songs from the series pressed on ten 7-inch records, as well as a booklet full of rare photos, two lithos, and brand new art.
After the all-time classic album The Joshua Tree and the not-as-beloved Rattle & Hum, U2 made a drastic change to their sound with the alternative- and electronic-inspired album Achtung Baby. That album dropped 30 years ago, so now the band is celebrating its three decades with a new anniversary edition. This version of the album has been remastered and also includes remixes of songs from both Achtung Baby and its follow-up Zooropa.
Los Angeles played a major role in the story of jazz legend Charlie Parker, and now some formative recordings from the Kansas City native’s time in the City Of Angels are all together on this new collection. The release features the only known recordings from Billy Berg’s on December 17, 1945; three previously unknown JATP recordings from the Shrine Auditorium on November 22, 1948; and the complete recordings of the July 1952 party at Jirayr Zorthian’s Altadena ranch. For those wanting more context on the meaning of these recordings, the project’s producer, John Burton, offers just that in his liner notes.
Kiss — Destroyer (45th Anniversary Super Deluxe Edition)
UMe
1976’s Destroyer was a formative and landmark release for Kiss, and now, 45 years later, they’re expanding upon it with a new reissue. Aside from the remastered album, the amount of goodies that is included with the Super Deluxe box is extravagant but not surprising coming from perhaps the most merchandised band ever: There are iron-ons, stickers, posters, trading cards, stage blueprints, a newspaper, a hardcover book, and much more.
Much has been made about the 30th-anniversary edition of Nirvana’s Nevermind, and truly, this is a must-have for Nirvana fans. There are a variety of editions, the beefiest of which comes with 8 LPs that feature the original album (newly remastered, of course), four full concerts, a 40-page hardcover book with unreleased photos, and other goodies. If physical music isn’t your thing, the band also has a bunch of new merch to coincide with the album’s anniversary.
Speaking of anniversary releases, Radiohead had a big one this year, although it’s pretty different from the Nirvana one. Kid A Mnesia actually celebrates two albums, Kid A and Amnesiac, by collecting both albums as well as B-sides and unreleased tracks from the era. Again, if you’re not looking to buy a record/CD/tape, the gift-able merch offerings here are diverse, including everything from a paint-by-numbers set to holographic stickers.
Who’s that girl? It’s Zooey Deschanel! And also that guy, M. Ward, who is known collectively alongside Deschanel as She & Him. The duo dropped a delightful Christmas album a decade ago and now they’re celebrating the project with a rerelease. It’s super holiday-ready, too, as it’s pressed on tinsel silver vinyl and comes with a new 7-inch, which features covers of Madonna’s “Holiday” and Wham!’s “Last Christmas.”
Yusuf / Cat Stevens — Teaser And The Firecat (50th Anniversary Super Deluxe Edition Box Set)
A&M/UMe
Teaser And The Firecat helped establish Stevens as a premier singer-songwriter of his era 50 years ago. Now he’s celebrating the anniversary with a deluxe edition of the album that is described as “the most in-depth and definitive version of the album possible.” This version includes a remastering of the original artwork, 41 previously unreleased tracks including studio demos and alternate mixes, and a 108-page essay book.
Billy Joel is still going strong today, but on The Vinyl Collection, Vol. 1, he looking back on the ’70s. The massive 9-LP collection features his first six solo albums (Cold Spring Harbor, Piano Man, Streetlife Serenade, Turnstiles, The Stranger, and 52nd Street), his first live album (Songs In The Attic), and a previously unreleased concert recording (Live At The Great American Music Hall — 1975). All of the aforementioned come right from the original album tapes, and there’s also a 50-page booklet to offer more context on these classic projects.
RZA — Bobby Digital In Stereo (Vinyl Me, Please Reissue)
Gee Street/V2/BMG Records
RZA went out on his own outside of Wu-Tang with his debut solo album, 1999’s Bobby Digital In Stereo, a project that helped him establish his own unique identity outside of the iconic hip-hop collective. Vinyl Me, Please always nails it with the vinyl color and they did so again here with their reissue of the album, which is pressed on “Mantis” Green vinyl that’s a perfect visual complement to the cover art.
Sigur Rós’ 2008 album was a defining release for post-rock fans and buttcheek lovers everywhere, and while it’s not celebrating a round-numbered benchmark anniversary this year, the group is still going ahead and giving it a vinyl reissue. It was a good call, though, as the album was previously out of print worldwide, and now it’s available in both heavyweight black vinyl and a limited run of sky blue vinyl.
Rihanna — Rih-Issue (Music Of The Sun, A Girl Like Me, Good Girl Gone Bad, Rated R, Loud, Talk That Talk, Unapologetic, Anti)
Rihanna
No, Rihanna hasn’t announced a new album though. However, for those looking back on her old projects in the meantime, she is now offering a tremendous way to do so. She recently announced a cleverly titled new series of “Rih-Issue” releases, which features fancy rereleases of her entire eight-album discography. Each one comes with an exclusive shirt, making this the best way to fill any Rihanna-shaped hole in your vinyl library.
But despite all she’s accomplished in her career, part of Riri’s heart will also be in her native Barbados. She’s always kept her roots there, returning for different festivals every year and making sure people know she hasn’t forgotten where she’s from. Well, tonight she’s also back in Barbados to help celebrate a very historic moment in the country’s history: officially becoming a republic. You see, in the past, Barbados was a royal colony, but they’ve opted to self-govern. But Barbados will still remain part of the greater commonwealth, despite their newfound independence.
