The 100 Best Songs Of 2024
The best single tracks 2024 had to offer.
This year, according to Spotify, I listened to 56,259 minutes of music. Couple that with plenty of records spun, tons of YouTube Music consumed, a couple concerts and all other kinds of music in the world that reached my ears, and I’d say it was a pretty complete year. Here are the 100 songs from 2024 that I felt were the cream of the crop. A link to each song is included with each entry, and a Spotify playlist of every track is located at the bottom of this article. Happy listening!
There’s a lot of Radical Optimism that doesn’t work, but let it be known when she’s firing on all cylinders, Dua Lipa can still rock with the best of them. “Illusion” has a dynamite chorus, some phenomenal pop production from Kevin Parker and Danny L Harle, and a focused Dua Lipa to wrap together a heart-pounding summer pop hit. LISTEN
I feel like Kevin Parker’s voice can go with just about any sort of instrumental. He elevates an otherwise mediocre Justice record with a couple of standout tracks like “Neverender”. Parker meshes will with the mechanical beat, finding his usual lane of past heartbreak that still haunts him to this day. It’s the best of two artists honing in on what makes them great. LISTEN
All these years later, Real Estate still know how to chillax as the world remains uncertain around them. “Haunted World” is assured in the uncertainness, and even as things they once knew continue to change, the band finds comfort in the ethereal chords that’ve defined them for so long. LISTEN
The title track of Tove Love & SG Lewis’ latest EP provides the requisite fire. A bouncy synth instrumental gets things started and never lets up, providing a dance party for clubs and bedrooms alike. LISTEN
Honing in on what has worked for her over her first few records, Maggie has found a zenith with “Don’t Forget Me”. It’s as full as any song she’s ever produced sounds, with a rich indie instrumental filling its surroundings as Maggie’s life changes around her. It hits on plenty of 30-something feelings yours truly is feeling on a daily basis, and if Maggie Rogers can feel them, express them and find a way forward, than maybe there’s hope for me too. LISTEN
If you want an introduction to the hard nosed brand of pub-rock Amyl and her band make, check out “U Should Not Be Doing That”. Amyl’s husky voice takes no prisoners, skewering the character trying to prevent her from living her life. It’s straightforward and to the point, cutting the bullshit and expressing a lot of personality over its runtime. LISTEN
Finding self worth whilst scrolling through airbrushed pictures of your peers on Instagram isn’t easy, but beabadoobee does her damndest on “A Cruel Affair”. The surf rock instrumental is a nice change of pace within the record, and bea’s easy voice has no trouble drifting along with the sonic waves the song produces. LISTEN
Drake was 100% the loser of his beef with Kendrick Lamar, but that’s not to say he didn’t put a good fight at one point. “Family Matters” is as focused as Drizzy has sounded in years, stretching the limits of his style to a 7+ minute song that does its best to tear down K-Dot’s self-righteous brand of rap music. Fiery accusations of domestic abuse and infidelity follow, ensuring both sides of this beef were willing to sling the mud necessary to create an iconic feud. LISTEN
Years ago I joked that King Gizz should release a synthpop album. They did. I then asked for them to make an opera album. And while that may never happen, “Phantom Island” is a lot closer to that dream that I ever expected to get. The group announced an orchestral tour with this multi-faceted single, roving across multiple segments that could make for the beginning of a rather epic theater show. It’s of course made with the typical love most King Gizz songs are made with, and I only hope that opera album comes some day soon. LISTEN
Talking Heads have gotten a lot of press in the last couple of years, with the 40th anniversary of Stop Making Sense coming and going. It led to a tribute album that’s mostly misses instead of hits, but Lorde’s rendition of “Take Me To The River” is definitely a hit. She understands the intricacies of a David Byrne-led song, matching his eccentricities over an instrumental that’s faithful to the original but different enough to make it its own thing. LISTEN
The human desire to feel more attuned to the world around you is something Ezra Koenig has clearly been feeling lately. It peppers the entirety of “Connect”, one of the more intricate and thorny baroque pop songs on Vampire Weekend’s 5th LP. It explores multiple musical fronts to find that connection Ezra longs for, with segments of piano, percussion and strings guiding us through this strange thing called life. The culmination is a fusion of every element into a blustery finale, one where the connection you search for might not be found, but you learn something about yourself along the way. LISTEN
Not many artists have the ability to fully immerse you in fantastical worlds like Ichiko Aoba does, let alone when singing in a different language. “Lucifèrene” is magical from the first piano keys, with Aoba’s soothing voice luring you throughout lush string arrangements that create something truly beautiful. It’s a promising sign for Aoba’s upcoming LP, out February 2025. LISTEN
Like so many of his dance compatriots, Caribou went “mainstream” in 2024. His sublime brand of EDM meshes well with more traditional pop sensibilities, and no more so than on “Over Now”. It’s like if K-Mart Radio was reimagined into a hit single, with light vocals and a rich synthline creating an irresistible melody. If only all department stores could have a soundtrack like this. LISTEN
Justin Vernon returns to his inner self on multiple levels on “S P E Y S I D E”, the standout single from Bon Iver’s new EP. It marks a shift back to the folksy sound of Bon Iver’s first few releases, and also a shift in Vernon’s mindset, looking within to move forward in his relationship. Little more than an acoustic guitar and some strings are all “S P E Y S I D E” needs to leave a profound impact. LISTEN
On an album sorely lacking “wow” moments, “I Can Do It With A Broken Heart” shines like a lighthouse on a foggy night. Taylor chronicles the depression she experienced during the early days of her Eras tour, hurting bad on the inside while shining like a star on stage. The vibrant instrumental evokes Midnights-era T-Swizzle, with peppy synths and a singalong chorus that makes the rest of The Tortured Poets Department sound even bleaker by comparison. LISTEN
