Taylor Swift and Beyoncé dominated entertainment headlines this year, but their latest albums — The Tortured Poets Department and Cowboy Carter, respectively — were just two of many bright spots in an overall great year for music.
Charli XCX ruled the summer (and the color green) with Brat, a rollicking album that dared to ask whether club kids have feelings too, while Lainey Wilson topped the country charts with her stellar fifth album, Whirlwind. In the hip-hop world, Kendrick Lamar and Doechii reigned supreme, and folk fans rejoiced at Adrianne Lenker’s latest solo effort.
Adrianne Lenker, ‘Bright Future’
Bright Future opens with “Real House,” an achingly intimate reflection on Lenker’s childhood and relationship with her mother. The song’s demo-like feel — with plenty of room tone and breathing sounds — immediately orients the listener to the album’s organic nature. Lenker recorded Bright Future on analog tape at a studio in the woods with some of her favorite collaborators, and that comfort and connection can be heard on the songs.
Despite the unpolished, live sound, the songs on Bright Future are intentional and fully realized. “Vampire Empire,” which Lenker previously released as a single with her band Big Thief in 2023, is particularly masterful with its wordy raging about a codependent relationship. — Sara Donnellan
Standout Track: “Sadness as a Gift,” a bittersweet indie folk song with lilting violin and unassuming vocal harmonies
Benson Boone, ‘Fireworks & Rollerblades’
A one-time American Idol hopeful, Boone ditched the reality singing competition in the middle of season 19 so he could carve out space as an artist without the shadow of Idol looming over his head. Three years after his audition aired, Boone released his debut album, Fireworks & Rollerblades, and his identity shines through with the confidence of an industry veteran. Throughout the record, Boone plays with the contrast between power and tenderness, exuding earnestness on “Friend” and “In the Stars,” the latter of which was inspired by the death of his late great-grandmother. Along with the TikTok-approved single “Beautiful Things,” Boone demonstrates his arena-rock readiness on the bouncy bop “Be Someone” and makes Us swoon with his sultry vocals on “Drunk in My Mind.” Even with his Freddie Mercury mustache, flashy jumpsuits and perfectly cued stage backflips, Boone’s first full-length record proves there’s substance to his style. — Meredith Nardino
Standout Track: “Cry,” a slow-burning ballad turned electrifying takedown of a manipulative ex
Beyoncé, ‘Cowboy Carter’
Michelle Obama’s famous “girl, you have done it again” Beyoncé speech was recorded five years ago, but it still applies to basically everything she does — including her eighth studio album, Cowboy Carter. After putting her own spin on house music with 2022’s Renaissance, Queen B dove into the world of country, a genre that she holds dear to her heart after growing up in Houston, Texas.
The Grammy winner cited an experience where she “did not feel welcomed” as one inspiration, leading fans to theorize that she was referring to her performance with The Chicks at the 2016 CMA Awards. Bey never confirmed whether that was the case, but the music is evidence that she can truly do whatever she puts her mind to. She waltzes through the full history of country on Cowboy Carter, incorporating gospel sounds on opener “Ameriican Requiem” and drawing from the world of folk for “16 Carriages” and “Protector.” Songs like “Tyrant” and “Spaghettii” highlight the slipperiness of genre, blending contemporary pop and hip-hop elements with Americana motifs. Beyoncé also spotlights a new generation of Black country artists including Tiera Kennedy, Shaboozey and Willie Jones while giving her flowers to undersung greats like Linda Martell, who was the first Black woman to play at the Grand Ole Opry. — Eliza Thompson
Standout Track: “Ya Ya,” a Nancy Sinatra–sampling romp that hints at more greatness to come on the rumored rock entry in Bey’s reclamation trilogy
Bleachers, ‘Bleachers’
Frontman Jack Antonoff kicked off 2024 in a familiar way for Bleachers fans with a simple tweet. In release years past, Antonoff teased that “a” Bleachers album would drop in the next 365 days, but this January’s message made an important distinction. “I’m going to put out **the** bleachers album this year,” he wrote — and he wasn’t kidding. The self-titled effort is Bleachers’ fourth, but the band has never sounded so much like a true ensemble. Lead single “Modern Girl” shows Antonoff at his band leader best with an energizing blend of saxophone and sass (find a better way to describe Antonoff than “New Jersey’s finest New Yorker” and “pop music hoarder,” we’ll wait). He gets sentimental on “Tiny Moves” and “Me Before You,” both of which are heartfelt tributes to his wife, Margaret Qualley. “Call Me After Midnight” takes Us back to the short-lived 2019 side project Red Hearse featuring Sounwave and Sam Dew, the latter of whom is a cowriter on the 2024 track. More than anything, Antonoff can’t help but channel a bit of Bruce Springsteen, both on the album and on stage, where the record really comes to life. — M.N.
