2024 was a historic year for music, with Shaboozey’s “A Bar Song (Tipsy)” tying Lil Nas X’s record for longest-running Billboard Hot 100 No. 1. Kendrick Lamar’s “Not Like Us” put the recording industry — and his rap rival — in a chokehold. Post Malone pivoted to country music.
It was a pretty wild year, all in all, and as we all bundle up and batten down the hatches for the year ahead, this is the time the Uproxx crew gets together to look back on the past 12 months of chart-topping hits and crowd-pleasing deep cuts to determine our favorites of the year.
Here are the best songs of 2024, from hip-hop to rock and everything in between.
1010Benja — “Twin”
Ten Total, the debut album from Kansas City multi-hyphenate 1010Benja, is an eclectic showcase for 1010’s wide-ranging artistry. On “Twin,” his voice glides over fluttering synths and a tightly wound drum pattern. Its best moments come in the breaks when 1010 harmonizes with himself, flaunting his gospel chops and majestic range while planning a backstage tryst with a lover. — Grant Sharples
21 Savage — “Redrum”
The ATL trap master’s murder music is accentuated by a surprise appearance from hometown connect Usher, who does his best impression of Vincent Price on “Thriller.” — Elliott Wilson
Addison Rae — “Diet Pepsi”
If you only know Addison Rae as a TikTok star, and therefore dismissed her, give her another chance. She won me over with the breathy “Diet Pepsi” (and later “Aquamarine”), and she’ll win you over, too. It might seem silly to call a song about having sex in the backseat of a car “mature,” but “Diet Pepsi” is an artist demanding to be taken seriously. — Josh Kurp
Anycia — “Back Outside” Feat. Latto
Although it was Latto’s not-so-subtle shot at Nicki Minaj in the opening lines of her verse that snatched much of the attention for Anycia’s coming-out party of a street banger, it was Anycia’s unique delivery that established her as worth watching past that. Setting up her debut release, Princess Pop That, “Back Outside” is a bold statement of intention for a breakout star, ready to live up to her Atlanta hometown’s rap legacy. — Aaron Williams
Ariana Grande — “The Boy Is Mine”
One of my favorite things about Ariana Grande is how she incorporates her real-life experiences into her music, but not in a straightforward and blunt way. Instead, she opts for the fun and playful “I’m joking, but at the same time, I’m not” approach. “Thank U, Next” and “Break Up With Your Girlfriend, I’m Bored” are examples of this, as is “The Boy Is Mine” from her seventh album, Eternal Sunshine. Grande channels some “bad b*tch” energy for what she called an “elevated version” of a “bad girl anthem.” — Wongo Okon
Asake & Travis Scott — “Active”
On the face of it, a collaboration between Asake and Travis Scott sounds like trying to fit a square into a circle, but the two made it work and then some for “Active.” The highlight track from Asake’s third album Lungu Boy is a spectacle in afro house music and a true blast of energy for whatever setting it makes its way into. — W.O.
Belinda and Natanael Cano — “300 Noches”
Belinda channeled her heartbreak into a series of música Mexicana anthems this past year. The Spanish-Mexican pop icon teamed up with Natanael Cano for their alluring collaboration “300 Noches.” Belinda seamlessly blended her charming pop sound with Cano’s corridos tumbados edge. “Now I’m fearlessly taking on this genre, creating fusions, and making it so that it’s not just for men,” she told Uproxx in September. “Us women can also sing corridos tumbados.” Belinda’s refreshing spin on corridos was spellbinding. — Lucas Villa
Ben Quad — “You’ll Get Nothing And Like It”
How to describe “You’ll Get Nothing And Like It” in a single word? Is “this song f*cking rips” one word? Ben Quad’s joke tweet about “a screamo EP” turned into Ephemera, a frenetic showcase for the Oklahoma band — the next big thing in emo (and screamo) — at their heaviest. “We’re just putting out music that we like,” guitarist Edgar Viveros told Uproxx, and “if it’s cool and trending, f*ck it.” — J.K.
Beyoncé & Post Malone — “Levii’s Jeans”
Beyoncé and Post Malone dove into their respective country eras around the same time, so it’s only right for them to give us an absolutely stellar collaboration for the former’s Cowboy Carter album. “Levii’s Jeans” is a highly sensual and steamy record that makes use of many tongue-in-cheek phrases tied to Levi’s jeans and other aesthetics linked to the country world. — W.O.