I’ve long been a sucker for big, female-driven indie rock songs, and Tilly Louise is one of the best voices in that mold I’ve heard in a while. Her voice booms over the energetic production on “Evacuation”, her best single yet. Don’t be surprised in a few years when her stuff blows up, because it absolutely will and absolutely should. LISTEN
Arooj Aftab has spent her life bringing Pakistani music to the masses, and its led her to incredible heights and a Grammy award. Her latest album is full of the celestial, larger-than-life jazz she’s known for, and “Raat Ki Rani”, which means “queen of the night”, is one of her highest peaks yet. Sung in Urdu but easy to understand, the minimal instrumentation allows Aftab’s voice to guide you through a mysterious midnight garden. Her star continues to shine brighter and brighter with each successive release. LISTEN
Could we finally be getting a new LCD Soundsystem album in 2025? The signs are pointing to it, with the band headlining multiple festivals and dropping this single, their first in 7 years. “x-ray eyes” sticks close to what the band does best, with James Murphy’s deadpan vocals evoking “Losing My Edge” with a bouncy beat full of those trademark synths. This group will always be one of my favorite bands ever, and I’m super excited to hear what they’ve got in store next year. LISTEN
CHROMAKOPIA follows a similar path to Tyler’s last few records, and that’s why a song like “Sticky” stands out so much. It’s grimy and aggressive like Odd Future’s early work, but with a level of polish only attained by years of honing one’s craft. Tyler and his bevy of friends get down and dirty, and Sexyy Red’s line of “I don’t fight for my respect, I fight for dick” makes me laugh each time. It’s good to hear Tyler let loose from his usual melodic R&B. LISTEN
Tamara Lindeman’s music has concerned itself with environmental fears and political leanings before, so her take on consumerism on “Neon Signs”, the first single for her upcoming 2025 LP, should come as no surprise. It follows the M.O. that made 2021’s Ignorance so successful, with brooding sophisti-pop that’s guided by Lindeman’s fear of being blinded by the light of advertisements on the road. The extended instrumental outro allows for self-reflection on your own ability to not get sucked in by 20% off signs on your local highway. LISTEN
Self-sabotage is the name of Charly Bliss’ game, although Eva Hendricks clearly doesn’t want it to be. “Calling You Out” navigates the messy path of owning up to self-inflicted mistakes with some bubblegum sweet pop production and Hendricks’ trademark plucky vocals. The culminating bridge is some of their best work ever, finding manic energy in the struggle for self-improvement. LISTEN
On the opposite side of the coin with “Forever”, “A Tear In Space (Airlock)” concerns being so consumed with a relationship you’re getting nothing out of. Glass Animals create a truly suffocating experience on this one, capturing the overwhelming feeling of a one-sided relationship with sparkling synths and a haunting beat. LISTEN
Shortly ahead of their Las Vegas residency, Brandon Flowers and company dropped a single with the panache needed for a Sin City finale. “Bright Lights” continues the Springsteenian style of rock the Killers have nailed lately, full of shimmering guitars, booming percussion and a chorus you can’t help but scream along to. Those Vegas shows were all about the 20th anniversary of Hot Fuss, but this song surely stole the show. LISTEN
Has it really been 6 years since cupcakKe blew up with her hypersexualized rap bangers? “Grilling N****s II” thankfully makes it seem like no time has passed, opening the track by telling her hates to blow her and only getting wilder from there. She’s still razor sharp in her rapping and lyricism, dropping bar after bar that’ll make you turn your head and pay attention. LISTEN
The multifaceted style of death metal Blood Incantation create is best exemplified on the opening track to Absolute Elsewhere. “The Stargate [Tablet I]” begins innocently enough with pummeling drums and guttural vocals about dusty temples in outer space. But things quickly shift into prog territory, trading blasts of metal for extended synth passages. The track ends back where it began, completing a cyclical track that fuses disparate elements extremely well. LISTEN
Despite making basically the same song over and over for the last 15 years, Future Islands find ways to make their music fresh and entertaining. You could go with most songs from People Who Aren’t There Anymore as your favorite, but “The Thief” I think best shows why their music works. Sam T. Herring is expectedly melancholic, oozing with charisma in his self-reflection over an airy synthpop instrumental. It’s the realness of Herring’s voice and emotions that have kept the Baltimore group relevant and important for so long. LISTEN
We said goodbye to Japandroids this year, with Fate & Alcohol marking the duo’s final album. Their tone is much more reserved on “Chicago”, contemplating the life of constant touring that made them famous. It’s a more polished, cinematic version of the Japandroids we’ve come to love, fitting of a finale for the group we’ve come to love. LISTEN
It’s pretty easy to see the direction of Kendrick’s new album early on. He and his producers saw the success of “Not Like Us” and said “Let’s do that again”. They succeed again on “squabble up”, a hard-hitting banger that samples Debbie Deb’s “When I Hear Music” to create a modern G-funk classic. Lamar is effortless in his lyricism, ensure his more accessible direction on the record succeeds. LISTEN
Relationships are a two way street, and no matter who decides to cut one off, both persons involved are going through heavy emotions in the aftermath. “Add Up My Love” chronicles Clairo’s thoughts about a former partner, breaking down different feelings and how they might affect the other party. It’s delicately sung and delicately written, and backed by a supremely catchy instrumental, it’s a good cure all for anyone experiencing similar feelings. LISTEN
