Most of the time, the half-year mark sneaks up on me.

I’m usually not ready to reflect on being six months into 20xx, let alone recognize that the year before it is already over. Such was the case in 2021, 2022, and 2023…

But in 2024, I wasn’t just prepared for this moment – I was looking forward to it! This year has been filled with so much exciting and inspiring music, that ever since March, I couldn’t wait to look back on the first half of the year and celebrate our favorite releases. There must be something in the water these days, because the energy is electric wherever you turn. The pop world is having a party all year long, led by global sensation Chappell Roan together with Sabrina Carpenter and Charli XCX (it is a brat summer, after all). Renowned artists like Hozier, Billie Eilish, Dua Lipa, Beyoncé and Taylor Swift have enjoyed smashing successes with songs that enchant and enthrall, moving the ears and heart simultaneously; elsewhere, Kacey Musgraves has soothed our souls, whilst Glass Animals have proved to be more provocative than ever before. And of course, who can forget the feud that birthed Kendrick Lamar‘s “euphoria”?

That same exhilarating passion extends well beyond these mainstream, instantly recognizable names; singer/songwriters like Medium Build, Mk.gee, Abby Holliday, Waxahatchee, Rachel Chinouriri, Clairo, and Novo Amor have delivered some of their most powerful and striking work to date, as have beloved indie bands like The Staves, Bailen, Cigarettes After Sex, Dehd, and Pillow Queens.

As the year hits its halfway point, our staff took a step back to honor the songs and albums that have had the greatest impact on our lives. This list is not exhaustive, but it was made for the love of music: Without further ado, Atwood Magazine is proud to present our curated list of the best songs of 2024 (so far), in alphabetical order by artist.

Mitch Mosk, Editor-in-Chief

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The Best Music of 2024 (So Far)

The Best Songs of 2024 (So Far)

Click on the artist’s name to skip right to their song’s entry!

Abby Holliday, Adrianne Lenker, Alycia Lang, Amanda Bergman, BABYMETAL x Electric Callboy, Bailen, Benson Boone, Billie Eilish, Caroline Polachek, Chappell Roan, Charli XCX 1, Charli XCX 2, Charlotte Day Wilson, Chastity Belt, Cigarettes After Sex, Clairo, DARUMAS, daydreamers, Deeper Sleeper, Dehd, Del Water Gap & Holly Humberstone, Dora Jar, Dua Lipa, Erick the Architect, Fontaines D.C., Glass Animals, Gracie Abrams, Hozier, Joe P, John Cale, Kacey Musgraves, Kendrick Lamar, Knocked Loose, Lizzy McAlpine, Lucius ft. Marcus Mumford, Mach-Hommy, Mannequin Pussy, Medium Build, Mk.gee, Nathan Ball, Nick Cave, Novo Amor, Orlando Weeks, PACKS, Pillow Queens, Rachel Chinouriri, RAYE, Richard Hawley, Roisin O’Hagan, Sabrina Carpenter 1, Sabrina Carpenter 2, Shannon and the Clams, St. Vincent, Still Woozy, Taylor Swift, Taylor Swift & Post Malone, The Mainliners, The Staves, The Warning, Waxahatchee 1, Waxahatchee 2, Wishy, Zsela

One of the biggest life lessons, for me, has been the slow but steady acceptance that everything and everyone I know is temporary and liminal. Just because people come and go from our lives doesn’t mean we can’t appreciate them for who they were to us when they were with us and we knew them best – whether it’s a friendship, a lost love, or someone’s passing.

Clearly, I’m not the only one ruminating on these things, because Abby Holliday‘s “The Price” takes this same thought and turns it into a spellbinding, soul-stirring song. A catchy, cathartic, and churning inner reckoning, “The Price” is aching, emotionally charged indie pop at its finest, and another undeniable “win” from the Cincinnati-bred, Nashville-based singer/songwriter (and longtime Atwood favorite). Holliday’s third song of the year acknowledges the past’s strain on the present, and all our lingering trauma and scars that never fully heal or dissipate: How we can think we’re unequivocally “over” something or someone, only to be thrown right back into the messy metaphorical trenches just by a chance encounter.

