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The 24 Best Albums of 2024

December 15, 2024

We’re all getting older—including our favorite artists. Ariana Grande is seeing love from a wiser perspective, and Zach Bryan is reconciling with the effects of his tough childhood. Tyler, the Creator and Charli xcx are considering parenthood, and Maggie Rogers is watching her friends get married. The best albums of 2024 turned life’s inevitable growing pains into powerful, innovative art.

 

24. Radical Optimism, Dua Lipa

'Radical Optimism,' Dua Lipa
British pop star Dua Lipa’s third studio album is a bold departure from her previous work, delivering more introspection as she dives into a pop sound destined for summer. The album depicts scenes like seeing an ex move on and the daunting experience of falling in love. No matter the situation, Lipa emerges with—as the title suggests—optimism. On standout track “Houdini,” she spins a habit of ghosting love interests into hope: “Maybe you could be the one to make me stay.” The darker, psychedelic track is an intense moment on a record otherwise filled with Lipa’s most relaxed songs to date. She stays cool under pressure on “Illusion” and “French Exit,” the same way she does in the album cover’s shark-infested waters. Radical Optimism’s blissful pop reaffirms Lipa’s ability to keep us dancing through anything. – Rose Chane

 

23. Dark Times, Vince Staples

'Dark Times,' Vince Staples
Upon first listen, Dark Times may seem like just another surface-level chill rap album. But a closer look at Vince Staples’ writing—in which he dives into his tough Long Beach childhood and how his close relationships have transformed over time—reveals a new emotional side of the artist. His sixth album is largely made up of peaceful boom-bap beats that overlay his laid-back, and sometimes even depressed, flow. “Étouffée” is the album’s best track, packing a dense narrative into four minutes with a bouncy beat and an undeniably catchy hook. “In the ghetto, I’m a Martian,” Staples sings, contrasting his impoverished upbringing with his current fame. His storytelling is a highlight throughout the entire project, especially on “Justin,” where he describes a funny yet heartbreaking interaction with a woman he met at a bar. It’s one of many heavy moments that Staples lightens with humor, solidifying the charisma that makes his music so intriguing. – Colin Lee

 

22. All Born Screaming, St. Vincent

'All Born Screaming,' St. Vincent
All Born Screaming is both graceful and gritty, a paradoxical combination that Annie Clark, under stage name St. Vincent, pulls off masterfully. Clark delicately balances smooth guitars and jarring drums, shifting her vocal intonations accordingly. “Flea,” the album’s most complex track, is emblematic of the project’s masterful blend between discordance and tranquility. Across the tracklist, suspenseful strings and almost overwhelming drums soften into mellow moments of breathy vocals and long instrumental interludes. All Born Screaming closes with its title track, which rests in impassivity. “I feel like graffiti on a urinal in the abattoir / Well, it goes and it goes,” Clark sings with apathetic acceptance. The song pauses abruptly, leaving only heartbeat-like drums, before transitioning into a circular choir repeating the album title over and over. The grand conclusion reflects the album’s almost dystopian landscape, cementing the idea we all come into the world in a state of chaos. At its core, All Born Screaming is an artful representation of the quiet amidst chaos, both thrilling and melancholic. – Varsha Sripadham

 

21. Only God Was Above Us, Vampire Weekend

'Only God Was Above Us,' Vampire Weekend

Vampire Weekend’s fifth studio album is a gratifying cacophony of heavy drums and distorted chords. The project collages much of the band’s previous work: piano arpeggios on “Pravda” echo 2019’s “Flower Moon” while the choral backing on “Mary Boone” is reminiscent of 2013’s “Ya Hey.” These musical similarities match the album’s theme: the bridge between traditional and modern. The most on-the-nose example of this comes from “Classical,” which focuses on the relationship between permanence and impermanence. “The temple’s gone but still a single column stands today / That sinking feeling fades but never really goes away,” lead singer Ezra Koenig sings over a soft beat and ascending bass line. The album finishes off with the ironically titled “Hope,” a track that abandons dreams of change and succumbs to the world’s imperfections. Only God Was Above Us is wrought with the thought-provoking commentary archetypal to Vampire Weekend—and no one does it better. – Varsha Sripadham

 