It’s been a while since Lady Gaga sounded this dark. Perhaps she was still in the mindset of Harley Quinn while writing “Disease, because the lead single to her 7th LP is all about her inner demons. Gaga sounds like a woman possessed, weaving through everything that makes her Gaga over a beat that made The Fame Monster-era fans shriek with joy. After a few years finding solace on the dance floor, I hope “Disease” heralds a return to something more brooding from one of pop music’s biggest stars. LISTEN
It wouldn’t be one of my year end lists without a French pop group finding their way onto it, now would it? L’Impératrice were on an absolute roll in 2024, and the best song from Pulsar is definitely “Danza Marilù”. It’s a splendidly catchy piece of synthpop, as light as a Kit Kat bar but with enough oomph to stick in your head for days. It’s simple and effective like the best pop music is. LISTEN
Ever wanted to visit “the museum of human suffering"? Then step into “Terra”, Geordie Greep’s samba-infused exploration into self-loathing turned egotistical mania. The character Greep portrays wallows in his sadness, but only because he wants you to notice him. Throughout the track, both his boasts about his profound misfortune and the salsa-fied instrumental only get bigger, culminating with huge horn and percussion flourishes as Greep wonders if his self-inflicted misery will have him remembered by all. It’s an electric affair, one sold by Greep’s incredible dedication to his craft. LISTEN
Reportedly re-worked from a more dance-inspired tune, “Mezzanine” is one of What Happened to the Beach’s slower and introspective moments. Catching Declan in his mezzanine is to remember him in your noggin, and the horn and Mellotron-heavy riff ensure this catchy tune will remain in your mezzanine for years to come. LISTEN
A pulsating synth is all “Del Oro” needs to draw you in. Floating Points has always done a lot with a little, and it doesn’t take long for this dancefloor-friendly track to draw you in and keep you grooving. Over its 6+ minute runtime you’ll be drawn to every corner of dance, with nary a moment of electricity spared. LISTEN
On an album full of bangers, “G’Z UP” goes hardest of all. Denzel wastes little time in getting the listeners up and at em, enforcing his presence over a cold, effective rap beat. Throw in two great features from 2 Chainz (“I gave her the D like she was tryna play some offense” gets me every time) and Mike Dimes and you’ve got one of the hardest rap tracks of 2024. LISTEN
The opening track to Jessica Pratt’s magnificent 2024 album sets the perfect tone for what’s to come. “Life Is” is wistful in its examination of uncertainty. It’s not posed as a question but as a statement, and all of Pratt’s poetry about trying, failing and trying again will ring true for anyone listening. Throw in a gorgeous instrumental that surrounds you in a haze of sound and you’ve got one of the best opening tracks of the year. LISTEN
I was in a little bit of disbelief when I first heard “Death & Romance”. It’s longer and bigger in scope than anything Magdalena Bay have done before, but it more than fills its 5+ minute runtime. Mica Tenenbaum’s voice and its reverb cry out to infinity as she openly wonders if there’s anything more to life than loving and dying. As the percussion and synths crash around her, she provides this unfettered view on life in general, giving life to a track about the opposite. LISTEN
Hearing Tatsuro Yamashita, one of my favorite Japanese artists of all time, sampled on a hazy American pop single in 2024 was not on my bingo card. “LET THE VIRGIN DRIVE” does justice to Yamashita’s legacy, with it not quite being city pop but not conventional pop either. It’s in the right spot in between the normal and the weird, disguising the lyrics concerning a stalker and his nefarious plans for his victims. Like most of Spirit of the Beehive’s music, it’s a misty glance into a weird world that’s catchy enough to make the horror worth it. LISTEN
The Avalanches have turned from their plunderphonic roots to more conventional dance music in recent years, and they give “All You Children” a sizzling touch. Jamie xx lays the foundation and lets the Australian duo do their magic, resulting in a breathtaking dancefloor banger. Sampling a piece of 1970’s poetry sets the scene for one of Jamie xx’s catchiest and most heart-pulsing songs ever. LISTEN
As Lana gets ready for a country-infused album, she enlists the help of noted country artist Quavo to help her get the sound right. Wait, what??? It’s an unexpected collaboration, but one that sees both artists totally buying in, resulting in a pretty spectacular duet. Elements of country and trap infuse themselves into the production, but the two artists are the stars, coming together for a memorable chorus and a great first step into Lana’s country era. LISTEN
Damon McMahon’s music has never sounded this lively before. “Boys” adds dance and hip hop elements to his signature lo-fi sound, resulting in a track that pops like an Amen Dunes song never has before. It feels like a culmination of what McMahon has been working on for a long time, and it marks a fine finale to one of underground music’s most beloved projects. LISTEN
Over an upbeat yet melancholy instrumental, Vince Staples raps about the pointlessness of his hood rat activities on “Black&Blue”. What’s the point of doing these things to seem cool if you’re going to Hell in the end? It’s a somber but catchy track that pays homage to fallen compatriots and questions Vince’s own future amidst a trying time. LISTEN
Having waited 10 years to release a new song, “Weird Al” had plenty of tracks to choose from for a new polka medley. I’d say he chose well, picking everyone from Taylor Swift to Billie Eilish to Lil Nas X and more, weaving them together into a polka medley like only he can. It’s telling no one else has really tried to do the parody music like Yankovic does since his retreat from the spotlight. No one can do it as well as he can, and we’d all rather wait a decade for another song from him than try to do it ourselves. LISTEN
I’ll be the first to tell you If I Could Sing is a majorly disappointing album. There’s not enough pizazz or excitement to it, a far (and boring) cry from what I’ve come to expect from Kirin. It nearly makes the title track even more disappointing, as it’s a beacon of moody light amidst a foggy, forgettable affair. The low key synths that make up the rhythm give “If I Could Sing” an incredible atmosphere, and Kirin’s understated performance give it more life than any song where he’s trying to be grand. You certainly can sing, Kirin. Don’t let anyone tell you different. LISTEN