Catch a glimpse of Rihanna’s appearance at the ceremony below, and keep an eye out for her own thoughts on the transition, likely to appear on social media in the next few days. According to reports, she was also honored with the title “National Hero,” which is a pretty epic title to say the least.
Rihanna is in Barbados as the island country is officially declared a republic pic.twitter.com/zE4zwjYeRm
This summer, Megan Thee Stallion got herself a spot in the K-pop world by linking up with BTS for a remix of their No. 1 hit “Butter.” Now, months later, Meg and BTS were finally able to link up to give the song its live debut.
Yesterday, BTS performed at SoFi Stadium in Inglewood, California, and about mid-way through their main set, they launched into “Butter.” Much to the surprise of those in attendance, though, Megan eventually emerged to join the group on stage and deliver her contributions to the song.
Naturally, the ever-excitable BTS Army was thrilled by the performance, as they took to Twitter to share their reactions (and make Meg a trending topic):
i dont think ill ever be over yoongi pointing at megan while rapping “got the right body and the right mind” pic.twitter.com/yl47tyBGkq
This comes after Meg had to back out of performing the song with BTS at the American Music Awards last week. She wrote at the time, “Hotties I was so excited to go to the @AMAs and perform with @BTS_official, but due to an unexpected personal matter, I can no longer attend [crying emojis] I’m so sad! I really can’t wait to hit the stage with my guys and perform #BTS_Butter real soon!”
Check out a fan-shot video of Megan joining BTS for “Butter” above.
Megan Thee Stallion is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
2021 saw the world starting to recover from 2020, and naturally, music played a major role in that. If last year gave artists more time to devote to finishing creative endeavors, then this year was our chance to hear those efforts. All in all, 2021 was kind to music fans in need of superb albums, whether or not their favorite release had pandemic origins.
Established artists added onto their legacies, up-and-comers staked their claim in the industry, and some acts already on our radars elevated themselves to a new level. While Uproxx’s previous year-end best album lists were presented as a ranking, this year, we’re going un-numbered, because you don’t have to quantify music to appreciate it. (And really, is there a noteworthy distinction between the year’s 41st-best album and the 44th?) Also, please note that albums released in December 2020 are eligible for this list.
So, find our list of 2021’s 50 best albums, presented in alphabetical order, below.
Arlo Parks — Collapsed In Sunbeams
Transgressive Records
Arlo Parks was like a therapist during the pandemic. Originally beginning as poems, her songs are gorgeous ruminations on the depressive states that are all too common with young people today, and became magnified as we lived our lives in a locked-down state for months. The way her warm-voiced presentation of lyrics like “It’s so cruel, what your mind can do for no reason” (on “Eugene”) struck a chord with the loneliness millions were feeling in 2021 and were a salve in dire times. Collapsed In Sunbeams won the Mercury Music Prize as the top album in the UK, and also garnered a Grammy Award nomination for Best Alternative Album. It illustrated the power of Parks’ universal songwriting and she’s maintained an unshakeable grace and charisma along the way. – Adrian Spinelli
The Armed — Ultrapop
Sargent House
The Armed is a real trip. For the unfamiliar, the experimental hardcore group has an ever-changing lineup that isn’t usually revealed. They did give a list of artists who performed on the new album Ultrapop (their first released through Sargent House), but given the group’s history of misdirection, who knows whether or not that should be taken at face value. Things only get more confusing when you listen to the new album, but in a good way, as it features the group pumping out everything from post-hardcore to power-pop, doing it all in ways that make the band’s many mysteries all the more engaging. – Derrick Rossignol
Big Red Machine — How Long Do You Think It’s Gonna Last?
37d03d
What’s interesting about the second Big Red Machine album is how unexperimental it sounds. Whereas the first Big Red Machine record consisted of esoteric sketches that felt like excerpts from long, heady jam sessions, How Long Do You Think It’s Gonna Last?includes some of the most approachable and pop-oriented material that Aaron Dessner or Justin Vernon have ever produced. This can partly be attributed, of course, to the involvement of Taylor Swift, who along with suggesting the album title appears on the album’s most immediate track, “Renegades.” But the rest of the record is similarly melodic and warm, evincing little of the electro-indie dissonance of the recent output by The National and Bon Iver. – Steven Hyden
Billie Eilish — Happier Than Ever
Interscope
For a brand new artist, pushing past the massive surge of a super successful debut can be a challenge. But not for Billie Eilish. Barely taking a breath between accepting a record number of Grammys for When We All Fall Asleep Where Do We Go? and releasing new singles, Eilish weathered the pandemic by slowly trickling out songs like “Everything I Wanted” and “Therefore I Am” to set up her next phase. Happier Than Ever was a jazzy, downtempo left turn after her trippy gothic debut, and more proof than Eilish will be doing whatever she wants from here on out. When the vocals sound this good, genre becomes irrelevant. – Caitlin White
Clairo — Sling
Fader Label/Republic Records
After the breakout success of her debut album Immunity, all eyes were on Clairo when she released her sophomore album Sling. But rather leaning into the bedroom pop that first popularized her name, Clairo instead took Sling in a different, more reflective direction. The album is jam-packed with quiet and tender piano songs that draw inspiration from doleful-yet-warm acoustic sounds of ’70s ballads. The notable shift is attributed in part by her simply getting older and growing into herself and her sound. But Clairo also noted that, while writing the album, she had much time to reflect on the domesticity that come with caring for her rescue dog. – Carolyn Droke
