Chorus.fm’s Top 30 Albums of 2024 (original) (raw)
Another year in the books and we’re back again to recap our favorite albums of 2024. Below you’ll find the contributor best of 2024 list with blurbs written by the staff talking about why we loved these albums. Each album title links to a streaming page so you can check out anything you may have missed. There’s also a playlist featuring a song from every album on this list, and a few staff members have shared their individual lists and some commentary in their blogs.
As always, thanks for spending 2024 with us, and I hope you find something new to check out and love.
Note: Check the bottom of this post for links to individual contributor lists.
Top Albums of 2024
1. Kelsea Ballerini – Patterns
2024 was the year of the pop girl. Charli XCX. Chappell Roan. Sabrina Carpenter. Billie Eilish. Taylor Swift. Gracie Abrams. Beyonce. All of those artists got their moment in the spotlight last year, and most of them are represented on this list. For whatever reason, though, the glow of the pop girl spring and pop girl summer spotlight didn’t extend to Kelsea Ballerini, an artist who continues to be woefully underrated despite building one of the best album runs of the past 10 years. In so many ways, Ballerini’s career arc is an echo of Swift’s: both came to prominence in the Nashville scene with country hits that carried a ton of pop crossover appeal; both have gradually drifted from those Nashville roots toward broader-appeal pop music; and both are incredible songwriters who are exceptionally skilled at making confessional, autobiographical music sound completely universal. A decade on her from her splashy 2015 debut The First Time, Ballerini has yet to ascend to anything approaching Taylor’s superstar status, but albums like Patterns make it clear that she deserves nothing less. This record is a sequel to Ballerini’s 2023 EP Rolling up the Welcome Mat, a searing account of Ballerini’s divorce that did more with 16 minutes of runtime than most artists do with 60. Where Welcome Mat laid a marriage to rest, Patterns is the logical follow-up, an album about all the walls you put up after that first massive, life-shifting heartbreak, and about what it takes to tear them back down again.
When you’re young, you throw yourself into the throes of romance with wild abandon – partially because your hormones tell you to, but mostly because you don’t know any better. As you get older and more jaded, you find yourself armor, and a shield, and a sword, because you’ve been hurt once or twice or 15 times before and you don’t want to put yourself in that situation again. Patterns finds Ballerini trying to sort through the baggage of a broken marriage – and the label of “divorcee” – so she can truly give herself to someone again. The result is a beautiful and wrenching album about big risks and second chances. It’s fragile and vulnerable, whether its directly addressing the nervousness of getting tangled up in someone again (“Baggage,” “First Rodeo”) or trying – and failing – not to wear its heart on its sleeve (“Two Things,” “WAIT!”). The result is one of the richest and most moving albums ever made about finding love again after getting shattered. It is, for our money, the best album of 2024. – Craig Manning
2. Touché Amoré – Spiral in a Straight Line
Because of other outside commitments, endeavors, and everyday life, Touché Amoré’s once prolific output (the band’s first three records along with five 7 inches were all essentially released in a four year span) has slowed down to a new album every four or so years. However, this isn’t a bad thing as it’s resulted in the Los Angeles quintet’s best output – with the dizzying expansive Spiral in a Straight Line topping the list.
Jeremy Bolm’s lyricism has never been better (“Altitude” and “This Routine” for example) while the band supplement their post-hardcore sound with songs like the Sebadoh-worshipping “Subversion (Brand New Love)” (which interpolates said-Sebadoh track while featuring the man himself, Lou Barlow) and the dreamlike melancholia propelling the anthemic “Hal Ashby.” Nick Steinhardt and Clayton Stevens’ dueling guitar work continue to reach new heights (“Disasters,” “Finalist”) along with the rhythm section of bassist Tyler Kirby and drummer Elliot Babin being Touché’s secret weapon of groove and balance throughout (the blast beat opening of “Goodbye for Now” and relentless elasticity of “Mezzanine”). If it takes four years for a new record then so be it – you cannot argue with the results.
