Headline : The 100 Best Albums of 2024

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The albums of 2024 hit us hard and soft, all year long. The music world was full of explosive chaos, all over the stylistic map, from the pop espresso on the airwaves to the club classics in your eardrums. A new generation of world-beating pop queens claimed the top of the charts—and the top of our albums list—while radical innovators made noise in the margins. Brat Summer happened. Shaboozey happened. Beyoncé claimed country. MJ Lenderman channeled the sound of a human hangover through a guitar. Taylor Swift devised a 31-part song cycle in her spare time. Charli conquered the planet.

All through 2024, you heard brash young artists kept stepping up to introduce themselves. You also heard legends swerving somewhere new, whether that meant Kendrick Lamar or Nick Cave. Billie, Doechii, Zach, Ariana, Sabrina — they all kept pushing. Our albums list has the Puerto Rican rap of Young Miko and Álvaro Díaz, the raw country of Lainey Wilson, the mystic folk-jazz of Arooj Aftab. We’ve got teenagers and we’ve got eighty-somethings. We’ve got Afropop innovators from Tyla to Rema to Arya Starr. We’ve got rap bangers from Tyler, the Creator to Future and Metro Boomin. We’ve got the Appalachian twang of Gillian Welch and David Rawlings, the bold urbano of RaiNao, the mighty guitar roar of Lenderman, Jack White, and Mannequin Pussy. These were the albums that helped us push on through 2024. And they’re all albums we’ll keep turning to next year.

“Looks like downhill from here,” Mia Berrin quips at the top of Pom Pom Squad’s second album. On Mirror Starts Moving Without Me, the Brooklyn grunge band leans into this darker tone of the Lewis Carroll classic that partly inspires its title as singer Berrin illustrates an identity crisis in overdrive. As Berrin tumbles through the figurative mirror and explores all the versions of herself, she realizes the process of reinvention is grueling. Meanwhile, tracks like “Running From Myself” and “Everybody’s Moving On” chronicle the experience of moving past the monstrous parts of yourself that are better left behind. —Maya Georgi

While Carrie Brownstein and Corin Tucker were working on Little Rope, they received news that Brownstein’s mother and stepfather had been killed in a car accident while vacationing in Italy. That tragic experience became the emotional backdrop from an album that saw the duo return to the resonant guitar fury that has always defined Sleater-Kinney at their best. Highlights like “Say It Like You Mean It” and “Six Mistakes” are as cathartic as anything in their illustrious canon, even as they keep expanding their sound in new directions. —Jon Dolan

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