D Smoke — War & Wonders
D Smoke
The follow-up to D Smoke’s excellent 2020 debut, Black Habits, is far less insular and self-centered; whereas its predecessor focused on telling the story of the Inglewood native’s family and upbringing, War & Wonders is instead concerned with the impact D Smoke looks to have on the world around him. He warns of the dangers of gang life on “Crossover,” admonishes listeners to make the most of their opportunities on “Stay True,” and sets lofty goals on “Better Half.” Employing hard-hitting production and a percussive vocal delivery to make his points, each word lands like a blow on the heavy bag at the boxing gym he recently opened in his hometown. – Aaron Williams
DDG — Die 4 Respect
Epic
DDG’s 2021 mixtape Die 4 Respect with the Grammy Award-nominated producer OG Parker of Quality Control is everything the project’s title implies. “I really feel passionate about it to the point where I’d die about this shit like you gonna respect me at the end of this,” the Pontiac, Michigan raised artist told us earlier this year in reference to his transition from being a bonafide YouTube star to a full-fledged artist. In turn, DDG saw several hits off Die 4 Respect. Among them is the platinum-selling hit “Moonwalking In Calabasas” featuring Blueface, “Impatient” featuring Coi Leray, and “Money Long” with 42 Dugg. His heartfelt opener, “Hood Melody” with Youngboy Never Broke Again, tells the story of how he lost his brother to gun violence and is a true display of his abilities as a lyrical storyteller. OG Parker and our July 2021 cover star came through with a project that was both cohesive and offered music that was clearly set out to prove the mixtape’s Die 4 Respect title. – Cherise Johnson
Dijon — Absolutely
Warner
The incredibly evocative singer helped redefine traditional notions of R&B on Absolutely. The album is as stunning for the way Dijon delivers his vocals as it is for the music that backs him. Guitars and strings are an ever-present character motif, like the city of New York in a Spike Lee joint, and the surrounding cast of musicians (led by guitarist Mk. Gee) provide a glorious canvas for Dijon’s vocal tour de force. “Many Times” is a riveting number that’s controllably frenetic in the best way possible. Same goes for “Bike Mike’s,” with its slide guitar popping in from one angle, bass from another, and Dijon floating in congruence with drums and guitar as he pines for a mythical woman. – A.S.
Doja Cat — Planet Her
Kemosabe/RCA
Ladies and gentlemen, Doja Cat has arrived. After two albums of fun, frothy, somewhat inconsequential stabs at pop-laden hip-hop and R&B, Amala stuck her nose hard to the grindstone to turn up a much more focused, slicker slice of her world. She still wields the same wicked sense of humor that got her national attention with “Mooo!” in 2018, but now it’s a scalpel instead of a hammer (“Get Into It“). Her pop sensibilities have sharpened as well, allowing her to trade in glimmering dancefloor anthems (“Kiss Me More“) and stargazing kickback staples (“Need To Know“). – A.W.
Don Toliver — Life Of A Don
Don Toliver
Don Toliver’s Life Of A Don deserves to be played in its entirety starting from the project’s glowing opener “Xscape” to its buoyant closer “Bogus.” Though the loving “What You Need” and “Drugs N Hella Melodies” were the album’s supporting singles, even more desirable songs await for anyone who takes a dive into the full collection of 16. If you have never been to Houston before, “Double Standards” takes you right to the center of the city and its follow-up “Swangin On Westheimer” keeps you there. It’s one of the most beautiful transitions that serenely introduces a side of the H that is palpable for anyone who has never been. “Outerspace” featuring Baby Keem is another standout track off Life Of A Don (more Don and Keem collabs please) and “You” with Travis Scott is a sleeper for sure. H-Town OG Mike Dean’s presence is all over this as well as help from Hit-Boy, Sonny Digital, Mustard and Metro Boomin — yet it all still sounds like it came from the same planet. Donny is devotedly opening a new paradigm for melodic rap and what it means to be an artist with Life Of A Don, it’s just up for the rest of the world to catch up. – C.J.
Faye Webster — I Know I’m Funny haha
Photo by Pooneh Ghana
For Atlanta die-hard Faye Webster, I Know I’m Funny haha represents the fully-formed vision of her folk and country for the well-rounded mind. “Got you a bass last year on your birthday / The same one the guy from Linkin Park plays / But you look better with it anyways,” she sings over a sultry pedal steel on the title track. Then, she pours it on for Atlanta Braves star Ronald Acuña Jr with “I saw you last night in my dream / That’s still the closest you and I have been,” as a saxophone bellows alongside her on “A Dream About A Baseball Player.” Webster’s ability to enact the impeccable Americana vintage sound from the nuanced perspective of a 20-something is what will keep her firmly entrenched as a torchbearer of the Southern music tradition. – A.S.
Guapdad 4000 — 1176
Guapdad 4000
There were many, many projects that were bigger than Guapdad’s collaborative effort with Illmind this year. None of them were as personal, as vulnerable, or as real as 1176, which is all of the things hip-hop is supposed to be. As he exorcises his demons, Guapdad showcases his storytelling skills (“Uncle Ricky”), his devilish sense of humor (“She Wanna”), tender regard for his Filipino roots (“Chicken Adobo“), and a gift for personal exegesis (“Stoop Kid”), all while Illmind stretches his sonic palette in unexpected ways (the Alice Deejay flip on “How Many” is a favorite). Guapdad 4000 may be known as a scammer but in 1176, he’s as authentic as it gets. – A.W.