Pharrell’s dive into yacht rock is an often pleasant experience, and nowhere does it fly higher than “Caged Bird Free”. Singing about the joys of a new love and the freeing feeling you get after searching for it for so long, Williams sounds as loose as he’s sounded in years. It’s no-pressure yacht rock where the vibes are immaculate, and Pharrell is here to match that energy. LISTEN
Written in the wake of a friendship that ended badly, “Bored” is conflicted in its freedom. Sometimes anger is the only emotion that feels credible in between pals, and though this episode led to an unfortunate end, Katie Crutchfield weaves through the pain with serene grace. Its big voice beckons to be your friend in your own moment of frustration. LISTEN
“Wild God” is hauntingly beautiful much like Nick Cave & the Bad Seeds’ last few albums, but not in the grief-stricken way that Ghosteen or Skeleton Tree are. It’s ornate and intricate, finding enormous feeling in horns, strings and Cave’s magnificent voice. He plays the titular deity with the necessary flair, and leads the track to an unforgettable instrumental flourish. LISTEN
The ersatz way Caroline Polachek approaches pop music can lend itself to basically any genre. “Starburned and Unkissed”, used in the film I Saw The TV Glow, leans heavily into grunge but with those twinges of pop and electronic music that have come to define her. She longs for her lover whose career has taken them far away from her, and she’s effusive in her love and her pain. You can never see the associate film and still understand just how well this track can fit into its world. LISTEN
Not only do the Lemon Twigs frequently nail the sounds of 1960’s pop music, they nail the mentality of it too. “A Dream Is All I Know” revels in its simplicity, brushing aside worry about the future in favor of a joyous ode to dreams. Elements of bands like the Beach Boys and the Monkees are present but it never feels like the band just rips them off. Songs like this are very much their own thing while paying wonderful homage to the pop music of the past. LISTEN
Although he’s singing about the end of a relationship, you can hear just how refreshed Sturgill Simpson sounds on this early highlight from Passage Du Desir. His voice is cool and collected, perfectly in element with the twangy, twinkly country instrumental. Little things like the guitar solo in the middle of the track give it that signature Sturgill touch. A painful breakup has never sounded this good. LISTEN
“Alone” is the key that unlocks the rest of Songs of a Lost World. The lengthy instrumental intro is filled with shoegaze-y guitars, melancholic keys and booming drums, and it takes Robert Smith a whole 3 minutes to start singing. By the time he does, you’ll think he recorded his vocals in the 1980’s. He doesn’t sound a day over 30, wistfully wailing about loneliness with a wisdom only he possesses. It’s a magnificent opener for one of 2024’s best projects. LISTEN
On “projections”, a standout from my favorite EP of 2024, is Iiris Vesik singing about what a partner might want you to see, or what you want to see in yourself through your partner? It’s unclear which option is the real one, which makes the track all that more alluring. A sanguine synthpop instrumental that’s perfect for night driving only drives the atmosphere to 11. LISTEN
Each NewJeans song has a singular element that sets it apart. On “Right Now”, it’s those spirited drums that form a great backbone to the energetic track. The typical themes of communication and love are present as expected, and it’s another great track from one of my favorite k-pop acts working today. LISTEN
In creating a whole new word in ‘eusexua’, FKA twigs has created a whole new world. The title track for her upcoming LP gets back into the weirdo pop that made her famous, only this time with more 90’s EDM elements. “Eusexua” is a dark, titillating rave, beckoning you to come in and experience the “momentary transcendence” this new word promises. Whatever the result of the upcoming record may be, it’s sure to be a masquerade of sound only twigs could make. LISTEN
After blowing up in 2023 and drawing insane crowds at festivals in 2024, it’s fitting that Chappell Roan’s victory lap is one of her best songs. “Good Luck, Babe!” is all about a secret lesbian love affair, one that ends much to the dismay of Chappell. Her penchant for catchy hooks and electric lyricism are on full display, skewering the loser who dumped her while still panging for her love. It’s a perfect mix of horny and poignant, and a sign Roan is a pop star here to stay. LISTEN
Dreaming of an ideal life has Mark Foster “Lost in Space” like the rest of us. The best song from Foster the People’s best album is a bouncy synthpop banger with an elated chorus. The mystery of the future is at the heart of this song, but one thing that isn’t mysterious is Mark Foster’s sense of melody, and the further dives into synthetic territory have done his band wonders. LISTEN
Alcohol is too easy a thing to turn to when one falls short in life, and that’s at the heart of “Sober”, a great teaser for Bartees Strange’s upcoming 2025 LP. It’s a harrowing reality to find yourself in, but what’s harder, dealing with your shortcomings or finding a way to stay sober? That’s what Bartees wrestles with over and over, culminating in a stream-of-consciousness bridge that rivals his best songwriting to date. LISTEN
Unapologetically Irish and further astray from their origins than ever before, “Starburster” sees Fontaines D.C. fusing rap, rock, and electronica into an unforgettable song. It’s almost like the musical equivalent of a panic attack, with each gasp of air following the refrain taking your own breath away. As Grain Chatten rattles through manic thought after manic thought like it’s a regular Tuesday afternoon, you can’t help but be entranced and worried all at the same time. LISTEN
“Everyone is bleeding, but I know we’ll be alright” is the most straightforward and most effective lyric from “Dog Days, a tribute to the idea that everything will all work out in the end. Puppy love is a wonderful thing that can be fleeting, and as soon as it’s gone you’re searching for it again. At least Emily Kempf and company are, finding herself at a loss for words in her own situation yet still pushing forward. Dehd’s tight melodies and uncomplicated lyrics reign supreme. LISTEN