About halfway through “Nobody’s” – the record’s opener – Bolm suggests, “So let’s grieve in a forward direction,” a lyric that doesn’t only just set the tone for the band’s best record yet but also feels like the way moving forward in 2024 and beyond. – Drew Beringer
3. Foxing – Foxing
Never a band to do the same idea twice, Foxing swung the pendulum in the other direction from 2021’s Draw Down The Moon to something more noisy, jarring, and just plain heavy. Foxing is a record that’s always experimenting and playing with the idea of genre – meshing nu-metal and hardcore on bangers like “Hell 99” and “Dead Internet,” the sprawling fuzzy weight of “Greyhound” and “Kentucky McDonald’s” that’s preceded by the spacey ambience of “Cleaning” and “Barking.” But the St. Louis quartet is at its best when all the ideas collide, resulting in two of the best Foxing songs ever: “Looks Like Nothing” and “Gratitude.” And even though Foxing completed a ten-year anniversary tour for their debut The Albatross earlier in 2024 their recent output is more Return To Cookie Mountain than Home, Like Noplace Is There. It’s impossible to guess what Foxing will do next and that’s what makes them so great. – Drew Beringer
4. The Cure – Songs of a Lost World
It can’t be overstated enough how remarkable it is that The Cure returned with their first album in 16 years that sits unquestionably as a pantheon-level Cure record. Robert Smith has never sounded better or wearier – facing his own mortality just hits different when you’re in your sixties instead of your thirties and have experienced some of the worst moments of your life over the past few years. The band has never sounded more lush and razor-sharp – with cuts like “And Nothing Is Forever” cementing itself as an all-time Cure track. Whether or not they actually follow it up with another record as Smith has alluded is immaterial – to get a record as incredible as Songs for a Lost World is enough. – Drew Beringer
5. Balance and Composure – With You In Spirit
The era of streaming music has brought a lot of good into the lives of music fans. The ability to have any song we want at our fingertips is, obviously, a win. But having that many songs, and something new just another click away, I worry that it makes it harder for albums to grow on us. If there’s no instant connection, it’s too easy to click next and search for immediate gratification. But, throughout my entire music listening history, there are always albums that take their time to sink their fangs into me.
Balance and Composure’s latest came out in early October, but it wasn’t until two months later, in the dead of winter, that it finally clicked for me in a massive way. I had the evening to myself, Hannah was working late at the orchestra, and I put it on while sitting on the couch. And there was something about that slightly lonely, calm, cold evening where everything perfectly aligned. And I am so glad I kept giving it a chance.
It’s their first album in eight years—moody, brooding, and unapologetically guitar-driven. It’s dense in atmosphere, and the lyrical weight of the eight-year gap is palpable, but rather than sounding stuck in the past, it feels like a mature evolution of their sound. There’s a cathartic intensity woven into the album’s fabric, making it one of those records that rewards patience, and once it clicks, it leaves a lasting impression. – Jason Tate
6. Sabrina Carpenter – Short n’ Sweet
I must say, with absolute sincerity and as a compliment, that this might be the horniest album I have ever heard. And the only thing it has more of than double-entendres is hooks. But this is more than just a run-of-the-mill pop album—it’s a bold statement of individuality. Each song is highlighted by a palpable confidence of Sabrina fully owning her sound and delivering an album full of irresistible gems. It’s an album that thrives on that contrast—playfully provocative lyrics set against lush, polished production powered by Sabrina’s magnetic vocals. It’s balancing sultry warmth with breezy charm, making even the most tongue-in-cheek lines feel, at their core, genuine. – Jason Tate
7. Green Day – Saviors