H.E.R. — Back Of My Mind
RCA Records
It’s odd to think of Back Of My Mind as H.E.R.’s debut album. After all, it’s so fully formed, sashaying easily between sweeping power ballads (“We Made It“) to mournful reflection (“Damage“) to warm weather bops (“Slide“). H.E.R.’s pen is like a surgeon’s tool, cutting to the bone of such subjects as heartbreak, self-realization, and the stirrings of new love. Her instrumentation is even more impressive. Perhaps it’s owed to the decade-plus of behind-the-scenes work she’s done as she strove toward this moment. After the year she’s had, though, she won’t be in the back of anyone’s mind ever again, because she’s earned her spot at the forefront of the pop-culture consciousness. – A.W.
Halsey — If I Can’t Have Love, I Want Power
Capitol Records
Working with your idols can be daunting, even devastating in some cases. But every once in a while, game recognize game and everything flows into the ideal collab. That’s what happened when Trent Reznor and Atticus Ross started helping Halsey retool their sound for the spectacular If I Can’t Have Love, I Want Power. Dark, chaotic, and much more rock-centric than her last album, Manic, this fourth album is as good as a magnum opus for the alt-pop star. Wading through pregnancy, misogyny, historical sexism, and so much more, this record crystallizes her sound in unexpectedly moving ways. – C.W.
IDK — USEE4YOURSELF
IDK
For IDK, following up his excellent debut album, the existentially inquisitive Is He Real?, presented something of a challenge. After all, once you’ve set the bar that high, it’s hard to clear it — and even if you do, there will be plenty of naysayers who will almost certainly dispute the results. However, in not succumbing to the pressure to cater to those naysayers by sticking to emotionally and sonically safe material, IDK manages to not only clear the bar he set but raise it as well. Eclectic and wide-ranging both conceptually and musically, IDK bares his flaws, insecurities, and epiphanies with rare panache. – A.W.
Indigo De Souza — Any Shape You Take
Saddle Creek
With her sophomore album, Any Shape You Take, Indigo DeSouza tackled her songwriting with a kind of vibrancy and open-mindedness that was hard to find in her tiny North Carolina hometown. The songs on her album resist fitting any specific genre category, moving fluidly between sparkling pop anthems and somber suburban emo power ballads. Though it can’t be defined by labels, DeSouza’s music tackles love in all forms while flexing her range of intimate songwriting abilities. The shimmering song “Hold U” is a pumped-up track that describes the importance of platonic love, while other songs like “Pretty Pictures” and “Kill Me” detail the aftermath of a life-altering breakup. – C.D
Isaiah Rashad — The House Is Burning
Isaiah Rashad
If you’re going to take a damn-near five-year hiatus between albums to get your life right, your return project has to justify that wait for ravenous (and fickle) fans, or you may as well have retired. Fortunately for the TDE hotshot, his comeback feels every bit as electric as his debut. It’s more weathered and in some places, he sounds weary (“Darkseid,” “THIB“), but he also sounds revitalized and recentered (“From The Garden,” “Wat U Sed“), issuing hard-won observations and heavy-hearted moments of clarity. – A.W.
J. Cole — The Off-Season
J. Cole
J. Cole has received a lot of flak over the years for a lot of reasons, but one thing no one can take away from him: The boy can rap his all-American ass off. By restricting the aims of his latest album to simply proving that, he accomplished the unlikely goal of turning all the “J. Cole is boring” doubters into believers. That makes The Off-Season a triumph, a testament to the benefits of hard work, practice, and stubborn dedication. – A.W.
Japanese Breakfast — Jubilee
Dead Oceans
Michelle Zauner had a momentous 2021. In April, her first book, a memoir about her complicated relationship with her late mother called Crying In H Mart, debuted at No. 2 on the New York Times bestseller list. Then she made the best Japanese Breakfast record of her career. While Japanese Breakfast’s early material was often classified as lo-fi, Jubilee represents her grandest music yet, nodding to the sonically rich and expansive indie albums of the ’90s and ’00s by artists such as Bjork and Joanna Newsom. In terms of lyrics, Zauner has turned her eye to character studies that are delivered with cinematic flair. – S.H.
Jazmine Sullivan — Heaux Tales
RCA
Jazmine Sullivan returned to the music world after an almost six-year absence with her Heaux Tales EP. Through 11 songs with help from Ari Lennox, Anderson .Paak, and HER, Jazmine sings about the experiences through love and intimacy that she and other women go through. There are moments of passion and moments of regrets, but the vulnerability to tell it all and stay true to herself, along with help from other female voices, helped to make Heaux Tales a flawless project. – Wongo Okon
Julien Baker — Little Oblivions
Matador Records
With each album, Julien Baker widens her scope a little bit. Where Sprained Ankle was a very sparse affair focused mostly on lyrics, Turn Out The Lights introduced a few more instruments and depth into the mix, and now Little Oblivions is what Steven Hyden calls “the most musically inviting album that Baker has made yet, with extra heft added to the guitars and rhythm section nudging her closer to a full-on rock record. But the emotional brutality of the lyrics somehow melds with the uplifting beauty of the music, perhaps giving Baker some peace in the process.” – Zac Gelfand
Kacey Musgraves — Star-Crossed
Universal
One of two excellent divorce albums by divas this year, Kacey Musgraves definitely dived a little bit deeper into the psychedelic nature of love, connection, and separation than anyone else in 2021. Star-Crossed is perhaps the only album that could’ve followed up its glowing, critically-acclaimed predecessor, Golden Hour. Sure, sometimes the perfect, golden love fades, but going through the wilderness to find yourself again is all part of the journey. No matter what, the risk was all worth it, and this woozy record of self-reclamation is another ode to all the magic of this beautiful, twisted life. – C.W.