20. eternal sunshine, Ariana Grande

'eternal sunshine,' Ariana Grande

eternal sunshine is dreamy and tender, drawing themes of heartbreak and self-discovery from the 2004 film Eternal Sunshine of the Spotless Mind. With vibrant melodies that showcase Grande’s technical mastery, producer Max Martin’s seamlessly catchy combos of pop, R&B, and house elevate Grande’s work. Songs like “bye” and “supernatural” explore the journey of moving on from one relationship and starting another. Her impressive vocal range and striking runs continue to stand out on songs like “we can’t be friends (wait for your love)” and “eternal sunshine,” which accept that love requires self-awareness. She also tackles her complicated relationship with fans and the media, with lyrics like “wait until you like me again” seemingly directed at both a love interest and the internet. We’ve been needing some new Grande music, and this captivating record—filled with heartfelt writing and alluring choruses—is an unforgettable comeback. – Lilia Wilkiewicz

 

19. Mahashmashana, Father John Misty

'Mahashmashana,' Father John Misty

Like most of Josh Tillman’s work under stage name Father John Misty, Mahashmashana is a political, spiritual, and sometimes cynical reflection on modern life. Backed by theatrical instrumentation, the project touches on issues from the selfishness of therapy culture to Tillman’s struggles with anxiety and drug use. Its most prominent theme, though, is endings—“Mahashmashana” itself means “large burial ground” in Sanskrit. “Most of us old men die in the firing line / Just waiting for our number to be called,” he sings on the jazzy “I Guess Time Just Makes Fools of Us All.” His songs take their time—the longest is upwards of nine minutes—but have enough variety to never feel boring: “She Cleans Up” is an upbeat, swingy rock song while “Summer’s Gone” is a slow, melodic ballad. Tillman faces his usual demons on Mahashmashana but with greater confidence, making his commentary the most direct and biting it’s ever been. – Ella Thomson

 

18. The Great American Bar Scene, Zach Bryan

'The Great American Bar Scene,' Zach Bryan
Zach Bryan’s intricate songwriting and rustic sound have revitalized mainstream country music over the past few years, and his fifth album is no different. Over sounds of fire crackling and beer cans opening, The Great American Bar Scene captures not only the comforting atmosphere of small-town bars, but also the people and stories within them. Bryan’s often-painful lyrics are delivered with appreciation as he tries to find blessings in his experiences, from childhood memories to kind people. “I wasn’t loved well as a younger child / So I’ll pray these better unstable days, they stay awhile,” Bryan sings, acknowledging he once took these “Better Days” for granted. His awareness of both his morals and faults allows him to reflect thoughtfully on how his small-town youth shaped him. “Maybe I’d rest before I died if I weren’t a flatland boy,” he sings on the subdued “Purple Gas.” The Great American Bar Scene is ultimately a tribute to perseverance and gratitude: “If I’m lucky enough, I will get through hard things / And they will make me gentle to the ways of the world,” he says in the album’s opening poem. – Celeste Zucker

 

17. empathogen, WILLOW

'empathogen,' WILLOW

Captivating and asymmetrical, WILLOW’s empathogen is a trailblazer of an album. The 24-year-old artist finds foundation in sturdy jazz chords, allowing her to make daring choices with her supple voice and unorthodox instrumentation. Contrasting sounds within a single song often serve as question and answer, like when the anxiety-inducing rock section on “run!” abruptly shifts into a verse of freeing release. She’s unafraid to voice her “b i g f e e l i n g s,” whether she’s “always wanting something, yearning / Feeling different, undeserving” on the pensive “pain for fun” or searching for authenticity on the disjointed yet confident “false self.” These intense emotions are palpable even on a wordless interlude, in which WILLOW’s expressive voice becomes one of the instruments. In every moment on empathogen, WILLOW is brave and unabashedly herself. – Ben Siegel

 

16. Don’t Forget Me, Maggie Rogers

'Don't Forget Me,' Maggie Rogers
Don’t Forget Me feels like an intimate catch-up with an old friend after far too long apart. Maggie Rogers pairs her recognizably warm voice and diary-like introspection with vibrant instrumentals on gentle piano ballads and acoustic pop-rock songs. She’s enlightened by hindsight, revisiting inevitable fallouts and using those lessons to guide herself through adulthood. Rogers refuses to forget and approaches the past sometimes with regret but always with maturity and acceptance. “We both were so difficult, but so invincible / Irresistible, but I loved you still,” she reflects on “The Kill,” acknowledging mutual responsibility for a flawed relationship. On the self-assured “So Sick of Dreaming” and achingly bittersweet title track, Rogers embraces the unpredictability of new relationships while honoring her most meaningful ones. She reconciles her missteps with unwavering lyricism, envisioning her world painted in “a honey shade of blue.” – Allegra Hoddie