Big Sean — “On Up”
While a number of his peers have embraced fatherhood in the past couple of years — think Drake, J. Cole, Kendrick, Pusha, and Wale — Sean might be the first to really lean into “dad rap” as a serious mode of expression, even going so far as to shoot the video for the song from the perspective of his son, Noah. He certainly seems well suited for it, as his style has always skewed autobiographical and been littered with more obvious “dad joke” style rhymes (complimentary). — A.W.
Billie Eilish — “Birds Of A Feather”
Billie Eilish is one of the most-listened-to musicians. The potential EGOT winner’s single “Birds Of A Feather” demonstrates why. Between Eilish’s dreamy vocals and whimsical lyrics, with each listen, the rules of gravity seem to be temporarily suspended. With each release, she unlocks a new creative peak, but it is hard to fathom how Eilish can top this. — Flisadam Pointer
Bon Iver — “SPEYSIDE”
This has to be the most straightforward and accessible music Justin Vernon has ever put out as Bon Iver. Singing in his natural, lower register and mostly eschewing the terror-techno digital distortions of his late-2010s work, Vernon more or less sounds like the man who shaped our current generation of sad-guy superstar singer-songwriters. (I refer to you, Zach Bryan and Noah Kahan, among many others.) — Steven Hyden
Bossman Dlow — “Get In With Me”
The only reason “I was bad in f*ckin’ school, now I’m tryna dodge a sentence” isn’t the most omnipresent line of the year is truly just a quirk of timing. While the January track dominated TikTok feeds for the first quarter, it was eventually overtaken by Kendrick Lamar’s feelings about the “big three,” and striking chords. Still, “Get In With Me” put Bossman on the national map, earning him a spot in XXL‘s Freshman class, and for that, we will gladly get in with the Florida native. — A.W.
Bryson Tiller — “Ciao”
Bryson Tiller’s best year as an artist will always be his 2015 arrival with Trapsoul, but his 2024 campaign was the closest to that we’ve seen in the years since. Tiller’s self-titled album was his strongest body of work in nearly a decade, and he has songs like “Ciao” to thank for the album’s success. A thumping anthem about walking away from an inadequate partner will always fare well with listeners, especially as they prepare for a carefree summer. — W.O.
Cash Cobain — “Fisherrr” Feat. Bay Swag
One of the year’s standout hits, “Fisherrr” turns on his clever intellectualization of a ubiquitous New York colloquialism and Cash’s slyly transgressive re-imagining of the Big Apple’s unofficial regional sound, drill. Its remix also made timely use of the waning popularity of breakout artist Ice Spice to re-energize both her and the song itself, while offering a blueprint for her to kickstart her career again in the new year. — A.W.
Chappell Roan — “Good Luck, Babe!”
It was all rise, no fall, for midwest princess Chappell Roan in 2024, yet she only officially released one new song this year. It’s one of her best. “Good Luck, Babe!” is about a closeted woman who refuses to embrace her feelings for Roan, and women in general. “You’d have to stop the world just to stop the feeling,” Roan sings with theatricality over a synthy beat. “Good luck, babe.” No one needs to wish Roan good luck: she’s doing just fine as is. — J.K.
Charli XCX — “Von Dutch”
Regardless of what Oxford, Cambridge Dictionary, and Dictionary.com say, “brat” is the word of the year for 2024. Charli XCX became a bigger star than ever before thanks to Brat, and it all started with lead single “Von Dutch,” a confident, pulsing, club-ready tune that would go on to get an Addison Rae-featuring remix. — Derrick Rossignol
Chlöe — “Temporarily Single”
Uproxx cover star Chlöe was positioned to be R&B’s next face, but it has become increasingly difficult to ignore her dance music calling. That’s where Chlöe’s most infectious music moments are rooted, including Trouble In Paradise’s “Temporarily Single,” on which she rides the waves of her creative intersectionality. “Temporarily Single” is sonically free-flowing, lyrically sensual, and, on the production end, a subtle homage to those who planted a flag before Chlöe’s arrival. This is the wave fans have desperately been begging the singer to ride. — F.P.