Turning into one of the music world’s biggest stars probably doesn’t do wonders for your mental health. That’s the crux of “Sympathy is a knife”, one of BRAT’s most electric and memorable tracks on an album full of them. Allegedly referencing Taylor Swift, Charli screams her heart out about the insecurities she faces daily and has to mask as she performs for thousands of fans. It’s honest and cutting lyricism, backed by some mind-bending A.G. Cook beats that cut like the jagged knife mentioned in the title. LISTEN
More than ever before, Billie Eilish is being direct. “LUNCH” is a straightforward pop hit about lust, desire for that special someone. Eilish truly comes into her own sexuality on this one, dropping clever pun after freaky innuendo. Finneas does his part to create a sulky but catchy instrumental. The duo work as well together as ever before, helped by a willingness to cut the mystery and get directly to the point. LISTEN
Sometimes you just need to let loose. Confidence Man’s music is all about that, and no more so than on “SO WHAT”, the highest flying rager they’ve ever crafted. The song doesn’t invite you to have a good time so much as it grabs you and throws you out of a plane, with aggressive synths and spirited shouts blasting your eardrums with dancefloor euphoria. Give in to Janet Planet’s demands and you’ll find yourselves with one hell of a good time. LISTEN
Infinity pools, buckets of champagne and palm trees. Sounds like paradise, right? Not so. This trop pop masterclass can’t find peace in paradise, even after escaping a relationship that was keeping Holiday from the sandy shores she craved. If she can’t find paradise next to the sea, at least we the listener can find it through this excellent pop song that glistens from start to finish. LISTEN
Similar to “Sympathy is a knife”, the pressures of superstardom are getting to Tyler, the Creator. “Noid” is short for paranoid, and that’s exactly what Tyler feels on this grungy, grimy track. He’s keeping an eye over his shoulder and a gun under his bed, spilling his suspicious thoughts while sampling obscure African music from the 1970’s The sample gives the song a sense of claustrophobia, like the walls are tightening in on both Tyler and the listener. LISTEN
Yes, the most inescapable song of 2024 is also one of its best. “Espresso” has a million lines on it that songwriters dream their whole careers of writing. “I’m working late cuz I’m a singer”? “My give-a-fucks are on vacation”?? “Walked in and dream-came-trued it for ya”??? It’s a pop masterclass that’s given the life it deserves thanks to Sabrina’s effortless vocals. Combo that with an Italo-disco beat that Giorgio Moroder would be proud of and “Espresso” is absolutely deserving of being spammed onto Spotify playlists everywhere. LISTEN
Written during the COVID-19 pandemic, you can feel Thom Yorke’s isolation in his voice on “Friend Of A Friend”. Over a fairly upbeat instrumental, he sees people singing to each other across balconies, yearning for a human connection again. We’ve long been able to return to normal life, but the song’s existential need for companionship hits home, pandemic or not. LISTEN
Imaginal Disk is a concept album to some degree, and the climax of its story is surely “Cry For Me”. It’s the most showstopping piece of synthpop MagBay have crafted, with enough melodrama to make ABBA jealous. Spinning pianos and clattering drum patterns create a whirlwind of sound that’ll suck you in, and Mica Tenenbaum makes sure you want to stay at the center of this storm. She matches the oversized production with a performance that oozes Broadway, and the whole affair is like a big budget finale straight from the simulation. LISTEN
The innate craving we humans have to explore new things is the beating heart that keeps “Nothing To Declare” going. More acoustic than anything MGMT have ever done and better for it, Andrew VanWyngarden barely reaches above a whisper as he sees the world as his oyster. The instrumental is a gorgeous, stripped back piece that evokes memories of T-Rex and Bowie, shooting for the stars and landing firmly among them. LISTEN
Remi Wolf’s oversized personality shows itself in multiple ways on “Cinderella”, a highlight from her sophomore LP. Her kaleidoscopic vibes change color on a dime, with no time to stress about the world around her. The busy instrumental matches her energy with pastiches of 70’s funk, 80’s pop and modern music sensibilities all coalescing into something ridiculously catchy. You’ll find yourself bobbing your head (and probably dancing) before you even realize it. LISTEN
Ever the wily veteran, Sam Beam flexes his folk powers on “Iron & Wine”, his best single in years. The song tenderly welcomes you into its arms as Beam wistfully sings about the future and your yearning to know more about it. Soulful strings and percussion back him, flourishing into a refrain that’s both beautiful and haunting. Compositionally this is as strong as Beam has ever been, and he’s in complete control of this domain. LISTEN
“Like I Say (I runaway)” is much more stripped back than the compositions from Nilüfer’s previous record, which allows her raw emotions to shine even brighter. Her lyrics about spending your time wisely and realizing you can never get spent time back get fuzzier and fuzzier as the track moves along, and the distortions around the chorus reemphasize the mercurial nature of the passage of time. Her songwriting has always been her strength, and stripping her sound back allows Nilüfer to be right at the forefront of her music. LISTEN
The only thing that can match the fire and brimstone of a Mdou Moctar instrumental are its lyrics. “Funeral for Justice” cries out for justice in Africa, bringing to light the un-unified state of the continent and the suffering it brings. The reckless abandon of Moctar’s guitar play shows the only way is forward, with no reason to look back and wonder what could’ve been. The time is now for change, and Mdou Moctar bring it to damning light on this excellent track. LISTEN