Standout Track: “Ordinary Heaven,” a dreamy expression of gratitude for just getting to be here
Charli XCX, ‘Brat’
After years of toiling away as a beloved but still relatively under-the-radar artist, Charli finally had her breakthrough moment with her sixth album, which inspired an entire season (Brat Summer), spawned an inescapable TikTok dance, partially fueled a presidential campaign and soundtracked one of the hottest tours of the year. The music was incredible too: Brat is full of club bangers, yes, but in between lines about feeling so Julia and doing a little key are verses exploring self-doubt and the fear of being unable to balance motherhood and fame.
Then, as if one no-skips LP wasn’t enough to call it a year, Charli returned to the studio for Brat and It’s Completely Different But Also Still Brat, which is the rare remix album that actually is completely different from its original form. The remixes have new lyrics, new sounds and new collaborators, including everyone from Ariana Grande and Robyn to Kesha, Bon Iver and The Strokes’ Julian Casablancas. — E.T.
Standout Track: “Sympathy Is a Knife,” an unbelievably catchy bop about the crippling insecurity you can feel even when you’re on top of the world
Doechii, ‘Alligator Bites Never Heal’
Doechii’s third mixtape is simultaneously a love letter to her home state of Florida and a sharp declaration that she won’t ever allow herself to be put in a box. On the Grammy-nominated “Nissan Altima,” the rapper calls herself “the new hip-hop Madonna” and “the trap Grace Jones,” two boasts that might sound hyperbolic coming from anyone else but feel extremely true after one listen to Alligator Bites Never Heal. Doechii’s ability to speed through flows and cadences is mind-blowing, recalling the glory days of icons like Missy Elliott. On the ’90s-influenced “Catfish,” Doechii channels Busta Rhymes with her snarling delivery, while the cheeky “Boom Bap” pokes fun at critics who thought she was moving too far from rap on her poppy 2023 hit “What It Is (Block Boy).” If Doechii’s the “swamp ruler,” then we’re happy to be her subjects. — E.T.
Standout Track: “Denial Is a River,” which imagines a conversation between Doechii and her therapist after her whirlwind rise to fame (complete with a fake breathing exercise)
Gracie Abrams, ‘The Secret of Us’
Taylor Swift — who makes an appearance on this record with the song “Us.” — had a monster 2024, but so did her opening acts, and Abrams is no exception. Her second album is proof that sometimes, screaming song lyrics into the void is truly the best therapy. The Secret of Us is full of honest lyrics and catchy guitar riffs, with songs like “Risk” and “I Love You, I’m Sorry” encapsulating the sensations of both finding and losing love. Not only has she mastered the art of the perfect ballad (“I Knew It, I Know You”), but Abrams can also write a viral hit. Don’t believe Us? Just ask comedian Nikki Glaser, whose “That’s So True” lip-sync videos have become an online sensation. — Shelby Stivale
Standout Track: “That’s So True,” an anthem for the TikTok girlies
Katie Gavin, ‘What a Relief’
It can be hard for solo albums to stand apart from the music of the artist’s band, especially when the solo artist is also the group’s lead singer. Gavin, frontwoman for Muna, had no such trouble on What a Relief, which embraces a rootsy folk sound that’s very different from the danceable power pop of tracks like “I Know a Place” and “Silk Chiffon.” The more stripped-down arrangements give Gavin’s lyrics more space to shine, as on the devastating “Sweet Abby Girl,” an ode to her late dog. “Sanitized” is a languid track about hiding the difficult parts of yourself from a lover, while “The Baton” is a gorgeous message to Gavin’s future child about pushing through generational trauma. Gavin has promised that her solo album doesn’t mean Muna is breaking up, but if this is what she can achieve on her own, then here’s hoping she keeps making time for her own music too. — E.T.