The Dare — “Elevation”
New York producer The Dare has had quite the year, with past Uproxx best song “Girls” going viral, production on one of Charli XCX’s biggest moments, and a long-awaited debut album. And through all that, maybe his best moment was the one that sounded the least like you’d expect The Dare. “Elevation” is less about good times and more about raw emotions, true music for the morning after. For a guy that gets comped to James Murphy a lot, he proves he’s got a bit of Casablancas in him as well, and that we shouldn’t pigeonhole his sound just yet. — Philip Cosores
DIIV — “Somber The Drums”
Many of the finest songs on DIIV’s latest album, Frog In Boiling Water, come toward the end: “Little Birds,” “Soul-net,” “Fender On The Freeway.” But the song that kickstarts that late-album stretch, “Somber The Drums,” also happens to be the best. It begins as a relatively sludgy dirge, but everything opens up midway through, with a sinister guitar line snaking its way through Zachary Cole Smith’s diaphanous, reverb-glazed vocals. — G.S
Doechii — “Nissan Altima”
Doechii’s musical talents were never up for question. She proved she’d be a mainstay in the music world thanks to previous collaborations with Isaiah Rashad, SZA, Smino, Janelle Monaé, and more, but the Florida-bred TDE artist stamped her future in 2024 with Alligator Bites Never Heal. The acclaim that project would later receive began with “Nissan Altima,” which put her rapping skills on full display thanks to rapid-fire bars and the confidence of a ten-year rap veteran. — W.O.
Drake — “Family Matters”
Aubrey’s finest moments in hip-hop’s greatest battle. The final salvo remains and rings true: “Kendrick just opened his mouth, someone go hand him a Grammy right now.” In due time, Mr. Graham. In due time. — E.W.
Empress Of — “Femenine”
Just before 2023 ended, Empress Of offered “Femenine” as a tease of her then-upcoming album For Your Consideration, and it’s a terrific ad for the project: The song is dynamic, catchy, experimental, and just a hell of a lot of fun, and that remains true for the rest of For Your Consideration. — D.R.
Flo Milli — “Never Lose Me”
Both a warning to a philandering lover and an anthem for scorned women everywhere, Flo Milli scored her first official entry on the Billboard Hot 100 chart with a hard swerve away from her usual approach. While listeners have always appreciated Flo’s… well… flow, the success of “Never Lose Me” is a stark reminder that today’s audiences still value melodic raps a bit more — which more women rappers can take advantage of in the months and years to come. — A.W.
Future & Metro Boomin — “Like That” Feat. Kendrick Lamar
Over Metro Boomin’s everlasting bass, guest Mr. Duckworth demolishes his closest competitors and asserts that he’s the best MC. He was right. — E.W.
Future Islands — “Glimpse”
Future Island hit their stride with the breakout 2014 album Singles, and they haven’t really left said stride since then. The band has consistently delivered quality albums in subsequent years, the latest being this year’s People Who Aren’t There Anymore. They followed the project a few months ago with the standalone single “Glimpse,” and it’s the sort of poetic, atmospheric, bass-propelled track that’s a pillar of the Future Islands oeuvre. — D.R.
GloRilla — “Yeah Glo!”
I cheated earlier this year when I paired “Yeah Glo!” with Rapsody’s “3:AM” as my twin picks for Best Songs of 2024 (So Far). While “Yeah Glo!” is a relentlessly catchy singalong, “TGIF” contains what may be the most quotable rap line of the entire year. Funnily enough, Glo herself couldn’t choose just one for her MTV VMAs performance either, opting to do both. — A.W.
GloRilla — “TGIF”
There are so many dope female MCs these days, but Glo is the one who makes anthems. Not even Rihanna could resist this infectious turn up. — E.W.
Gracie Abrams — “That’s So True”
Gracie Abrams landed her first top-10 hit on the Billboard Hot 100 with “That’s So True.” Curiously, the sprightly track was left off the original version of The Secret Of Us. Fortunately, it was the first single from the deluxe edition of the album. “That’s So True” has Abrams exploring her conflicted feelings about her ex-boyfriend moving on with another girl. “Said that I was fine, said it from the coffin,” she sings in the Taylor Swift-like bridge. But where’s the vulgar version? — J.K.