The Killers — Pressure Machine
Island
In interviews about the latest Killers LP, Brandon Flowers likened Pressure Machine to Achtung Baby. Incredibly, he’s sort of correct. For one thing, both albums were the seventh releases for the respective arena-rock institutions. But the similarities go deeper than just discography placement. Just as Achtung Baby was a reboot for U2, Pressure Machine is a bold reinvention for The Killers, setting Flowers’ most evocative narrative lyrics ever to dusty, downscaled versions of his band’s hybrid of anglophilia and heartland rock. It’s one of 2021’s most surprising comebacks. – S.H.
Lana Del Rey — Chemtrails Over The Country Club
Polydor/Interscope
While she may not be navigating the treacherous waters of social media with the most grace, Lana does best when she leans into her songwriter side and leaves Instagram be. That’s exactly what Chemtrails Over The Country Club is all about, as Del Rey descends into psych-folk smashes like “White Dress” and “Tulsa Jesus Freak.” Folksy ballads like “Wild At Heart” and “Not All Who Wander Are Lost” showcase Lana when she’s stripped back, free and easy, and completely offline. – C.W.
Lil Durk and Lil Baby — The Voice Of The Heroes
Lil Baby Durk
Each year, some corner of the music world grants us collaborative projects between artists who were able to fine-tune their chemistry for a full-length project. In 2021, that came about through Lil Baby and Lil Durk’sVoice Of The Heroes. The project came through the rappers’, and their respective fan bases, realization that their vision and artistry fell in line enough for a full body of work. Propelled by highlights like “2040” and “That’s Facts,” Durk and Baby delivered on expectations for the project that flaunts what two of today’s best hip-hop acts have to offer. – W.O.
Lil Nas X — Montero
Lil Nas X
The quintessential pop star for 2021, Lil Nas X’s Montero is the ultimate wink and a smile to anyone who doubted him as an industry one-hit-wonder. On “Dead Right Now,” he sings: “Left school, then my dad and I had a face-to-face in Atlanta / He said, ‘It’s one in a million chance, son,’ I told him, ‘Daddy, I am that one.’” It’s pensive moments like this tucked within an album of tongue-in-cheek mega-hits like “Industry Baby” and “Montero (Call Me By Your Name)” that flash true dynamic artistry across pop and hip-hop. When the dust settles, this will go down as the year of Lil Nas X, after all, who else can claim that they gave Satan a lap-dance, had a track with Elton John on their album (“One Of Me”), and was named The Trevor Project’s Suicide Prevention Advocate of the Year? – A.S.
Little Simz — Sometimes I Might Be Introvert
Age 101 Music/AWAL Recordings
Talk about a breakthrough album. London’s Little Simz emerged as one of the best newly established voices in hip-hop on the Inflo-produced Sometimes I Am Introvert. She tackles the album in complete fashion, showing that no subject is too difficult for her to master as a songwriter. She extols the mind and presence of Black women on “Woman,” flaunts her panache with fellow British-Nigerian Obongjayar on “Point And Kill,” and unapologetically opens up about the toll her relationship with her estranged father has taken on her in “I Love You, I Hate You.” In the latter, she rises above the pain, emerging triumphantly as a person and an artist, flawlessly sliding in between every note of the beat and leaving a lasting mark in the process. – A.S.
Lucy Dacus — Home Video
Matador
Though she’s been operating in the the indie sphere for half a decade at this point, Lucy Dacus‘ third album Home Video marks her strongest effort yet. Now in her mid-twenties, Dacus is far enough away from her youth to reflect on her childhood. With a sense of humor, nostalgia, and a bit of incredulity, Dacus examines her bible study days on Home Video. With catchy refrains, inviting vocals, and heart-tugging lyrics, Dacus walks listeners through the highs and lows of first-times, youthful relationships, and self-discovery. Armed with her current wisdom, Dacus’ music gives honest advice in the form of poetic ballads, urging both her former self and her friends to see their self-worth in the face of potentially harmful relationships through songs like “VMB” and “Christine.” – C.D
Mdou Moctor — Afrique Victime
Matador Records
Afrique Victime is loaded with moments where the great Nigerian guitarist Mdou Moctar steps out of the song in order to ram his guitar directly into your guts. He does this for emotional effect, bending and blurring notes with the furious energy that defines one of his most obvious influences, Jimi Hendrix. But you suspect that Moctar also believes that ripping off a sick solo is extremely dope, which on this record it absolutely is. It might even make you ask: Why don’t we hear guitar solos more often these days? As it is, the concept of the guitar hero remains alive and well thanks to this six-string genius. – S.H.
Nick Cave/Warren Ellis — Carnage
AWAL Recordings
Decades into his career and as prolific as ever, Carnage stands among the best work of Nick Cave’s career. In song after song, surprising moments sweep the listener off their feet, from the nightmarish repetition of the titular phrase on opener “Hand Of God” to the best Spiritualized refrain that they didn’t write on “White Elephant.” Collaborator Warren Ellis makes his mark on each, turning an album that’s often spare into a headphones-needed exercise in nuance. There might not be more beautiful moments on tape this year as the title track or the plaintive “Albuquerque.” – Philip Cosores
Olivia Rodrigo — Sour
Geffen Records
You’d be hard-pressed to find someone who’s had a bigger 2021 than Olivia Rodrigo. In time between sharing her debut single “Drivers License” in January and releasing her No. 1 album Sour in May, Rodrigo went from Disney Channel fan-favorite to one of the most talked about musicians across the globe. She raked in award nominations, dominated streaming services, and smashed charting records held by the musical greats. Throughout the 11 tracks on Sour, Rodrigo positioned herself as an ever-talented songwriter capable of crafting both touching heartbreak ballads and roaring pop-punk anthems. The album captivated audiences of all generations with relatable lyrics and effervescent instrumentation while simultaneously rewriting the persona of the typical pop star. – C.D.