_Saviors_¸ the 14th album from Green Day, got essentially memory-holed thanks to its early release (it came out on January 19) and the fact that the band spent most of the year riding the anniversary wave for their two most iconic albums (Dookie and American Idiot). Plus, as has become par for the course for most legacy rock bands that insist on continuing to make new music, critics pretty clearly wrote off Saviors before they ever actually listened to it. But here’s a bold claim: Saviors is the best Green Day album in two decades, and a surprisingly fresh approach for a band that hasn’t seemed sure of what to do since American Idiot blew up in 2004. Rather than trying to be edgy (2020’s Father of All Motherfuckers) or political (2016’s solid but not-quite-great Revolution Radio), Green Day make hay on Saviors by simply writing a bunch of fun, melodically-rich songs about summertime and fast cars and pretty girls and dumb decisions. At its best, this record makes you forget that the guys that made it are now in their 50s, like on sunny, feel-good pop songs like “Corvette Summer” and “Susie Chapstick,” or huge-chorus rockers like “Dilemma” or “Goodnight Adeline.” It’s such an effective time warp that you almost don’t see the songs about age or mortality coming – something that allows more poignant tracks like “Strange Days Are Here to Stay” or “Father to a Son” to punch you in the gut. – Craig Manning
8. Billie Eilish – Hit Me Hard and Soft
t may seem silly to describe an artist’s third LP as “career-spanning,” but it feels a little more apt when that artist has been making and releasing music since the age of 13. Lo and behold, Billie Eilish’s Hit Me Hard and Soft stands as her strongest work to date as it sheds all of the baggage that comes with pop star “eras” in favor of songs that springboard from familiar sounds into completely new territory. The record’s opening one-two punch immediately showcases Eilish’s range, jumping from reverb-drenched bedroom-pop to bass-heavy synth-pop, and the album only becomes more adventurous from there. Fortunately, production from Eilish’s brother, co-writer, and long-time producer Finneas O’Connell manages to tie all of these genres together, resulting in Elish’s most unified work yet. Hit Me Hard and Soft is not only a daring pop album, but a major step forward for a 23-year-old songwriter that has been crafting unique, boundary-pushing music for nearly a decade now. – Aaron Mook
9. Post Malone – F-1 Trillion
When the announcement came out that Post Malone would be releasing a country album, there was a mix of skepticism and pessimism coming from not only music fans, but Post Malone’s established fanbase as well. Many of these negative feelings quickly evaporated after F-1 Trillion saw the light of day, all paired with key collaborations from several established country artists. What makes this album so special is Post Malone’s ability to adapt to his surroundings, trust his pop instincts, and lean into the genre with his trademark swagger. Things work best on the lead single “I Had Some Help,” that features country mega-star Morgan Wallen, as the two singers trade vocal verse sections and harmonize on the chorus with ease.
The addition of other stars in the genre like Hank Williams, Dolly Parton, Tim McGraw, Blake Shelton and others gave an immediate authenticity to the album, while Post Malone’s solo songs like “What Don’t Belong To Me” act as a logical jumping off point from his previous LP, Austin. The record is immediately gratifying, filled with memorable hooks, and it beckons to be put on repeat. “Teamwork makes the dream work,” indeed_. – Adam Grundy_
10. Chat Pile – Cool World
Chat Pile burst onto the scene two years ago with God’s Country – a sludgy debut that chronicled the atrocities of everyday life in their local circles. Both critically and commercially acclaimed (it’s already on its eighth vinyl pressing), it would’ve been easy to make God’s Country Part 2 to avoid any sort of sophomore slump. But the Oklahoma City quartet never operate with any safety nets and Cool World expands on sounds crafted on its predecessor and broadens its world view into the gruesome nature of war and capitalistic desires. Songs like “I Am Dog Now” and “Frownland” elevate the band’s intense nature of crushing guitar and booming bass lines while a track like “Masc” incorporates a softer yet still visceral side of Chat Pile. With an album title with its tongue firmly in cheek, Cool World is the soundtrack for a regressing society. – Drew Beringer
11. Charli XCX – BRAT
The year of Brat was not understated. Charli XCX was able to package her unique brand of danceable, club-ready anthems into a pop culture phenomenon that simultaneously grabbed the attention of fans, celebrities, and politicians alike. From TikTok-ready anthems like “Apple” to the expanded versions of Brat including A-lister remixes of songs like “Girl, So Confusing” featuring Lorde, Charli XCX found success in a plethora of ways throughout the endless promotional cycle of the LP.