Hovvdy — “Meant”
Hovvdy’s self-titled double album was one of the early highlights of the year. The camaraderie between songwriters Will Taylor and Charlie Martin has long been tangible, but it reaches a peak on their latest record. “Meant,” one of its finest tunes, embodies the coziness that comes packed in with loyalty, the comfort that stems from knowing someone will always be by your side. — G.S
Hozier — “Too Sweet”
Congratulations are in order for Hozier, who this year broke out of being just the “Take Me To Church” guy with “Too Sweet,” his first No. 1 single. (In fairness: Hozier hadn’t had a chart hit since “Take Me To Church,” but he has built a dedicated fan base and pumped out commercially successful albums in the years that followed.) “Too Sweet” is similar to “Take Me To Church” in that it’s a no-compromise Hozier hit, a song that doesn’t bow to current trends and wows with distinct and sharp songcraft. — D.R.
Jamie xx & The Avalanches — “All You Children”
The xx haven’t dropped a new album since 2017, and Jamie xx ended a drought of his own this year when he dropped In Waves, his first LP since 2015. It’s a solo project, but he’s not alone, as he teams up with The Avalanches to great effect on the kinetic “All You Children.” — D.R.
Jane Remover — “Magic I Want U”
Jane Remover is a wizard. Her music boasts some of the most imaginative production in recent memory. She’s always finding new sonic pathways, branching out and expanding her unmistakable digicore sound. That’s exactly what she does on “Magic I Want U.” Its chirping synth melody sounds like it was lifted straight from a ’90s rap song, and the various bleeps and bloops formulate a hypnotizing, percussive outro for Jane’s emo vocalizations to shine. — G.S
Jordan Adetunji & Kehlani — “Kehlani”
One of the best breakout stories in 2024 comes from Belfast singer Jordan Adetunji, who rose to stardom thanks to his sexy drill anthem “Kehlani.” Adetunji promoted the song heavily on TikTok, and soon enough, fans were not only begging for its release, but calling for Kehlani to acknowledge the song. The Oakland native did that, taking things a step further by remixing the record. — W.O.
Kendrick Lamar — “Not Like Us”
Do we really have to explain this one?
Look, the only real downside to the months-long ubiquity of Kendrick Lamar’s victory lap over erstwhile foe Drake is finding out how many of y’all think you can get away with including yourselves with the titular “Us.” It’s like you missed the point entirely. — A.W.
Kendrick Lamar — “Euphoria”
After a week-and-a-half of baiting from his Canada-based rival, K. Dot’s sprawling, sinister song confirmed the West Coast Boogeyman was ready to rumble. — E.W.
Knocked Loose — “Suffocate”
One of the best heavy releases of the year, Knocked Loose’s You Won’t Go Before You’re Supposed To is a 27-minute adrenaline rush. Amid a record of heavy-hitters, the heaviest hitter is “Suffocate,” a collaboration with Poppy featuring gnarly, drop-tuned guitars, rapid-fire double kicks, and piercing, throat-shredding screams from Bryan Garris and Poppy alike. — G.S
Lady Gaga & Bruno Mars — “Die With A Smile”
When it was announced that Lady Gaga and Bruno Mars, two of pop’s biggest stars, were joining forces for a new song, it was pretty clear that the song would be a massive hit — and that it was. “Die With A Smile” was an epic comeback single for both Gaga and Mars. The singers’ first song together was propelled by effortless chemistry and vocal runs that aimed to scrape the clouds. — W.O.
Lay Bankz — “Tell Ur Girlfriend”
There’s been so much chatter lately about how once-estranged cousins hip-hop and EDM have reunited over the course of the past few years, but Lay Bankz‘s standout single says it better than practically any of the many, many think pieces on esteemed pubs such as ours. “Tell Ur Girlfriend” pulls off a neat trick of uniting three or four of the disparate micro-trends all in one constantly evolving beat without giving any of them a chance to wear out their respective welcomes. — A.W.
Latto — “Brokey”
The South has something to say — and that includes rap’s women from the region. Latto paid tribute to her Georgia upbringing on her album Sugar Honey Iced Tea. However, “Brokey” is a message specially baked for the ladies. In the traditional view, women belong in the kitchen. But, Latto says a real Southern belle can only be spotted in and out of the bank. You can either get with it or get lost. — F.P.
Leon Thomas — “Yes It Is”
Leon Thomas’ sophomore album Mutt loveable for many reasons, but few of them match up to “Yes It Is.” Seated in the second half of the album, “Yes It Is” whisks the listener away on a roller coaster ride of emotions brought on by a woman with plenty of romantic red flags. The beauty behind “Yes It Is” lies in Thomas’ ability to make a bad situation sound so good. — W.O.