Petey — Lean Into Life
Terrible Records
It’s likely you’ve seen Petey on TikTok (where he’s known as @peteyusa), as his off-kilter and hilarious videos routinely rack up millions of views. Learning that he also makes music might seem like you’re finding out about a frivolous spin-off endeavor that influencers do to expand their brands, but that couldn’t be further from the truth. His TikTok fame actually came after his record deal and the music really is something to behold. His comedic traits can be seen in the music, but his songs, which are diverse and constitute some of the year’s most gripping indie-rock, are no joke. – D.R.
Playboi Carti — Whole Lotta Red
Interscope Records
For many Playboi Carti fans, the wait for Whole Lotta Red was a grueling one. However, to their delight, the project arrived beside their holiday presents on Christmas in 2020. Carti’s entire brand is unharnessed energy, and while Whole Lotta Red attempts to reel in that that energy, unintentional room for that to thrive appears in various pockets of the album. Through 24 songs and contributions from Ye, Future, and Kid Cudi, Whole Lotta Red adds another chapter to Carti’s thrilling story as one of hip-hop’s biggest rockstars. – W.O.
Polo G — Hall Of Fame
Polo G
With every project that Chicago rapper Polo G releases, his stock in the rap game increases. His debut Die A Legend made him a young name in hip-hop worth paying attention to. His sophomore effort The GOAT solidified his presence in music for years to come. Now, his third album Hall Of Fame presents a rapper who can stick to his roots and present himself as a top-selling rap product. Through 20 songs, Polo G not only shows that his pen has improved but also his awareness towards records that will pop and bring a bigger spotlight to him. – W.O.
Rico Nasty — Nightmare Vacation
Rico Nasty
When Rico Nasty first roared onto the SoundCloud rap scene in 2016, her rawness was part of the appeal. Now, five years, seven mixtapes, and a debut studio album later, she’s one of mainstream hip-hop’s most interesting figures, as much — more — of an innovator than any of her punk-rock-influenced peers. On Nightmare Vacation, she justifies every ounce of hype while utilizing every tool on her belt. There are her signature yell-rap anthems (“STFU,” “Smack A Bitch Remix”), hyperpop experiments (“iPhone”), and dreamy trap bangers (“Don’t Like Me”), all utterly saturated in her uniquely rebellious spirit. – A.W.
Sega Bodega — Romeo
NUXXE
Sega Bodega may not yet be on your playlists, but that’s just due to lack of exposure. The Irish artist only just released his first album last year but already has major co-signs under his belt: Rihanna has used his music in Fenty ads and Arca makes an appearance on this year’s Romeo, featuring on “Cicada.” That song is one of many from the new album that shows off Sega Bodega’s versatility: While “Cicada” comes across like warped ethereal Reggaeton, the album features everything from dreamy electronica (“Only Seeing God When I Come”) to straightforward pop ballads (“I Need Nothing From You”). – D.R.
Silk Sonic — An Evening With Silk Sonic
Atlantic
From the very moment that Bruno Mars and Anderson .Paak made their newly-formed Silk Sonic duo official with the release of “Leave The Door Open” earlier this year, their promised debut album was one of the most sought-for releases in 2021. Would the duo live up to the hype? Would the album perhaps be unbalanced? A multitude of questions arrived at Bruno and .Paak’s doorstep, all of which were answered with the brilliant An Evening With Silk Sonic. The duo met all expectations and did it through an excellent display of showmanship. There’s no telling how long Silk Sonic will last, but their current presence is something to be thankful for. – W.O.
Skyzoo — All The Brilliant Things
Skyzoo
Being independent in the rap game is both a supreme gift and a withering curse. Take, for instance, Skyzoo’s latest album. Untethered to the limits of the major-label system, Sky was able to craft one of the most inspiring and intricately-constructed rap albums of the year. However, without those major-label resources, it went largely overlooked — which is a shame, because there were few projects this year as consistently… well, brilliant as this one, on which tracks like “I Was Supposed To Be A Trap Rapper” turn staid hip-hop tropes on their ears and “Bodega Flowers” implores us all to salute our greats before they’re pushing up daisies. Well, salute, Skyzoo, one of the best out today. – A.W.
Snoh Aalegra — Temporary Highs In The Violet Skies
ARTium/Roc Nation
While many excel in relaying their experiences with love, Snoh Aalegra does a beautiful job of showing her wavering feelings in romance through her music. Her third album Temporary Highs In The Violet Skies is another example of that. Its 14 tracks present a woman who chooses to focus and highlight the best moments in love, even if they last shorter than expected. This task is accomplished beautifully thanks to help from Tyler The Creator, James Fauntleroy, Pharrell Williams, The Neptunes, and more. – W.O.