The ridiculous number of music outlets that found Brat headlining the top of their year-end lists only speaks to the magic that comes out of the speakers once you hit play on this record. It has been awhile since we’ve seen that type of dominance on the year-end critics list, so it comes as little surprise to find Charli XCX high up on the docket for ours as well. - Adam Grundy
12. Knocked Loose – You Won’t Go Before You’re Supposed To
There is something beautiful about Knocked Loose becoming insanely popular without compromising how abrasive their music gets. Usually when a band of their ilk play amphitheaters it’s because the music’s been watered down. Instead Knocked Loose wrote even heavier and unapologetic songs (the Grammy-nominated Poppy-starring “Suffocate” is massive while “Sit & Mourn” unleashes the band’s most brutal finale yet) that teeter between hardcore and metalcore and still become the biggest band in heavy music. You Won’t Go Before You’re Supposed To is a band firing on all cylinders and exploring the darkest parts of humanity. If you listen closely throughout the album’s 27 minute run time you’ll hear a humming noise that never goes away – a reminder that something either holy or evil (or both) is always following but won’t take you before it’s time. – Drew Beringer
13. Maggie Rogers – Don’t Forget Me
Six years on from her debut album, 2019’s Heard It in a Past Life, Maggie Rogers has become one of our most chameleonic artists. Past Life was cool because it melded Rogers’ roots – ostensibly, a very American type of folk music – with the thumping beats and radiant synths she’d heard in Berlin clubs during a semester abroad. No one would have minded if she’d kept serving up songs like “Give a Little” or “The Knife” for the rest of her career. Instead, the follow-up, 2022’s Surrender, was way more of a rock album, pitched somewhere between ‘90s Lilith Fair and 2010s Florence + The Machine. That album was maybe even better than Past Life, especially for how it allowed Rogers to take the delicate folk-pop voice she’d shown on Past Life and turn it into something way more guttural and raw. Don’t Forget Me flips the script again, taking Rogers back in time to more of a ‘70s/’80s album-oriented rock sound. It’s classy and classic-sounding, with songs that glide by on beautiful guitar grooves (“So Sick of Dreaming”) and dusty acoustic strums (the wrenching title track). And again, the most impressive thing about it might be how Rogers’ tweaks her vocal delivery once more to paint in a new collection of colors, splitting the difference, this time, between what Stevie Nicks and Christine McVie were each doing on Rumours. Three albums in, the highest compliment I can pay to Maggie Rogers is that I don’t know which of her albums is my favorite – perhaps because each feels like it could be the amazing debut LP from a brand-new sensation. If her plan is to be this kind of journeywoman artist for the rest of her career, then I frankly can’t wait to hear what the next version will sound like. – Craig Manning
14. Father John Misty – Mahashmashana
Right around 2017, Josh Tillman was having a moment. It seems no matter what media you were ingesting or what boards you were reading, there were folks lauding his sardonic songwriting and just as many bemoaning his obtuse character antics. Then, slowly but surely, he seemed to grow out of it. 2019’s God’s Favorite Customer, while still self-referential, felt alarmingly personal, and 2022’s Chloe and the Next 20th Century felt as divorced from the man himself as his music had ever been.So what can one expect from Mahashmashana? The album is a return to form and a victory lap all in one. There are grand ballads, horn-heavy rockers, and Beatles-esque strings – and that’s just within the first three tracks. Not only is Tillman’s songwriting his most mature to date, but recording with his long-time backing band lends Mahashmashana a fullness and urgency that some fans have been missing. At one point, the songwriter even taps Low’s Alan Sparhawk to lend guitar to the futuristic, Sufjan Stevens-adjacent “Screamland,” representing truly new territory for a songwriter who has been releasing albums for two decades. In short: there has never been a better time to be a Father John Misty fan. – Aaron Mook
15. Taylor Acorn – Survival in Motion
Taylor Acorn’s debut LP, Survival in Motion, was worth the wait. It’s summery pop-punk with hooks for days that feels like a love letter to the genre’s golden era. Drawing clear influence from pop-punk heavyweights like Paramore and The Starting Line, it has a nostalgic warmth that makes it feel like it could have been pulled straight from the early 2000s. Yet, Acorn doesn’t just recycle the past—she takes those influences and forges her own path, creating something fresh and distinct. The result is an album packed with melodies, sing-along choruses, and infectious energy, perfect for summer road trips or backyard BBQs. Play it once, and don’t be surprised when friends start asking who’s playing—and later, when those same songs start appearing on their playlists. – Jason Tate
16. Taylor Swift – The Tortured Poets Department
The most frustrating thing about Taylor Swift’s 11th album is that it’s a complete mess. That’s also the most fascinating thing about it. Taylor had just about as big of a year in 2023 as any pop artist has ever had, and The Tortured Poets Department is at least one part victory lap. But it’s also a breakup album, an album about a toxic rebound relationship, an album about a new love story, a rebuke of demanding, obsessive fans, and a transmission from someone who is maybe starting to fray at the edges. The result is overlong and lyrically overstuffed. The double-album conceit of it, a middle-of-the-night surprise on release day, feels almost entirely like a cynical attempt to break chart records. Disc two languishes in more mid-tempo Aaron Dessner collaborations than ever needed to exist, proving that the man who helped make folklore and evermore into twin masterpieces is running out of magic tricks, at least when it comes to Taylor Swift. And even the core album has more misses than I’d like to admit – sloppily written songs like “Fresh Out the Slammer” and “Florida!!!” that never would have made it past the last cut on more economical albums like Fearless or 1989. And yet, despite all these little needling issues, Tortured Poets serves up enough thrills to prove that Taylor Swift can still summon the thunder when she wants to. On songs like “Guilty as Sin” and “But Daddy I Love Him,” she turns her tryst with The 1975’s Matty Healy into the stuff of epic forbidden romance, complete with darts for all the fans who criticized said relationship. On “I Can Do It With a Broken Heart” and “Clara Bow,” she gets candid about the costs of fame in a way she hasn’t since “Clean” – and honestly sounds like she might be one verse shy of walking away from it all. And on “The Black Dog,” the album’s greatest song, she revels in the pettiness of post-breakup anger in a way she hasn’t in at least a decade, wishing nothing more or less awful upon her ex than a shitty time in his favorite bar.