Maggie Rogers — “In The Living Room”
“In The Living Room,” Rogers’ first post-Don’t Forget Me single, is a wistful recollection of a common act among couples — in this case, dancing in the living room — that takes on greater meaning once you’re no longer with the other half. It’s painful, yet beautiful, like the song itself. — J.K.
Mannequin Pussy — “Loud Bark”
Marisa “Missy” Dabice’s vocal performance on “Loud Bark” is a master class in extreme dynamics. “I’ve got a loud bark, deep bite,” she repeats in the chorus, her voice rising in volume, taking on more and more aggression, until everything dissipates into another verse. The band follows her lead, making Pixies’ approach to the quiet-loud blueprint seem quaint by comparison. In just a handful of words, Missy encompasses an ocean of ideas: desire for another person, fearing that same person, delivering on your threats and promises while blurring the line between the two. — G.S
Manuel Turizo and Kapo – “Qué Pecao”
Two years after releasing his breakthrough hit “La Bachata,” Manuel Turizo tapped into the tropical genre once again. The Colombian heartthrob embraced his roots in his country’s coastal and Caribbean region for his fourth album 201. An alluring gem on the LP is “Qué Pecao” featuring rising Colombian artist Kapo. Turizo put a refreshing spin on bachata with the Afrobeats sound that Kapo is known for. Adding Turizo’s sultry baritone voice to the mix made this love song simply irresistible.
Matt Champion and Jennie — “Slow Motion”
Brockhampton is cooked, as the kids might say, but Matt Champion’s solo journey is just beginning. He’s solo but not alone on Mika’s Laundry, and guests include Blackpink’s Jennie on the lush and moving “Slow Motion.” — D.R.
Megan Thee Stallion — “Mamushi” Feat. Yuki Chiba
Shedding her old identities like a snake, Megan Thee Stallion made her transformation explicit with “Mamushi,” a track taking inspiration from the Houston rapper’s favorite hobby, anime, and the theme of her new album, Megan. “Mamushi” also features the return of Japanese rap star Yuki Chiba to prominence stateside, giving him his first-ever entry on the Billboard Hot 100. The song also inspired its fair share of viral videos thanks to an equally infectious dance, proving the Stallion’s “Savage” success was no fluke. — A.W.
MJ Lenderman — “She’s Leaving You”
“I read the news today, oh boy.” “The world is a vampire.” “It’s Britney, b*tch.” It’s time to add “you can put your clothes back on, she’s leaving you” among the most iconic opening lyrics ever. MJ Lenderman’s “She’s Leaving You” (featuring backing vocals from Wednesday’s Karly Hartzman) sounds like the missing late-1990s link between Brighten The Corners and Keep It Like A Secret, yet the guitar solo is timeless. — J.K.
Mk.gee — “Alesis”
I’m not sure if anyone outside of Chappell Roan had a more rapid ascent in 2024 than Mk.gee. Sure, those in the know already had him on their radar, but I don’t think any had “will play SNL by the end of the year” on their bingo card when he dropped his debut near the beginning of the year. Even if you aren’t spinning him yet, “Alesis” proved a common soundtrack in coffee shops and brunch spots, a sound ready-made for the wild. The innate tunefulness and melodic sensibility feels unstuck in time, in conversation with Bruce Hornsby, Bon Iver, and ’90s Matador Records in equal measure. — P.C.
Muni Long — “Ruined Me”
Wicked isn’t the only place you can experience theatrics brought to life: Look no further than Muni Long’s latest album, Revenge, especially the single “Ruined Me.” The greats, including Mariah Carey, have admired Long’s songwriting. But, on “Ruined Me,” her vocal ability is the true star. The reality behind the song’s existence is devastating, but selfishly, listeners can be glad it happened just for the R&B gold that is “Ruined Me.” — F.P.
Nilüfer Yanya — “Like I Say (I Runaway)”
At first, “Like I Say (I Runaway)” is fairly mellow. Will Archer’s acoustic guitars and light drums dominate the mix, all before Nilüfer Yanya decides it’s time to coat that same guitar loop in a wall of thick fuzz once the chorus hits. “The minute I’m not in control / I’m tearing up inside,” Yanya sings in a muscular refrain. Here, however, she sounds like she’s fully in control, able to scale her music back so that everything can arrive with maximum impact. — G.S
PartyNextDoor — “No Chill”
PartyNextDoor returned to vintage form with his fourth album, PartyNextDoor 4. One of the project’s best offerings is “No Chill,” a straightforward depiction of a down-to-earth woman over gloomy production. PND boasts about the woman being the “star of the show,” but on “No Chill,” the star is PND’s writing. — W.O.