Summer Walker — Still Over It
LVRN/Interscope
Summer Walker achieved some groundbreaking feats with her 2021 sophomore album Still Over It. First of all, she got “Ciara’s Prayer” from thee Ciara Harris-Wilson. Lord knows how long the ladies have been asking Cici herself for the prayer and Ms. Walker was able to get that and was generous enough to share it with her listeners. Second of all, Still Over It is the highest-charting album from a female R&B artist since Beyoncé’s 2016 Lemonade and is likely to continue towards an upward trend. Regardless, Summer Walker uses Still Over It to air out her grievances a la Usher’s Confessions, except she’s naming names and calling out her baby daddy-ex London On Da Track, his mother, and the other women in his life. She does this over perfectly curated production by the same man she’s going in on. London and Summer made magic on Over It, so if it ain’t broke, don’t fix it. On the other hand, Pharrell and Summer on “Dat Right There” sounds like a win for the future of music. Most of all, Summer’s adept songwriting skills, inimitable vocals, and ability to dig into the souls of her listeners through song puts her on another level, to the point that whatever shenanigans she’s on The Shade Room for makes the music worth it. – C.J.
Taylor Swift — Evermore
Taylor Swift
If there was anyone who was going to spend the pandemic creating not one but two perfect albums, it was always Taylor Swift. Even as the ripples of Folklore were just beginning to dissipate, Taylor gently sent a second album out into the world. This one is a little bit darker, a little more country, and just as satisfying as the first. Between her epic murder ballad collaboration with Haim and features from Bon Iver and The National, Evermore is still distinctly Taylor: Sharp, funny, sometimes scathing, and eternally devoted, despite it all. – C.W.
Tinashe — 333
Tinashe
If you needed proof that independence is what’s best for Tinashe, her fifth album 333 is undeniable proof of that. The album is arguably one of, if not the strongest showcase of her versatility as she bends the R&B genre in a number of ways, something she’s proven capable of doing time and time again. 333 is also a testament towards trusting the process, and if you know what it took Tinashe to get here, you’ll have an added dose of appreciation towards her current position. – W.O.
Topaz Jones — Don’t Go Tellin Your Momma
Topaz Jones
It’s not every day that one of the best albums of the year also picks up a short film jury award for non-fiction at Sundance Film Festival but that’s what Topaz’s latest managed at the top of the year. A stunningly executed concept album in its own right, Don’t Go Tellin’ is an incredible rap genealogy project, following the Montclair, New Jersey native as he explores his family’s history, then shares it with the world. Awash in the influences of funk mainstays such as Sly And The Family Stone, peppered with jazz intonations and marked by Jones’ deft recollections, Don’t Go Tellin’ shows what a refined version of the artform can look like when crafted with care. – A.W.
Turnstile — Glow On
Roadrunner
Just an insanely fun record that has unwittingly inspired a revival of one of the biggest bummer music conversations: What makes a hardcore band a hardcore band? Specifically, can a band that kind of sounds like 311 and ’80s Rush (seriously!) really be considered hardcore? Fortunately, Turnstile themselves don’t seem to care all that much about semantics. Yes, they play shows with the manic energy of a hardcore gig. But their songs have so many hooks that Glow On ends up being one of 2021’s most inviting and inclusive records. – S.H.
Tyler The Creator — Call Me When You Get Lost
Columbia
Pound for pound, one of the most impressive studio releases of the year, Call Me When You Get Lost finds rebellious Tyler taking a nostalgic step back to redeem the blog era credit from which he was either barred or that he himself spurned (depending on which version of him you ask). Tapping mixtape maestro DJ Drama and emblazoning his latest with the Gangsta Grillz label is deceptive, though; as much as he revels in the sheer art of rhyme (“Lumberjack,” “Juggernaut“), he also finally gets more vulnerable and expansive than he’s ever been (“Massa,” “Manifesto”), pushing the series beyond mere mixtapes into something richer and much more vital. – A.W.
Vince Staples — Vince Staples
Vince Staples
Call me biased (Long Beach, stand up), but I don’t think a single rap project this year came close to touching Vince Staples’ eponymous fourth studio album. Clocking in at just ten tracks — as many of the great albums do — Vince’s new approach strips away bells, whistles, and several layers of anything resembling varnish to expose the gritty truths he bares throughout its harrowing narratives. Trading in his frantic yelps for a laconic, resigned incantation, Vince invites listeners to not just watch the movie but inhabit his point of view. If you don’t get it, that’s on you. – A.W.
Wale — Folarin II
Wale
For years, Wale has not only believed his own hype but also been its main proponent. While he’s never exactly labored in obscurity, he’s unfortunately been regarded as something less than what he actually is by hip-hop fans at large, which is one of the best bar-for-bar rappers the game has ever seen. He came by that assessment honestly too, via a deep, abiding, and near-obsessive love for the art form. Here, he displays that love, culling samples from across the breadth of the genre (Q-Tip on “Poke It Out“). As a result, it looks like that love is finally being reciprocated as fans learn to appreciate just what he brings to the game. – A.W.
The War On Drugs — I Don’t Live Here Anymore
Atlantic Records
After four long years, The War On Drugs finally returned in November with a reward for our patience. Musically, I Don’t Live Here Anymore is a refinement of the craft the band explored on 2017’s A Deeper Understanding, which itself was a refinement of 2014’s Lost In The Dream. It’s evidence of a band that is always adapting and evolving for an LP that is without a doubt their most accessible material to date. It packs in catchy hooks, driving rhythms, and emotionally cathartic instrumental arrangements anchored guitar solos that will remind you why guitar solos are, in fact, awesome. – Z.G.