Putting her own spin on something like Robyn’s “Dancing On My Own”, Brittany Howard nails the duality of great dance music on “Prove It To You”. The pulsing synths draw you in initially, only to clear away like smoke to reveal the intimate feelings underneath. It’s a delicate balance between euphoric sound and profound emotion that only the best can pull off, and it’s particularly impressive to hear Howard do it with little dance-influence in her past work. LISTEN
A trip through Faye Webster’s mind is a long, lazy ride. “Meandering” is the best word to describe her thoughts, and “Thinking About You” pushes her ability to wander through her head to a new level. She treats us to six minutes of repetitive thoughts and desires for companionship, all made palatable through one of her most sublime instrumentals. It’s like Faye knows the sound of the song is so good, she can take her sweet time thinking about that special someone. LISTEN
The beating heart of Flight b741 is “Hog Calling Contest”, a lively garage rock banger with percolating farm energy. Woo pig sooies and hog oinks keep things permanently rambunctious, and the whole 6-man band is playing as in-sync here as they’ve ever played. As frontman Stu Mackenzie put it, he and his mates were “happy in mud” putting this one together, and I am too listening to it. LISTEN
Hectic as all get out, “Next Semester” is the sound of anxiety. Tyler Joseph uses a new school semester as a deadline for a personal rebirth, but the meantime is filled with muddled thoughts, overanalysis of previous decisions, and potential attempts on his life. The garage rock influenced instrumental only adds a suffocating effect, relentlessly catchy while avoiding the rap rock TOP get into way too often. It’s a hairy affair that ends on a calming note, where all the advice Joseph has been given finally seems to hit him. LISTEN
As an artist, yuele has mostly operated on the outskirts of pop music, but “eko” sees them diving headfirst into alternative pop stardom. It’s effortless how yuele slides into this role, singing about the voice in their head that pushes her towards love, obsession and more. The melody is a phenomenal mixture of alternative rock, mainstream pop and that eletronica yuele does so well. “eko” is a magical mixture of many things, but most importantly it hints at a very exciting new chapter from an artist who continues to morph and evolve. LISTEN
I didn’t think Lana Del Rey and Quavo’s collaboration could be topped in terms of unexpectedness, yet here we are. Drawing from the hazy world of Jessica Pratt does A$AP Rocky wonders, creating a really unique beat for Rocky to rap over. He sounds as locked in as he’s been in a long time, dropping massive flexes and threats to steal your girl. The soulful outro provided by Pratt will give you goosebumps, and it’s overall such a unique piece of pop rap I can’t help but be glad this collaboration saw the light of day. LISTEN
This is one of Josh Tillman’s biggest and best songs ever, and it almost never came to us in this form. It began in 2019 with just a few of the verses of the 2024 version, but over the years Tillman added and added and created a gargantuan rock that rollicks along to the beat of its own drum (and its own saxophones, bongos and more). Lyrically it’s classic Father John Misty, commenting on the decay of society in a way only he can. Time may make fools of us all, but it’s necessary for a masterpiece like this to come into its true form. LISTEN
“Patterns” is one of the most beautiful odes to parenthood ever put to recording. With nothing more than some strings to back her, Marling paints a pristine picture of watching your young child grow up. The littlest things that you don’t think of, those patterns in repeat, become cinematic and unforgettable. And no matter how quickly her daughter ages, these special moments will always have their place, in real life and in a gorgeous song like this. LISTEN
Annie Clark has presented herself as many characters throughout her career, but the mad woman she plays on “Broken Man” might be her best. The choppy synths that open the track hint at something sinister, and Annie only adds to the hysteria with her raspy vocals. She’s a lover, a king-sized killer and an earthquake all in one, and the closer she gets to you, the crazier the production becomes. It culminates in near-unintelligible shouts from Clark, asking the listener what the hell you’re looking at. The scary thing is, the closer she gets, the more you might realize you’re not all that different from the mad woman in front of you. LISTEN
Sounding like a group of empresses giving court, The Last Dinner Party reach their zenith on “Caesar on a TV Screen”. Their strong baroque stylings sound particularly refined here, stomping through lyrical references to historical figures they think they could outdo. The quartet takes their own hack at masculine fragility and the need to be loved, no matter the kingly facade. As it stands now they’re rulers of their domain, opulent to the nth degree with the musical chops to match. LISTEN
Kesha has always had a “fuck you I do what I want” attitude, but previously it was a very processed-type of party girl. After years of legal drama and mental trauma, this version of Kesha feels that much more real, and it’s made her music that much better. “JOYRIDE” is as demented of a pop song as you’ll hear in 2024, absolutely unhinged in both its production and its lyrics. What artist outside of “Weird Al” would think to use an accordion as the backbone of their song these days? It adds a chaotic element to the track that serves it well, matched by Kesha’s swaggeringly confident yet relaxed delivery. It sounds like a souped-up version of her early work, hard hitting and infectious as hell. LISTEN
From the moment I first heard “No Problems”, I could tell Ginger Root finally felt confident in making whatever the hell he wanted. He’s said as much in interviews, and the result is a track that wears every one of his influences proudly on its sleeve. City pop and its further dives into funk, boogie and AOR coalesce into a jittery, wonderful little pop song. His confidence carries throughout the entirety of SHINBANGUMI, but it’s this first song that remains its most wonderful track. LISTEN
Passage Du Desir’s closer is an amalgam of everything that makes Sturgill Simpson great. The cinematic presentation of the end of a relationship is complete with soulful guitar solos, a cosmic sense of longing and regret, and an harrowing outro that takes four minutes to usher itself out the door. It’s almost 9 minutes of pure bliss, hand-crafted by a master and without a single moment that’s untouched or unloved. It’s a spectacular close to a rebirth of one of country music’s most underrated stars. LISTEN