Pest Control — “Time Bomb”
Pest Control named their latest EP Year Of The Pest. It sure is. I first became aware of the crossover thrash band from the UK after seeing their Charlie Brown and Snoopy shirt. Could they possibly live up to such great merch? They could: “Time Bomb” is an atomic blast of fury and riffs with a headbanging finale. — J.K.
Petey — “The River”
Petey had a big 2023 with his debut major-label album, USA, and while he had a quieter 2024 (aside from a fair amount of touring), he still made time to deliver some tunes on a new EP, The Closest Thing To Being Over Is Going On. The highlight here is “The River,” a characteristically introspective tune that gradually builds over the course of five delightful minutes. — D.R.
Post Malone & Morgan Wallen — “I Had Some Help”
2024 was the year Posty finally completed his inevitable career arch away from the melodic hip-hop that got his foot in the door. And yet, as much as I’d love to fault him for it, his country turn was so sincere, earnest, and charmingly in-character for him that it’s as likeable as practically anything else he’s done in the last six years. We’re to the point that audiences would probably let him get away with K-pop, Amapiano, or baile funk, and we’d all just nod and whisper, “Go Posty,” as we publicly turn up our noses — and our noise-canceling headphones. — A.W.
Rapsody — “3:AM” Feat. Erykah Badu
Rapsody’s first album since 2019’s Eve also turned out to be the North Carolina rapper’s most personal. Please Don’t Cry contains deeply introspective, therapeutic cuts throughout, from the cathartic “Diary Of A Mad Bitch” to the welcoming “A Ballad For Homegirls.” But the standout track, ironically enough, is the booty-call anthem “3:AM,” featuring the queen of seemingly incongruous aesthetic herself, Erykah Badu. Rap has long chafed at her perception among rap fans, so who better to help her shake things up than Ms. “Window Seat?” — A.W.
Rema — “Ozeba”
Few songs took over the afrobeats space like Rema’s “Ozeba.” “Ozeba” and Heis, the album it’s on, were all a part of Rema’s plan to push afrobeats in a different direction, rather than conform to society’s expectations of the genre. — W.O.
RM — “Come Back To Me”
As the BTS hiatus rolls on, the group’s members haven’t been on much of a break individually. RM’s contribution to the library of hiatus-era BTS solo material is the album Right Place, Wrong Person. It’s an impressively diverse project that closes with “Come Back To Me,” a 6-minute, John Mayer-y tune that easily justifies its runtime. — D.R.
Rosé — “APT.” Feat. Bruno Mars
In a monster year for Blackpink solo careers, it’s Rosé who had the biggest hit with the impossibly catchy “APT.,” a pop-punk earworm featuring Bruno Mars that’s inspired by a South Korean drinking game. Don’t take a shot after every time you listen, though: By the fifth play in a row, you’ll be on the floor. — J.K.
Sabrina Carpenter — “Espresso”
Adele sang Sabrina Carpenter’s “Espresso” while getting into bed, and Carpenter’s charm struck again when she responded by posting on X (formerly Twitter), “All I read was Adele thinks about me in bed.” Adele is not alone in her inability to get this year’s snappiest pop hook (“That’s that me espresso”) out of her head, and Barry Keoghan’s schoolboy giddiness during Carpenter’s alluring Coachella 2024 set speaks to the validity of the song’s lyrics. “Nonsense” walked so “Espresso” could sprint to No. 4 on the Billboard Hot 100, marking Carpenter’s long-brewing pop star coronation. — Megan Armstrong
Sabrina Carpenter — “Please Please Please”
Despite her petite stature, Sabrina Carpenter took up a lot of space in this year’s crowded pop scene. Most fans were on a caffeine high, but “Please Please Please” was the true intoxicating offering from Short N Sweet (and her first No. 1 single). “Please Please Please” exudes pure femininity — prospective, vulnerable, yet understanding. Pop music is about identifying trendy sonics and monitoring public discourse (the “dating pool has pee in it“), and “Please Please Please” successfully does both. — F.P.