So yes, The Tortured Poets Department is messy and unwieldy and way too bloated. But it’s also the closest we’ve gotten in years to the Taylor I fell in love with in 2010, when Speak Now unleashed a torrent of lovelorn daydreams and vengeful jealousy upon the world. It’s a reminder that, underneath all the fame and money and accolades, Taylor Swift is still the girl scrawling in her diary, turning her pen into a sword and her guitar into a battle-axe. – Craig Manning
17. Pale Waves – Smitten
While Pale Waves found success with their last album, Unwanted, the 2024 version of the band finds them at their most comfortable and confident. Smitten features smooth vocals, paired with shimmering guitars, and an upbeat feel to it that rewards the listener on repeat spins. From the brilliant opener of “Glasgow,” to the infectious guitar-heavy pop found on “Perfume,” Pale Waves pull plenty of tricks out of their collective sleeves all over the record. There is little filler to be found on Smitten, and Pale Waves continue to explore the depths of their dynamic sound effortlessly. – Adam Grundy
18. Dua Lipa – Radical Optimism
I heard this was a flop, how can it even be on this list?
I kid. But while I found a lot of the online discourse about this album exhausting and overwrought, I still enjoyed the hell out of it. It might not have caught lightning in a bottle like her previous, and other pop albums got way more attention this year, but the songs are still outstanding. And while I’ll never understand how “These Walls” wasn’t pushed harder as a single, as the follow-up to one of the more compelling and dominating pop albums of the past few years, I think it succeeds far more than it fails. Maybe it wasn’t the seismic cultural moment some hoped for, but it doesn’t need to be. It’s a solid record, and sometimes that’s more than enough. – Jason Tate
19. Barely Civil – I’d Say I’m Not Fine
Given the state of the world and political climate, I’d Say I’m Not Fine felt like a rallying cry for many of us living through it. Barely Civil found their voices on 2020’s I’ll Figure This Out, but the 2024 version of the band fully realized their vision for their music. With a laser-focused approach to the entire record by having each of the songs answer the statement of “I’d Say I’m…”, the talented band made a LP that would be adored by critics and music fans alike. Tracks like the smooth emo rock of “Coasting Mostly” to the raucous Side B opener of “Better Now” offered a strong indication of Barely Civil’s evolution that was accelerating beyond their wildest dreams. The band was rewarded for their hard work on I’d Say I’m Not Fine with a key support slot with M.A.G.S. on a U.S. tour that allowed for larger audiences to experience the world they were creating through their music. 2025 and beyond looks blindingly bright for Barely Civil. – Adam Grundy
20. Gouge Away – Deep Sage
A record that’s full of desperation, urgency, and tension while still having a sense of purpose, calmness, and focus can be a rarity in hardcore but Gouge Away’s third album Deep Sage accomplishes that with ease. Christina Michelle has never sounded better than she does on tracks like “The Sharpening” and “Dallas” while the riffs never rest on “Spaced Out” or “Newtau.” A few years ago, it seemingly looked like the band was done with the members moving to different parts of the country. But the distance must’ve only fanned the flame for creativity as the quintet found the time and space to write one of the year’s best records. – Drew Beringer
21. Zach Bryan – The Great American Bar Scene
Is Zach Bryan going to release a new full-length album every year? So far, he’s three for three in the past three years, and The Great American Bar Scene might be his best work yet. This album shows off hugely impressive growth in Bryan’s scene-setting songwriting (the title track, “Pink Skies”), in the dynamite chops of his backing band (“Oak Island), and in his ability to share the stage (with the gospel choirs in “Towers,” perhaps, or with Bruce Springsteen on “Sandpaper”). That collaborative feel might be my favorite thing about Bar Scene. This record feels like a blank check album, except the check isn’t so much about money and means as it is about being at a point in your career where literally anyone will take your call. And so Bryan cashes in his capital as a newly-minted stadium draw by filling his songs with his heroes. Lucky for me, Zach’s heroes are my heroes too, so I got a ton of joy out of seeing him put the spotlight on genius Oklahoma songwriter John Moreland on “Memphis the Blues,” or getting John Mayer to drop curtains of gorgeous guitarwork all over “Better Days.” Best of all, he somehow convinces Bruce to wind back the clock to 1984 and try recreating “I’m on Fire.” – Craig Manning