One of their best homages to the 1960’s sees The Lemon Twigs worrying and worrying they’re not doing enough for their girl. “How Can I Love Her More?” will give you images of kids on roller skates at a drive-in diner. It nails the simplicity of the Beach Boys’ early lyrical content with the sonic complexity of their later work, with horn movements and a big, sweeping chorus Brian Wilson would be proud to hear. But it’s all still very Lemon Twigs, not at all just copying previous sounds. The brothers understand their influences and how to weave them into their music with grace. LISTEN
“Classical” takes me back to my favorite Vampire Weekend album in Modern Vampires of the City, but with an even more mature take than they had back then. Ezra Koenig examines the relationship between societal classes in a way only he can, blending indie rock, jazz, and of course classical music into a cacophonic melody that just works. He’s sounding as youthful as ever, which is insane given that he’s in his 40’s now. Something about that youthful face and youthful disposition continues to power he and his band’s music, and it makes “Classical” one of their best in a career full of hits. LISTEN
We’ve reached the point in the career arc of Los Campesinos! that they’re making festival-ready, wave-your-lighters type anthems. And they absolutely nail it. Frontman Gareth David positions “Feast of Tongues” as something for a massive crowd to sing along to, but with all the style and flair of a LC! song. Still present are antifascist politics and sometimes confusing soliloquies that are that way on purpose. David brings the track to a Herculean climax that earns its status as the closer of a setlist, screaming along to fight forward, even if the country doesn’t survive along the way. It’s crazy to think those plucky little Brits from the Bush era are still putting out music this essential, but I’m here for it. LISTEN
An artist’s relationship with their fans is often a complicated one. Without them, a superstar is nothing, but how do you manage a rabid fanbase that might draw you making out with other men? That’s the question Porter Robinson tackles on “Cheerleader”, his entrance into synthpop stardom. It’s a glitzy piece of pop that starts off on fire and only gets stronger as it goes on, with Porter perfectly fulfilling the persona of a Top 40 chart leader. He goes back and forth about his biggest fan, his cheerleader, ultimately deciding he can’t go without her after she moves on to another star. With an absolutely electric chorus and an incredibly catchy melody, this is a superstar turn for Robinson. LISTEN
Yes, Charli, you are our number one. “Von dutch” was the first taste of the treat that is BRAT, and it’s a doozy. The instrumental dives deep into the warehouse raves Charli grew up attending, with synths and percussion that practically beat you down with how swaggeringly huge they are. Charli’s braggadocios lyrics are not only about being your obsession, but skewering the bloodsucking wannabes that have tried to tear her down to make their own name. Charli has always been comfortable in her own skin, but this truly feels like her in her element, mowing down anyone in her way to keep her place as our number one. LISTEN
In the midst of one of the most public-facing rap beefs in years, one undaunted TikTok sensation made a name for himself. Tommy Richman found his fame with “MILLION DOLLAR BABY” on the charts and in our hearts while a war was raging between Drake and Kendrick Lamar, and though Kendrick was the clear winner, it’s hard not to see Tommy as part of the victory formation. We all flocked to his extremely melodic and catchy viral hit in the midst of those venomous jabs, and to this day the song remains one of the catchiest one-hit wonders I’ve ever heard. It’s so DIY and so earnest, a refreshing rarity amongst most of the viral garbage TikTok puts out. He’s still trying to make a name for himself and escape this song’s infinite grasp, but it’s such a good song I don’t know if he even has needs to. LISTEN
While Imaginal Disk expanded the realm of what a Magdalena Bay song can be, my favorite track from it ends up in a similar lane to their earlier work. “Image” is a mesmerizing piece of classic synthpop, bursting at the seams with creativity. As Mica Tenenbaum counts down to something, further little elements embed themselves in to the background, like heavier percussion and rippling synths. The continued intricacies coupled with a dynamite bassline keep you locked in to find out what happens next, and the duo delivers a huge final chorus where the seams finally burst. In a discography full of bangers, “Image” might bang the hardest. This was my most listened to song in 2024 for good reason. LISTEN
“YA YA” is one of Beyoncé’s most electric songs ever recorded, and that’s high praise for an artist of her caliber. But it’s deserved praise, and just listening to this COWBOY CARTER highlight, you can tell the titanic amount of effort it must’ve took to hold everything together. Sounding like a song that could soundtrack a Tarantino film, “YA YA” combines everything from country music to action films to political action and more to make something wholly unique. She celebrates the artists who toured the Chitlin Circuit like Aretha Franklin and Little Richard, who put Beyoncé on her own path by forging their own. There’s never a moment to pause, with Beach Boys interpolations and calls to twerk it and jerk it frequently appearing. If it sounds like a lot, it absolutely is, and it’s essential that it is. Beyoncé has the resources and the want to make something like this work, and it’s the biggest and best celebration she could’ve thrown. LISTEN
By the end of Here In The Pitch, some of the haze has cleared, and “The Last Year” offers some of the clearest pictures of Jessica Pratt herself. It’s melancholic as all get out, with only a guitar and some sparse piano chords settling in together to make a lovely melody. But that melody masks the fears of aging and loneliness that plague Pratt. Is there any hope for her? Is there any hope for any of us? Yes, yes there is. It’s the logical conclusion to Pratt’s magnificent fourth album. It may not happen when you want it to, but you’ll get to your own happy end credits sequence at some point, and “The Last Year” will make fine backing music for your own perfect ending. LISTEN