 

15. ORQUÍDEAS, Kali Uchis

'ORQUÍDEAS,' Kali Uchis
Kali Uchis’ fourth album captures her Colombian roots while pushing the boundaries of contemporary pop and Latin music. Skillfully blending English and Spanish, she layers her signature ethereal vocals to enhance the album’s lush soundscape. The project opens with “¿Cómo Así?” where Uchis fuses tropical Latin rhythms with dreamy R&B and electro elements. It’s the first of many songs where she embodies divine femininity, a quality most boldly expressed on the electrifying “Muñekita.” “Sabes quien soy, la que tú necesitas,” Uchis sings, affirming her power and sensuality. At the end of danceable merengue closer “Dame Beso // Muévete,” Uchis thanks listeners with a “mwah,” one last touch of her mesmerizing glamour. – Paulina Cisneros Arreguin

 

14. Manning Fireworks, MJ Lenderman

'Manning Fireworks,' MJ Lenderman
Manning Fireworks sounds like it could have been made decades ago, but its lyrics are a timestamp. When other than in 2024 could an album casually refer to Lightning McQueen, a “himbo-dome,” and John Travolta’s bald head? Lenderman sings dejectedly, painting pictures of losers—the title track describes a “jerk” who sneaks “backstage to hound the girls in the circus”—with sparse lyrics that allude to, but aren’t quite, full stories. Like the characters he describes, Lenderman’s guitar riffs meander unpolished, backed by slow drumbeats and the occasional clarinet or cowbell. The album could easily feel like it was written by a guy who’s “never really left [his] room,” but between his self-deprecation and wittiness, Lenderman finds some genuine moments: “It falls apart / We all got work to do,” he sings. – Ella Thomson

 

13. COWBOY CARTER, Beyoncé

'COWBOY CARTER,' Beyoncé
“They used to say I spoke too country / Then the rejection came, said I wasn’t country ‘nough,” Beyoncé sings on COWBOY CARTER’s epic thesis statement “AMERIICAN REQUIEM.” The Houston-born icon’s voice is stronger than ever and sounds right at home with some twang behind it. That’s in part because she’s Beyoncé—whose voice would sound at home anywhere—but also because she is country. She makes this clear on every track, from the traditional country ballad “II MOST WANTED” to the three-part genre-bending blast that is “SWEET ★ HONEY ★ BUCKIIN’.” Country guides each song, but Beyoncé doesn’t let genre confine her. Hopping from opera to hip-hop, she carries remnants of sounds across the sprawling tracklist and lets them coalesce. She creatively pulls from country music’s traditional catalog of instruments, like when violins are combined with 808s on “TYRANT, ”and embraces its emphasis on storytelling to paint vivid pictures of her life. “At fifteen, the innocence was gone astray / Had to leave my home at an early age,” she sings on the moving “16 CARRIAGES.” The ambitious album is a fascinating exploration of what the word ‘genre’ means and whether it’s a term we need at all. – Ben Siegel

 

12. Fabiana Palladino, Fabiana Palladino

'Fabiana Palladino,' Fabiana Palladino
Fabiana Palladino’s self-titled debut proves there’s always room for ‘80s-inspired pop. Each track is distinct and fully realized, feeling complete even with the album’s concision. The production is so clean that the project could easily lose character, but Palladino consistently finds moments of freedom that allow her music to soar. The contrast between Palladino and feature artist Jai Paul on “I Care” is one such moment, making for the record’s best song. His vocals are distorted, almost submerged in synths, and Palladino juxtaposes his relaxed attitude about love with her anxiety. She finds a similar balance on tracks like “Closer” and “I Can’t Dream Anymore,” where she confidently sings about uncertainty over sensual production. The album’s last track, “Forever,” is also its most evocative, with vulnerable lyrics and breathy vocals. “Under your sky / It’s not so blue for me,” Palladino sings. – Morgan Baudler

 