22. Kendrick Lamar – GNX
Just when we thought the days of the “surprise” album release were over, Kendrick Lamar knocked us all on our asses on November 22nd with GNX. The album is a remarkable artistic achievement in its own right, even without the fanfare of a standard LP rollout anticipating the record for weeks on end with a few singles teasing the direction of the record. Kendrick Lamar started the year with “Not Like Us,” a diss track with its sights set on Drake, while he closed out the year dripping with confidence as GNX was lauded with critical praise and adored by his longtime fans. 2025 appears to be an even bigger one for the rap star with a date locked in at the Super Bowlhalftime show. – Adam Grundy
23. Sum 41 – Heaven :x: Hell
Sum 41’s final album is a perfect sendoff for one of the best to ever do it. The pop-punk side is as energetic and fun as anything they’ve ever released. The heavier, metal-leaning tracks build on the strengths of their recent albums but hit even harder this time around. Deryck’s knack for massive hooks and sharp songwriting has always been underrated, and this double album is a testament to his craft. After 24 years of killer tracks and unforgettable memories, they’re going out on a high note. I’ll miss this band immensely—thank you, Sum 41, for everything. – Jason Tate
24. Super American – Gangster of Love
Look, I know the cover is ridiculous, but the album is one of the best collections of pop-punk/pop-rock songs that I have heard in years. Just pure, unadulterated, joyous jams. It’s the kind of album that reminds me of being young, stupid, and thinking about nothing except if I had homework I should have done or what six CDs I want to fit in my backpack CD case for the day. I dare you to listen and not smile. A little cheesy? Sure. But I don’t think I had more fun singing along to any other album released this year. We’re so lucky to have this new generation of bands making music that were influenced by all the bands we grew up listening to. I’d put Super American up there with Origami Angel as my absolute favorites carrying the torch. – Jason Tate
25. Rosé – Rosie
Rosé dropping Rosie at the end of the year is yet another in a long list of examples as to why I don’t like finalizing my best of lists too early. From the first track, the album crackles with bright beats and introspective undercurrents, striking that sweet spot where breezy pop hooks and genuine emotion collide. “Call it the End” is a straight-up ballad powerhouse, and “Apt” is an obvious pop phenomenon. But the real win here is how Rosé threads her vocal prowess and songwriting smarts through every single track, and I fully expect this to dominate my summer this year. – Jason Tate
26. MJ Lenderman – Manning Fireworks
“Once a perfect little baby, who’s now a jerk/Standing close to the pyre, manning fireworks.” “I’ve got a houseboat docked at the Himbo Dome/And a wristwatch that’s a pocket knife and a megaphone/And a wristwatch that tells me I’m on my own.” “She’s leaving you/No time to apologize for the things you do/Go rent a Ferrari and sing the blues/And believe Clapton was the second coming.” All these lyrics – and plenty of other lines on MJ Lenderman’s terrific new album Manning Fireworks – beg the question: Am I supposed to feel sad about the words he’s singing, or am I supposed to bust out laughing? Arguments in the “sad” column: the songs sound a little bit like August & Everything After, with a similarly killer Americana backing band playing circles around the melodies, and Lenderman himself sounds like a droll Americana sad-sack whenever he opens his mouth to say something. Arguments in the “laughter” column: just about every lyric on this album comes across as a quotable, tongue-in-cheek witticism from a guy who knows that most people are selfish dipshits who deserve neither pity nor love. Perhaps MJ Lenderman’s appeal is that he’s a poet for all the dipshits in an era where dipshits reign supreme. Perhaps his appeal has to do with the fact that he rips epic guitar solos on nearly every song. Or maybe it’s just that the songs themselves are sturdy and catchy and addictive in an unassuming way that keeps you coming back to the album like it’s an old Tom Petty classic. Whatever the reason, Manning Fireworks proved to be one of the year’s sneakiest great albums for me – an album I shrugged off at first that then would never let me go. – Craig Manning
27. Real Friends – Blue Hour