Standout Track: “As Good as It Gets,” a duet with Mitski about whether a disappointing relationship is ultimately worth it
Kendrick Lamar, ‘GNX’
It wasn’t enough in 2024 for Lamar to write a diss track so brutal that his opponent accused his own record label of falsely inflating its popularity — he had to also deliver a surprise album that works as both a victory lap and a step forward for a generational talent at the top of his game. Featuring production by the aforementioned Antonoff, GNX is full of radio-friendly tracks that are far glossier than much of his recent work. There are still plenty of unique flourishes that make the album distinctly Kendrick, though: mariachi singer Deyra Barrera adds dramatic flair to several songs, while frequent collaborator SZA brings smooth hooks to “Luther” and “Gloria.” Lamar can push the boundaries of genre with the best of them, but it’s still fun to see a titan come out swinging with such clarity. — E.T.
Standout Track: “Wacced Out Murals,” a blockbuster rebuttal to all the critics who’ve ever tried or will try to come for Lamar
Lainey Wilson, ‘Whirlwind’
Wilson reflected on the last few years of her life in a major way with her fifth studio album, Whirlwind. She may be trying to “Keep Up With Jones,” but the only person the country star is keeping up with is herself as her meteoric rise to fame continues. Between collaborating with legends (“Good Horses” featuring Miranda Lambert) and offering beau Devlin “Duck” Hodges some low-key shout-outs (“Whirlwind” and “4x4xU”), Wilson has cemented herself as a superstar and member of country music’s guard. The singer balances upbeat tracks — complete with her signature Louisiana twang — alongside slower cuts like “Bar in Baton Rouge,” which declares “up’s the only way” to go when you’ve hit rock bottom. — S.S
Standout Track: “Ring Finger,” a stern reminder from Wilson that men ain’t s—
Lizzy McAlpine, ‘Older (and Wiser)’
On the deluxe edition of her already impressive third album, McAlpine shows listeners she has more to offer than her most viral hit, 2022’s “Ceilings.” McAlpine referred to Older as “the rawest and most honest version of me,” revealing in a statement that she hoped to move away from the “heavily produced and perfected” sound of her first two albums. After some self-exploration — and last-minute changes to nearly half of the songs on the tracklist — McAlpine settled on a stripped back, live-to-tape sound that highlights her vulnerable lyricism and haunting vocals. McAlpine based the majority of the album on one whirlwind relationship, falling in love on opening track “The Elevator” and drifting apart on “You Forced Me To.” Nowhere is the record’s coming-of-age theme more evident than on the title track, and McAlpine continues her tradition of dedicating her 13th song on the album, in this case titled “March,” to her late father. She added five bonus tracks to the deluxe album, including “Spring Into Summer,” a reminder that perspective changes with the seasons. — M.N.
Standout Track: “Vortex,” an ode to the situationships we can’t let go of but know we should leave behind
Megan Moroney, ‘Am I Okay?’
Moroney is more than OK — she may be referred to by some observers as an up-and-coming artist (even though this is her sophomore album), but her latest release ought to make her a household name. On Am I Okay?, the country upstart pulls from past romances for a collection of no-nonsense tunes about love and heartbreak. She won’t be naming names when it comes to her inspirations, but that doesn’t matter because songs like “No Caller ID” could be about literally anyone’s ex. Moroney knows how to write a love song (“Third Time’s the Charm”), perfect the lyrics to a breakup anthem (“Mama I Lied”) and get ready for the next chapter in her dating life (“I’ll Be Fine”). From start to finish, the album encapsulates what it’s like to fall head over heels — and then pick up the pieces after the relationship is over. — S.S.