Wild Pink — A Billion Little Lights
Royal Mountain Records
The latest Wild Pink release, A Billion Little Lights, feels like a culminating moment for songwriter John Ross. What originally began as a vision for a massive double-album exploring the history of the American West was eventually trimmed down to a more conventional release, with Ross refocusing his efforts instead on creating the most beautiful and enveloping soundscapes that he could. A Billion Little Lights is what Steven Hyden called the project’s “most ambitious and overall best work, infused with deep lyrical craft and impeccable melodies that set Wild Pink apart from the indie-dude pack.” – Z.G.
Young Thug — Punk
Atlantic
Young Thug’s career is filled with individual eras. There are the rapper’s red-haired and blonde eras as well as that for Slime Season and Jeffery. Thug’s second album Punk issues another chapter for the rapper’s extremely unique career. Falling on the opposite side of the spectrum from his debut So Much Fun, Punk finds Thug going against the grain of his own career and the expectations of his fans. Vulnerability, honesty, and a story to tell all stand at the forefront of Punk. However, just like Thug’s previous projects, it serves as another example of the rapper doing what he wants. – W.O.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Anderson Paak has been on fire lately. His success with Bruno Mars on the duo Silk Sonic notwithstanding, Paak also released not one but two albums in the last three years, putting up Oxnard and Ventura within a year of each other. Like most people, he cooled things down last year during the pandemic, but apparently spent that time constructing a throwback duo with Bruno that kicked off with the hit single “Leave The Door Open” and exploded from there. And given his great taste in collaborators, it’s not surprising that Paak made his way to SoFi Stadium last night to make sure he got some facetime with one of the biggest pop groups in the world, BTS.
Taking a group pic with the beloved boy band and immediately posting that content to Instagram, Paak had the best caption for the moment, too. “@bts.bighitofficial lmk if you need another member! I work well in groups!!!” he wrote. Well, I don’t think anyone would be mad about a collaboration between these two — Paak himself said he’d be down earlier this year — so we can at least start there. Or BTS jumps on a Silk Sonic song? When the supergroups are just every pop star in the ecosystem, we’ll have reached peak internet.
It’s Thanksgiving week, so holiday malaise has already set in. People are at home, possibly bored, possibly eating too much turkey, and very likely pondering the existential questions of the universe. Like, what makes a good relationship? When will I discover my true calling? And, of course, my personal favorite: How come Adele never has any back up dancers? At least, that last one was what one Twitter user had on their mind a few days ago, given the arrival of 30 and its insane first-week sales, she’s definitely been on everyone’s minds quite a bit lately.
But of course, in true Twitter fashion, it was a reply to the tweet — with a homemade, DIY solution — that really had the internet up in arms this Thanksgiving. To solve the problem that the original poster pointed out, another Twitter genius added footage of Megan Thee Stallion twerking to a song with the closest rhythm match. Seriously, this mashup is almost perfect, which makes the whole thing even better. While Adele belts out her 25 hit “Water Under The Bridge,” Megan pops and rolls behind her. Honestly, this is a collaboration that the internet has already gotten ahem, behind, it might just make sense to bring it into the real world. Adele, your move!
Now that he’s out of jail, Bobby Shmurda, aka Ackquille Pollard, is taking Covid-19 seriously, back in the game, and listening to… Adele? The Brooklyn rapper had some thoughts about a potential collab with the 30 star, but frankly, his idea isn’t very realistic. Though Shmurda may or may not have been spinning 30 when he had the thought of Adele working on a “strip club anthem” with him, there’s nothing on Adele’s new record that would suggest she’d be down. However, would it be epic? Oh it certainly would be, so we have to give Shmurda credit there, for the creativity.
You Know what the world needs …. #BobbyShmurda & #Adele to make a Strip Club Anthem
“You know what the world needs,” the rapper began. ” #BobbyShmurda & #Adele to make a Strip Club Anthem.” As one would necessarily need to do in these situations, Shmurda followed the sentiment up with a crying smiley emoji. Perhaps Bobby noticed that within three days, 30 became the best-selling album of the entire year, and those numbers were just as motivating as his desire to make an anthem that sends the club up. Or, maybe he figured if Drake is friends with Adele, then she’s probably worth getting to know. Here’s a better idea, Bobby, hop on the remix of the fifteen minute version of “I Drink Wine” — win win.
The Lollapalooza global festivals takeover is in full effect. After a successful flagship function in Chicago this past July, Lollapalooza began announcing its 2022 international slate with bills led by Foo Fighters, Miley Cyrus, The Strokes, and Doja Cat in Brazil and Argentina next March. Then in July, Pearl Jam, Imagine Dragons, David Guetta, and ASAP Rocky will be atop the lineup at Lollapalooza Paris. But it doesn’t stop there.
The second annual Lollapalooza Stockholm in Sweden was announced today and it’s set to go down from Friday, July 1st through Sunday, July 3rd, 2022 at Gårdet, a sprawling park in the heart of the city. Ahead of their Paris appearance, Pearl Jam will also be headlining the Stockholm affair, along with Post Malone, The Killers, Imagine Dragons, Doja Cat and Swedish pop sensation Veronica Maggio. There’s definitely an effort to incorporate Swedish talent on the bill with confirmed appearances from producer/DJ Alesso, reggae-hoppers Timbuktu & Damn!, pop star Tove Lo, singer Benjamin Ingrosso, electro-pop duo Jubël, and more. Other lineup highlights include Jack Harlow, Italian rockers Måneskin, Polo G, Modest Mouse, and Haim.
Tickets go on sale November 25 and you can get them, along with full lineup info and more, at here.
Lollapalooza Stockholm
Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