11. GNX, Kendrick Lamar

'GNX,' Kendrick Lamar
From the release of record-breaking single “Not Like Us” to his announcement as the next Super Bowl halftime performer, 2024 has been an exciting year for Kendrick Lamar—even before the surprise release of his sixth album, GNX. As in his previous work, Lamar’s complex lyrics address relevant issues while promoting timeless messages. On opener “wacced out murals,” he brings closure to his controversial battle against Drake while encouraging individuality. “Keep your head down and work like I do / But understand everybody ain’t gon’ like you,” he raps vigorously. But the album is multifaceted, offering something for every listener and going far beyond the topic of rap beef. On the hyphy “tv off” and dynamic “squabble up,” Lamar proudly represents the West Coast, highlighting California’s unique musicality and hip-hop culture. His samples draw from influential Black artists like The Neptunes and Tupac, honoring the creatives that led Lamar’s music to where it is today. The melodic “luther” and closer “gloria” slow down the tracklist, with SZA’s entrancing vocals helping Lamar celebrate the harmony of love. With exciting feature artists, pure bangers, and plenty of authenticity, GNX affirms Lamar’s title as one of the greatest rappers of all time. – Tatiola Sobomehin

 

10. Here in the Pitch, Jessica Pratt

'Here in the Pitch,' Jessica Pratt
Jessica Pratt opens Here in the Pitch with an assertive, haunting tone: “Life is / It’s never what you think it’s for,” she sings. Her abstract lyricism, airy vocals, and nylon-string guitar have carved out a space in the indie scene, and her fourth album elevates that sound with otherworldly reverb, warm drums, and lavish strings. Like an Impressionist painter, Pratt immerses her listeners in amorphous scenes that prioritize emotion over precision. Here in the Pitch finds Pratt as elusive as ever, placing listeners in the middle of ambiguous narratives, often from an omniscient perspective. “I soon should know what remains / I never was what they called me in the dark,” she sings, mystically warping time. – Celeste Zucker

 

9. Brat and it’s completely different but also still brat, Charli xcx

'Brat and it's completely different but also still brat,' Charli xcx
Like its cover art, this project completely inverts BRAT, taking the skeletons of songs from Charli xcx’s original album and turning them into something entirely new. “360” hosts a conversation between Robyn and Yung Lean, “Talk talk” uses its original outro as a pre-chorus, and “365” goes from an insane club anthem to an even more insane club anthem. Each song has a featured artist who brings in their own style while channeling BRAT behavior—yes, even The Strokes’ Julian Casablancas. Charli’s innovative pop is as exhilarating as ever, with endlessly catchy hooks and moments of jarring experimentation. While the tracks sound great on their own, they’re not coconuts: they exist in the context of BRAT’s triumph. “I’m f*cking tired, but I love it and I’m not complaining / Oh, sh*t, I kinda made it,” Charli sings on the new version of “B2b” alongside Tinashe, who also found mainstream success in 2024. Charli is candid about the pressures of her sudden rise: “It’s a knife whеn you’re finally on top / ‘Cause logically the nеxt step is they wanna see you fall to the bottom,” she sings with Ariana Grande on the electric new version of “Sympathy is a knife.” She finds closure to some of BRAT’s woes, like when a vulnerable Lorde joins her to “work it out on the remix” of “Girl, so confusing.” The project reinvents the remix album: rather than a cash grab, it’s a completely different and well-crafted piece of art. – Ben Siegel

 

8. Older, Lizzy McAlpine

'Older,' Lizzy McAlpine
Blending her signature indie-pop with folk instrumentation and meditative songwriting, Lizzy McAlpine takes on toxic relationships, loss, and personal growth with her sophomore album. The project spotlights her soft vocals over an acoustic guitar or piano, with tender harmonies and satisfying buildups. She picks up the pace on the clarinet-filled “All Falls Down,” navigating self-doubt over a simple but lively acoustic drum pattern. The track stands out on a record that tends to be quite subdued and unhurried, a quality that allows McAlpine to fully open up. Closer “Vortex” is a mature acknowledgment that both she and her past lover are to blame for their relationship’s end, and she recognizes that, although she isn’t fully healed, her pain won’t last forever. “Someday, I’ll be able to let you go / Someday, you’ll come back, and I’ll say ‘No,’” McAlpine murmurs before her band bursts into its own vortex of piano spirals and pedal steel twangs. Brilliantly simple and distinct, Older truly sees McAlpine coming into her own. – Amari Witt

 