Standout Track: “Am I Okay?,” a song to scream along to with a group of your closest friends
Noah Kahan, ‘Live From Fenway Park’
Kahan’s Stick Season (We’ll All Be Here Forever) Tour was one of the hottest tickets of the year, but don’t worry if you weren’t able to be there IRL — he captured the incomparable atmosphere of his concerts in an album you can play over and over again. Even through headphones, the anticipation builds when the opening chords of “Dial Drunk” kick into gear. Any Kahan performance is a special one, but the proud New England native’s Fenway Park shows were some of his most sentimental. “It’s so good to be home,” he told the crowd, teasing, “I’m just gonna play my sad, f—ing depressing music.” He whirls through new hits, debuting “Pain Is Cold Water” and dueting with Abrams, and plays a few old favorites like “Mess” and “Maine.” Live From Fenway Park transports listeners to the stadium, putting them right alongside the fans who sang their hearts out to every word. — M.N.
Standout Track: “The View Between Villages,” an already chill-inducing album closer made even more memorable with a live audience
Orville Peck, ‘Stampede’
On his third LP, Peck proved cowboys don’t always have to walk alone. While he wears a mask to conceal his face, Peck lets fans see a different side of him on Stampede, an album entirely made up of duets. He joins Willie Nelson on a cover of “Cowboys Are Frequently, Secretly Fond of Each Other” — a.k.a. “the gay cowboy song” — and teams up with Elton John for an exceptional rendition of “Saturday Night’s Alright (For Fighting).” Along with longtime legends, Kylie Minogue included, Peck highlights fellow up-and-coming voices such as Teddy Swims and country band Midland. “I think there [were] only about three people on the album I didn’t know beforehand,” Peck exclusively told Us in October. “It felt very much like reaching out to just friends and peers.” That sense of camaraderie shines through on the album, which bends the conventions of genre while still leading with a country-fied perspective. Peck changes the narrative of what it means to be a country artist, simultaneously honoring the artists who paved the way for his success and looking ahead to the future. — M.N.
Standout Track: “How Far Will We Take It?” with Noah Cyrus, a master class in harmony and heartbreak with a hypnotizing melody
Sabrina Carpenter, ‘Short n’ Sweet’
Carpenter’s music career began in 2015, but Short n’ Sweet launched her to new levels of stardom. The first three singles, “Espresso,” “Please Please Please” and “Taste,” all reached the top five on the Billboard Hot 100, with “Please Please Please” becoming Carpenter’s first No. 1 single. All three tracks foreshadowed what was to come on Carpenter’s most anticipated album to date: relatable anthems about the pitfalls of modern dating with insanely catchy melodies and clever lyrics peppered with cheeky innuendo. Short n’ Sweet reminded Us that pop songs don’t have to take themselves too seriously to be seriously good.
For all the mischievous wordplay — e.g., “Come ride on me, I mean, camaraderie” — Short n’ Sweet has genuinely vulnerable moments too, like “Lie to Girls,” a ballad about self-deception in the name of toxic love. — S.D.
Standout Track: “Taste,” where Carpenter taunts an ex’s on-again, off-again girlfriend, reminding her that they’ll always be connected whether she likes it or not
State Champs, ‘State Champs’
More than a decade into their tenure as a band, State Champs has definitely found their sound — and yes, they’re skewing on the pop side of pop punk. The New York–based foursome tapped into the classic angst fans know and love with their fifth record, proving that emo culture is back and better than ever. The album starts strong with “The Constant,” which reaches a level of high energy that some artists only dream of achieving. The fast-paced tone continues throughout, with singer Derek DiScanio’s signature gritty vocals anchoring the music, especially on “Silver Cloud.” While there are plenty of dance vibes throughout the LP, the band knows how to slow it down for songs like “Sobering,” which details the ins and outs of a bad breakup. — S.S.
Standout Track: “Light Blue,” a love song for both current and retired emo kids
Taylor Swift, ‘The Tortured Poets Department’
While traveling the world during her record-smashing Eras Tour, Swift also managed to write, record and release her 11th studio album. The Tortured Poets Department marked Swift’s first release following her split from Joe Alwyn, but it’s far from a straightforward breakup record. It seemingly delves deeper into her short-lived fling with The 1975 frontman Matty Healy than it does her long-term relationship with Alwyn, yet it’s her most personal and vulnerable album to date.