A meeting of the minds of two of Latin pop’s biggest stars, “Igual Que Un Ángel” finds room for both Kali Uchis and Peso Pluma to shine their brightest. Kali continues her role as a fervent goddess of love, professing her love for her partner in both English and Spanish, flipping between the two with effortless precision. Peso Pluma is a little more heartbroken, but his Spanish vocals reach home no matter if you can understand him or not. By the time the two harmonize on the chorus, you’ll have already been enveloped by a plush instrumental that is as lovingly crafted as the lyrics Kali sings. It’s the type of song sent from heaven down to earth, or in this case, from their minds to our ears. LISTEN
One of the most blistering pieces of emo rock I’ve ever heard, “motions” hits every hallmark of the genre within the first 30 seconds. The drums clatter as melodic riffs fly by your head, and J McClendon’s mumbly vocals perfectly articulate the struggles to find your place in modern society. Those mumbles turn into a roar by the song’s climax, an incredible, electric maelstrom of everything that makes emo rock great turned up to 11. “motions” is an emo banger like no other, and the pinnacle of glass beach’s attempts to climb to the top of the genre. LISTEN
“Girl, so confusing” was absolutely a highlight from the original version of BRAT. It got everyone wondering who Charli was talking about in the lyrics, and as many suspected, it was indeed about her pop compatriot Lorde. Charli even playfully said “the internet would go crazy” if they ever collaborated, so what does she do? She gets Lorde for a remix to engage in some musical therapy, and the results are stirring. Charli’s original lyrics about how the industry loves to pit female stars against each other still ring true, but it’s Lorde who elevates this track to godlike levels. She spills her guts about her body image issues, her anxieties about living up to the expectations the industry put on her after “Royals” and Melodrama, and her own hesitations about getting closer to Charli. It’s unburdened and freeing, a totally different Lorde than the one we heard on the letdown that was Solar Power. In the end these two stars have much more in common than they thought, and their combined power not only made the internet go crazy, but it created one of the most iconic collabs of the 2020’s. LISTEN
Dance music has always been, to me, about the euphoria of losing yourself in the moment. Giving in to the synths and a groovy rhythm can take you to magical places, and no dance track from 2024 takes you on a more thrilling journey than “Baddy On The Floor”. From the instant it begins it sucks you in with its infectious rhythms, with synths, horns and piano keys consolidating into a beat drop for the ages. Little vocal samples key you in on when something great is about to happen, and the euphoria that Honey Dijon provides only furthers this track into the stratosphere of great dancefloor hits. It’s the peak of the accessible sound Jamie xx sought out on In Waves, one that should find its way into parties until the end of time. LISTEN
To this day, I still laugh hearing some of the playground-style insults Kendrick lobbed at Drake on “Not Like Us”. I mean, he straight up called him a pedophile, said his friends were also pedophiles and addicted to cocaine, and said he might die if he comes back to Oakland. There are so many lines Kendrick crosses with gleeful abandon. He didn’t need to call Drake a pussy after calling OVO “the Other Vaginal Option”, but he did. He didn’t need to call Drake a 69 God or a FAN (a freaky ass naysayer, if you will), and he certainly didn’t need to repeat it over and over at the end of the track. He didn’t need to drag Drake through the mud in his shameless aping of Atlanta’s musical stylings, going one by one through the ATL’s most popular artists that he’s ripped off. But he did. He turned his deep, deep vitriol for Drizzy into the year’s most toxic anthem, thanks in part to the diabolically good beat Mustard cooked up for this one. It’s not often hate like this comes with a smile as big as the one Kendrick had while making it. Cherish it, and spit on Drake’s grave while you’re at it. LISTEN
My favorite song of 2024 is one of the most audacious, unexpected and magnetic musical performances I’ve probably ever heard. From the moment “Holy, Holy” begins, it blasts you with sharp guitars and a melody so cunning and divine you have no choice but to sit down and listen. And that’s only the beginning, for as gargantuan as this blend of jazz rock is, it’s the main character that keeps you hungry for more. Greep portrays himself as the ultimate womanizer, a highly unlikeable cretin whose skills on the dance floor, the bathroom and the bedroom are clearly known throughout the land. He’s located his next target, and though his attitude is despicable, Greep’s performance is so wildly entertaining you just have to know what he’s going to do next. You’d be forgiven to think the song climaxes right in the middle, with an unforgettable climb to a chorus full of dancing, revolutionaries, and sexual adva- did he just say her pussy is holy??? The facade begins to crumble around Greep’s character, and the instrumental gets even more abstract as the gremlin we’ve been following finally cracks. He’s no womanizer, he’s no gentlemen, he’s a huckster with meticulous instructions to keep his delusions of grandeur alive. It’s a pathetic end for a pathetic character, one who can barely say “pussy” without shuddering and begs this woman to put her hand on his knee (with payment of course). Yet despite the dreadful nature of this character, Greep’s performance and a tour de force instrumental make “Holy, Holy” an unforgettable ride, one I’ve taken many times before and will continue to relive. Go listen to it! LISTEN
More from my Best Of 2024 lists:
Top 50 Albums of 2024: https://cfreemon.substack.com/p/the-50-best-albums-of-2024
2024 Honorable Mentions: https://cfreemon.substack.com/p/2024-honorable-mentions
Top 5 EPs of 2024: https://cfreemon.substack.com/p/the-5-best-eps-of-2024
The Worst Songs & Albums of 2024: https://cfreemon.substack.com/p/the-worst-songs-and-albums-of-2024