Schoolboy Q — “Thank God 4 Me”
If you needed a song to usher in Schoolboy Q’s return to rap, there’s few that get the job done like “Thank God 4 Me.” It’s the triumphant anthem we needed to hear from Schoolboy after his years without an album; horns blare throughout the song’s production as he raps about the many things he’s thankful for — women, cars, and cast of supportive friends who have his back, in more ways than one. — W.O.
Sexyy Red — “Get It Sexyy”
2024 was a year full of anthemic hits from the women of rap, and no playlist or night out on the town throwin’ ass could ever be complete without an appearance from Sexyy Red and her irresistible hit “Get It Sexyy.” Anyone who thought the St. Louis native was just another one-hit wonder after “Pound Town” has lost their leg to stand on. The ground under it is looking pretty shaky, too — mostly as a result of the magnificent bass line that powers Sexyy’s hypnotic chant. — A.W.
Shaboozey — “A Bar Song (Tipsy)”
“A Bar Song” is a really good song with an incredibly catchy hook, the perfect record to play to celebrate whatever feel-good moment has presented itself. It was the best song to release after Shaboozey landed two songs on Beyoncé’s Cowboy Carter. Somehow, “A Bar Song (Tipsy)” became bigger than any of us imagined, as it tallied 19 non-consecutive weeks atop the Billboard Hot 100, tying a record previously set by Lil Nas X and Billy Ray Cyrus’ “Old Town Road.” — W.O.
SZA — “Saturn”
“Saturn,” SZA’s lone release as a lead artist in 2024, combines the best of both worlds from SZA’s two albums. It boasts the clarity and honesty done best on SOS and the free spirit and optimism that Ctrl boasts. “Saturn” is an exciting preview of what lies ahead on SZA’s upcoming album Lana, as well as her growth since releasing SOS. — W.O.
Tanner Adell — “Whiskey Blues”
Long before her placement on Beyoncé’s Cowboy Carter, Tanner Adell was a rising force on TikTok. Adell constantly pushes country music’s hidebound sonic confines into the modern day. On “Whiskey Blues,” yet again, she washes away any stale storytelling stereotypes with a burning shot of sass. It may be too early to call, but Tanner Adell sure seems to be trotting up the same innovative cross-genre blending trail of greats like Shaina Twain. — F.P.
Taylor Swift — “The Black Dog”
“The Black Dog” could have been titled “Old Habits Die Screaming,” which begs the question: What’s with Taylor Swift’s old habit of not releasing some of her best songs until deluxe editions/vault tracks/surprise double albums? Think: “New Romantics.” “Is It Over Now?” And now, “The Black Dog,” which leads off The Tortured Poets Department‘s “surprise” second album, The Anthology. It begins slowly, with a funeral-sounding Taylor singing about seeing an ex with someone new at the bar where they used to go, before she releases her cathartic anger in the chorus. It’s a track 17 on the “complete” TTPD, but a track 5 in the hearts of Swifties. — J.K.
TiaCorine — “Bonnet”
TiaCorine has bounced back tremendously from a vocal cord surgery in 2023 that left her unable to speak for two months. Earlier this year, she came through with the Almost There EP, and across eight short tracks, it’s quite the ride. The project is a series of zigs and zags in quick succession, and the breathy synths and rapid-fire rhymes of “Bonnet” are quite the turn. — D.R.
Tierra Whack — “27 Club”
In pop culture parlance, the “27 Club” is the name for the common age of death of a handful of popular stars throughout the past several decades. By naming the project after the phenomenon, the Philly battle rap vet offers listeners a window into her state of mind over the past six years since her breakout with the stellar Whack World EP. After hanging on, she throws down a lifeline to those who need it, a reminder that Tierra Whack is quite simply one of the most-needed names in hip-hop. — A.W.
Tinashe — “Nasty”
Tinashe’s hard work finally paid off in 2024, as the success of “Nasty” gave the singer her first gold plaque in a decade. Calls to “match my freak” became the theme of Tinashe’s latest era ahead of the release of her album, Quantum Baby. The song’s minimal, futuristic production creates the perfect backdrop for Tinashe to play with the tones of her voice and deliver something far from the status quo, breathing new life into her career at the same time. — W.O.