As Swift noted in a poem released alongside the album, what happened between her and the ex she doesn’t name was “not a love affair” but a “mutual manic phase.” TTPD documents Swift’s journey to that realization, oscillating between delusion and painfully acute self-awareness. Many of the tracks feel more like diary entries — or, ahem, poems — than pop songs, which speaks to Swift’s frame of mind when she wrote them. She wasn’t casually stopping by the studio to play around with loose ideas; she was pouring her heart out, knowing that she had to document this era of her life before she could move on.
TTPD is not for everyone. It’s long and winding, just like Swift’s career. (The back half of the album, subtitled The Anthology, was initially kept secret and released two hours after the front half.) But those who are patient enough to sit with all 31 songs will find some of Swift’s most fearless songwriting. — S.D.
Standout Track: “Who’s Afraid of Little Old Me?,” a poignant and biting reminder that you shouldn’t underestimate a woman who has been publicly scrutinized since she was a teenager — no matter how sweet and polite she might seem
Various Artists, ‘Twisters: The Album’
Nothing could have prepared Us for the monster record that was the Twisters soundtrack. Luke Combs started things off strong with his monster hit “Ain’t No Love in Oklahoma” as the movie’s first original song, and things just got better from there. Country music’s biggest names stepped up and stepped out with some of their best tunes yet, and new kids on the block like Moroney (“Never Left Me”) and Bailey Zimmerman (“Hell or High Water”) confirmed they have what it takes to rub shoulders with legends. Shania Twain collaborated with Breland for the memorable song “Boots Don’t” that might make for the newest line dancing craze, while Jelly Roll got the honor of appearing twice (“Dead End Road” and “Leave the Light On” with Alexandra Kay). Some songs perfectly encapsulate scenes from the film, but others bear the stamp of their creators: Thomas Rhett fully leaned into his Southern roots with references to both Tecovas and Miller Lite on “Feelin’ Country.” — S.S.
Standout Track: “Ain’t in Kansas Anymore,” because watching Glen Powell dance to it on TikTok was a huge win this year
Waxahatchee, ‘Tigers Blood’
On Tigers Blood, Katie Crutchfield, the seasoned singer-songwriter behind Waxahatchee, doubles down on the alt-country sound she explored on her last release, 2020’s Saint Cloud. While the Americana instrumentation is familiar, Crutchfield’s voice — both as a singer and a writer — is something special. Her lyrics are somehow both vague and frighteningly precise, which is by design.
“I think my life gets weirder and less relatable the older that I get. So, I try to write in a way that’s relatable to anyone with any problem,” Crutchfield told Pitchfork in March. “There’s some universal emotional truth that people can get to the bottom of, even if they don’t understand everything I’m talking about.”
There’s something for everyone in Crutchfield’s dense stanzas. Different lines jump out on each listen, like an audial Rorschach test. — S.D.
Standout Track: “Right Back to It,” a refreshingly authentic ode to a long-term relationship featuring guest vocals by MJ Lenderman
Willow, ‘Empathogen’
Willow’s pop punk and grunge influences were front and center on 2021’s Lately I Feel Everything and 2022’s Coping Mechanism, but the genre chameleon embraced a jazzy, progressive rock sound on Empathogen. As Willow demonstrated her vocal versatility and musical sophistication, she didn’t abandon her roots; the alt-rock angst of her and Tyler Cole’s 2021 sleeper hit “Meet Me at Our Spot” can be heard on Empathogen tracks like “Run!” and “Big Feelings.” Willow’s love for a wide range of musical genres has never been more apparent than it is on Empathogen — the album features collaborations with both Jon Batiste and St. Vincent — and the result is a true feast for the ears. — S.D.
Standout Track: “Symptom of Life,” which opens with an arpeggiated piano lick in 7/4 before the hugely satisfying chorus takes Us back to common time as Willow notes that you must make a conscious effort to look for beauty in the world