7. CHROMAKOPIA, Tyler, The Creator

'CHROMAKOPIA,' Tyler, The Creator
Tyler, The Creator’s highly-anticipated seventh album illuminates his ever-evolving sense of self. While he’s not new to vehemence, the topics explored on CHROMAKOPIA—from aging and authenticity to paranoia in the public eye—unmask the artist like never before. Shameless moments like militaristic chanting on “Thought I Was Dead” and a striking Nizakupanga Ngzo sample on “Noid” bolster the aggressive hip-hop production Tyler is known for. More emotional tracks like “I Hope You Find Your Way Home” and “Like Him,” on the other hand, find Tyler reflecting with newfound uncertainty and sophistication. This vulnerability is particularly apparent on “Hey Jane,” where Tyler admits he fears fatherhood: “I’m terrified, I’m petrified / I don’t wanna give my freedom up or sanitize it,” he raps. As always, Tyler manages to find conceptual and sonic throughlines across the album’s features, which vary from Daniel Caesar’s butter-soft vocals to Sexyy Red’s unrestrained bars. Yet Tyler—with his authenticity and recognizable production—is the voice who truly shines. – Aliyah Chowdhary-Fitton

 

6. HIT ME HARD AND SOFT, Billie Eilish

'HIT ME HARD AND SOFT,' Billie Eilish
Billie Eilish stays true to her signature whispery vocals and genre-bending sound on the punchy HIT ME HARD AND SOFT while experimenting with funky bass lines, dreamy synth pads, and a newfound vocal gusto. The album is an intense buildup and crash of emotion, with Eilish’s poignant lyrics reflecting on guilt, manipulative relationships, and the emotional growth that comes from each. On “THE GREATEST,” warm guitar strums enhance her vulnerability as she unravels the torment of betrayal and unrequited love. “Just wanted passion from you / Just wanted what I gave you,” she belts cathartically, diverging from her usual softness to match the song’s emotional intensity. She deviates from melancholy on “LUNCH,” experimenting with ‘90s pop-rock and cheeky lyrics for the project’s most playful moment. The album’s production is clean—bold when it needs to be and subdued when the story is—allowing Eilish to move through messy feelings with clarity and passion. This is most apparent on “L’AMOUR DE MA VIE,” where a casual backbeat swells into intoxicating electro-mania as Eilish’s feelings about a breakup transition from sorrow to being “so glad it’s over.” As she moves through themes of intimacy and insecurity, Eilish’s intentional production and forthright lyrics just keep getting better. – Huraman Orujov

 

5. Bright Future, Adrianne Lenker

'Bright Future,' Adrianne Lenker
With an understated folk sound, Adrianne Lenker lets her lyrics take center stage on Bright Future. As always, her imagery and storytelling are compelling, with a focus on the mundane—often nature—to develop larger narratives. Lenker contemplates the instability of her childhood on the piano-backed “Real House,” a one-sided relationship on the rugged “Vampire Empire,” and her relationship with religion on the minimalist “Candleflame.” Despite these heavy topics, she is overwhelmingly optimistic. “Though the distances traveled are expanding still / We meet in dreams by the lilac river,” she sings on “Cell Phone Says.” She takes “Sadness As A Gift” when a relationship ends and finds “Free Treasure” in everyday activities with her partner. Above all, Bright Future is sensitive and warm, simultaneously comforting and refreshing. – Morgan Baudler

 

4. I LAY DOWN MY LIFE FOR YOU, JPEGMAFIA

'I LAY DOWN MY LIFE FOR YOU,' JPEGMAFIA
JPEGMAFIA is hip-hop’s biggest troll. “I’m so terminally online, goddamn, I gotta check myself,” he admits between rapid-fire pop culture references and disses. While his lyrics are funny and delivered with absolute force, what really makes JPEG’s music irresistible is his eclectic and singular sound. His samples are surprising—a line from a Succession episode, a Fortnite emote sound, an AI cover of a Future song—and chopped into distorted, abrasive, and somehow satisfying songs. The record adds a punk-rock hue to JPEG’s usual chaos with real drumsets and arena-worthy electric guitar riffs that fire up his braggadocious rapping. His hip-hop-rock combination turns violent at times, like when he roars and snarls over distorted guitars on the fittingly titled “vulgar display of power.” JPEG spends most of I LAY DOWN MY LIFE FOR YOU upgrading his preexisting sound, but the last four songs are an unexpected comedown from the high. He switches out dense discordance for beds of orchestral strings and soulful hooks that prove his production skills go beyond the aggressive sound he’s known for. He’s vulnerable for fleeting moments: “I got family and fences to mend / Every argument comes with a cost,” he raps on “i recovered from this.” But JPEG never lets his guard down for too long, carrying his macho sarcasm with him through the end. – Ben Siegel