Trent Reznor & Atticus Ross — “Challengers”
Since David Fincher enlisted Trent Reznor and Atticus Ross for The Social Network soundtrack, the Nine Inch Nails duo have become Hollywood’s go-to composers for exciting, vital, and haunting scores, including Challengers. Never before has tennis sounded more like the club than it does on the title track. “He wanted full-on dance music all the way through,” Ross said about director Luca Guadagnino’s vision for the score. Enjoy it while eating a churro. — J.K.
Twice — “I Got You”
Twice reached a major milestone with their 2024 EP With You-th, which became their first No. 1 release on the Billboard 200 chart. (It’s also only the third-ever release by a K-pop girl group to top the chart, after Blackpink’s Born Pink in 2022 and NewJeans’ Get Up in 2023. Decent company!) The project is led by “I Got You,” a high-tempo synth-pop number that’s a homage to the group’s friendship and dedication to each other. — D.R.
Tyler, The Creator — “Like Him”
Wolf once again addresses his estranged father on this soulful tearjerker that climaxes with a shocking revelation from his mother. Cop a tissue box for this one. — E.W.
Tyler, The Creator — “Sticky”
“Sticky,” from Tyler’s new album, Chromakopia, achieves his hit-making goals more than any other song in his catalog, while remaining true to Tyler’s brand. “Sticky” brings Sexyy Red, GloRilla, and Lil Wayne onboard for a boastful, chanting record meant for showing off your best qualities. The first half sees Tyler, Sexyy, Glo, and Wayne drop off four bars at a time to the effect of a roll call track like “Shabooya,” while the second half watches Tyler tear through his verses and run off with the crown for most braggadocious. — W.O.
Vampire Weekend — “Gen-X Cops”
Only God Was Above Us is the “noisy” VW LP, the one with distortion in place of the impeccably clean guitar lines that have defined their aesthetic since the 2008 self-titled LP. In that respect, this feels like the album’s defining song, given that screeching slide-guitar riff jumping out from a propulsive rhythmic bed that isn’t quite as chaotic as it initially seems. — S.H.
Vince Staples — “Étouffée”
In addition to being one of my favorite Creole cuisines, “Étouffée” is also the standout track from Vince’s new album, Dark Times. Highlighting the contradictions of a life lived on the edge and at the bottom (“The ghetto will trap you, but I love it”), the single succinctly sums up Staples’ musical philosophy. — A.W.
Waxahatchee — “Right Back To It”
Tigers Blood is another product of Katie Crutchfield’s union with Saint Cloud producer Brad Cook, who helped the singer-songwriter assemble a supporting cast that includes MJ Lenderman, Spencer Tweedy, and Phil Cook. Lenderman is prominently featured on the instant-classic single “Right Back To It,” lending his laconic drawl to Crutchfield’s impossibly wistful cry of a voice. It’s the kind of song you know you’ll want to play again immediately within the first 60 seconds, and again and again after that. — S.H.
Wishy — “Persuasion”
Swirling alt-rock, ’90s dream-pop, and Midwest emo come together on Wishy’s excellent debut album, Triple Seven. It finds its most concise, affecting union on “Persuasion,” which sees dual vocalists Kevin Krauter and Nina Pitchkites trade romantic lines rife with mentions of “you” and “I.” Its brisk pace makes it all feel like a dream that cuts itself short, too good to be true. — G.S
Yard Act — “We Make Hits”
“We Make Hits” (as a phrase) is quite the statement for a band that only had two albums under its belt, but it’s also hard to fight Yard Act on that point. 2022’s The Overload established the band as stars in their native UK, and this year’s Where’s My Utopia? continues the upward trend with the absurdly catchy “We Make Hits” and more. Sounds like a hit to me. — D.R.
Zach Bryan — “Pink Skies”
“I write and record music reckless and fast,” Zach Bryan tweeted earlier this year, alluding to yet another new collection of work set to drop. This prefaced “Pink Skies,” his latest top-10 hit and another example of Bryan’s seemingly endless well for timeless songwriting. Bryan writes the kind of songs that feel like they have been in your blood for a lifetime, instantly nostalgic for the kind of music you’d hear your parents dancing to after you went to bed. They’re the kind of songs that sound best in a truck or a garage or a campground or, as is the case these days, in a basketball arena or on a football field. They hug the middle ground between specificity and generality, where you never question their meaning to Zach, even as you impart your own experiences on them. In short, “Pink Skies” is another high point for what’s been several years of high points. As reckless and fast as he keeps wanting to bring these songs, we’ll be there as long as they stay this good. — P.C.