Few albums are dripping with so much raw emotion as what is found on Real Friends’ latest effort called Blue Hour. Vocalist Cody Muraro confidently takes the vocal reins for the first time on a full-length record with the band with ease, and his bandmates rapidly rally around him showcasing their great chemistry. “Waiting Room” is a key example of the magic that comes together when Real Friends balance weighty lyrical material with a polished emo rock sound that has a lasting impact. Blue Hour quickly became one of my most-listened to records of the year, and I feel like it will leave a solid imprint on anyone who takes the time to listen to it. – Adam Grundy
28. Gracie Abrams – The Secret of Us
I’ve always been attracted to albums that can convey a feeling, and Gracie Abrams puts more emotion per second into her songs than just about anyone. Her latest, The Secret of Us, is a masterclass in vulnerability, weaving honest lyrics with a new depth in production. While her signature introspective style remains intact, Abrams takes a few new turns into a fuller pop sound, with lush instrumentals and layered harmonies that enhance the emotional weight of her storytelling. It’s an album that feels both intimate and expansive, balancing delicate moments of quiet reflection with, at times, cinematic choruses. Songs that would have pulled at heartstrings at key scenes in indie movies in the early 2000s. – Jason Tate
29. Hippo Campus – Flood
There’s something charmingly disarming about stumbling on an album like Flood and then finding it quietly dominating your nightly rotation. If you haven’t spent time with Hippo Campus’s latest release, I can’t recommend it enough—especially as the days cool off and you’re looking for a soundtrack to those “not quite sure what do next” moments after dinner. There’s a bit of a departure from their previous few albums here, leaning into a soulful indie-pop vibe that hooks you immediately with layers of addictive melodies. It’s one of those under-the-radar gems that balances sincere introspection while creating a mood that fits just about any occasion. I’ve been returning to it constantly and it’s precisely the kind of album that made me want to start writing about music. It’s an album and band that not many people have heard of, but more absolutely should. – Jason Tate
30. Kacey Musgraves – Deeper Well
The success of Golden Hour back in 2018 got a lot of people thinking that Kacey Musgraves could orchestrate some sort of _1989_-style crossover to pop success. The attempt to do so – 2021’s star-crossed – felt like a half-measure, and was easily her worst album. Deeper Well recalibrates, bringing the focus back on the songwriting and delivering a sound that feels timeless and classic, like a well-worn folk record from Carole King or Simon & Garfunkel. In the songs, Kacey gets existential, taking stock of her whirlwind past six years – a huge album, a marriage that imploded, a pandemic, a lot of global and personal turmoil – and tries to make sense of what comes next, now that her career peak is very likely behind her. Sometimes, she’s finding peace and serenity in the simple and mundane, like on “Dinner with Friends,” about all the beautiful things in life that we sometimes ignore when we’re too caught up in the big picture. Sometimes, she’s trying to let go of the wheel and enjoy the ride, wherever it may lead; see “Sway,” an impossibly gorgeous song about going with the flow. And sometimes, she’s demanding answers from a higher power, as on “The Architect,” the album’s best song. “Was it thought out at all or just paint on a wall?/Is there anything that you regret?/I don’t understand, are there blueprints or plans?/Can I speak to the architect?”
Songs like this – so thoughtful and complex and carefully assembled down to the last syllable of the last word – are what Kacey Musgraves should be doing. Sometimes, pop stars have to sacrifice the craft of the song to fit in with the trends of the moment, or to challenge them. On star-crossed, it often felt like Kacey was doing just that. On Deeper Well, she puts the songs first again, and it’s the single best decision any artist made this year. – Craig Manning
The Playlist
You can find a playlist with one song from every album on this list on Apple Music and Spotify.
The Contributors
Some contributors have shared their individual best of 2024 lists:
If you’d like to share your best of 2024 list, there’s a thread in our community, or feel free to share it in the comments.
The Nerd Stat Stuff
Our final compiled list was put together using our ranking algorithm. There were 7 contributors and 128 unique albums across all of the lists. In total, 40 albums out of the 128 were on more than one list, with the number one album appearing on 4 of the 7 lists.
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