 

3. Imaginal Disk, Magdalena Bay

'Imaginal Disk,' Magdalena Bay
Imaginal Disk is an ambitious project that pushes pop in the right direction. The concept album follows main character True, who inserts a CD into her forehead to create an idealized version of herself. The CD rejects, and True is left grappling with her humanity for the duration of the project. Imaginal Disk’s sound is as eccentric as its plot, never shying away from heavy synths, distortion, and maximalism. Its general chaos, however, is balanced with a catchiness that makes each song an enjoyable listen. The album opens with immediate standout “She Looked Like Me!” which features booming artificial drums, anxiety-inducing rhythms, and some of the duo’s best storytelling. On the track, and throughout the record, they use fantasy to discuss very real topics, from wasted time to obsessive love. This is true of “Tunnel Vision,” a highlight for its addictive post-chorus melody and unhinged outro. The duo also slows down on occasion, particularly with haunting, otherworldly breathers “Feeling DiskInserted?” and “True Blue Interlude,” which pace the project and prevent it from feeling one-note. The album’s last track, “The Ballad of Matt & Mica,” interpolates “She Looked Like Me!” for a satisfying, full-circle ending to a perfectly thought-out album. – Morgan Baudler

 

2. Charm, Clairo

'Charm,' Clairo
Clairo takes a playful approach to her third record as she explores the intimacy of falling in love. Created in collaboration with soul producer Leon Michels, Charm has a warm sound reminiscent of ‘70s greats like Joni Mitchell and Carole King. Clairo herself fits right into the vintage landscape, delivering her recognizable airy vocals over floaty mellotrons and rich woodwinds. On “Nomad” and “Sexy to Someone,” she fantasizes about being wanted, willing to risk everything for a love interest who can break the monotony of daily life. The groovy “Juna” is flirtatious, with lines like “You make me wanna go buy a new dress / You make me wanna slip off a new dress.” The record’s tingling piano notes and delicate triangle chimes are whimsical, encapsulating both the initial excitement of attraction and the delight of genuine connection. Even when relationships are fleeting, Clairo celebrates a lingering vulnerability: “I put my pride on the line / ‘Cause when I met you, I knew it / I’d thank you for your time,” she sings on the bittersweet “Thank You.” The project’s instrumentation and writing are more sophisticated than Clairo’s previous work, but they always maintain her effortlessly feminine charm. – Teagan Murphy

 

1. BRAT, Charli xcx

'BRAT,' Charli xcx
In a landscape of cautious, cookie-cutter pop, Charli xcx’s honest unraveling of the party girl persona makes BRAT one of a kind. She’s perfected her avant-garde pop sound of modulated vocals and commanding synths that match her passion for a messy night out. Underneath this fierce exterior, BRAT rewards intentional listening with its distinctive, confessional lyrics on Charli’s inner turmoil and complex female relationships.

Charli admits to forced smiles rooted in insecurity and a fascination with flawed yet eternally en-vogue girls over loud claps and flashy synth stabs. These frenemy-ships are met with bemusement on “Girl, so confusing,” as Charli ultimately resolves, “Man, I don’t know, I’m just a girl.” On the minimalist “360” and the fast-paced “Von dutch” and “Club classics,” Charli leans into self-aggrandizement. “I wanna dance to me,” she boasts between savvy nods to collaborators and friends. 

The BRAT ethos is not full-fledged hedonism but a blend of boldness and vulnerability. On ballads “I might say something stupid” and “So I,” Charli’s poignant lyricism draws on tender moments like nervous drinking at parties and wishing she’d stayed with her late friend for dinner. Penultimate track “I think about it all the time” encapsulates BRAT’s superimposition by layering distorted percussion and dynamic vocal processing over contemplations about motherhood: “Would it make me miss all my freedom?” or “Would it give my life a new purpose?” Before she can iron out an answer, Charli returns to her over-the-top sound on party-girl closer “365.”

This year’s recognition of Charli’s thoughtful messiness symbolizes a broader celebration of daring voices and ideas. With her singular hyperpop sound and unflinching commentary, Charli brings a remarkable, chic candor to music and pop culture as a whole. – Celeste Zucker

 

Culture Desk 2024-25 Latest posts

The Culture Desk is made up of Morgan Baudler, Rose Chane, Allegra Hoddie, Ben Siegel, and Celeste Zucker.

  1. The 24 Best Albums of 2024

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