Born out of one such experience with a ghost from her past, “The Price” sees Holliday dealing with those raw, visceral emotions in real time, trying to untangle her present self from the person she used to be, all the while acknowledging just how hard it really is to live and let die, so-to-speak. She hits a fever pitch in the song’s irresistible and spirited chorus, dwelling in pools of bright, bold sonics and vulnerable, exposed depths as she comes to realize “it’s not a crime to love somebody and let it die if it needs to die.” At once heavy and light, “The Price” proves a hypnotic, mesmerizing force on both the ears and the heart as Abby Holliday spins together her very own anthem of hard-won acceptance. Whatever we’re dealing with or working through, be it a fresh scab or an old wound, it helps to remember that healing is a long and winding road; some days and weeks will inevitably be better than others, and sometimes we may find ourselves back at square one – but there also comes a time where we wake up, and we aren’t bothered anymore; we go about our days and we don’t think about it, and life goes on like it always does. – Mitch Mosk

But all at once, I’m met with my past
It’s like I’m looking at the bottom
of a looking glass
All at once, I realize
It’s not a crime to love somebody
And let it die
If it needs to die

“Fool” had me from the moment Adrianne Lenker posted a clip of herself finger-picking this intricate classical guitar rhythm, as she put it,”headphoneless and heart-forward” and “as analog as possible.” A few bell-like background chimes, bendy electric notes and Lenker’s clear voice in harmony build this joyful house of a song. No bass, no drums, just pure rich modern folk songwriting. “A buoyant questioning of creaturey loopiness” is what she calls it, and I sure can’t make better words than this mother of music. – Christine Buckley

My reintroduction to Durham-based singer/songwriter (and Atwood artist-to-watch) Alycia Lang came early this year, with a song that is as seductive and spirited as it is soul-baring. Released in February, “Bad Luck Bad Habit” finds Lang diving into her past, revealing scars in the form of acts of self-sabotage and recklessness in romance… all of which rises to a fever pitch in a chorus that is as impassioned as it is irresistible. As far as inner reckonings go, this one take the cake – and it’s been a staple of my daily and weekly soundtracks ever since its release. That Lang’s debut album Speak the Word to Hear the Sound (released June 14 via Mtn Laurel Recording Co.) builds upon this song’s musical and emotional foundations is the cherry on top; the record is well worth the listen for any and all fans of rock-inflected indie folk. Still, I can’t help but come back to “Bad Luck Bad Habit,” a stunning eruption from an artist’s innermost depths that acknowledges her flaws and commits to making some changes, admittedly without offering a timeline. – Mitch Mosk

Amanda Bergman’s standout track “Wild Geese, Wild Love,” came this year as the first single of her latest record, Your Hand Forever Checking On My Fever. An absolutely beautiful project centered on the many forms of love beyond the romantic – from motherhood to the familial – this lead single is a love letter to Bergman’s late father. Painting in colors only known to Bergman and her father, taking in this song almost feels like peering into their secret world. – Rachel Leong

If there was an award for the most unexpected collaboration to have come out of 2024 (or anytime, really), BABYMETAL x Electric Callboy would be the unanimous winner. Japanese idol girl trio and German electronicore band isn’t the first combination that comes to mind when thinking about the most opportune or sensible metal song, but in the weirdest (and most exciting) way, it works perfectly! The two groups came together in May for “RATATATA,” (which I had initially thought was a reference to the Pokemon, Rattata) a metalcore-Eurovision dance number that tastefully blends the signature styles of both artists.

“RATATATA” doesn’t take itself too seriously and plays into the ridiculous, campiness of it all, opening up with a disco-EDM beat and sultry lyrics, seemingly straight out of a club anthem: “Every night when the sky turns red up above / I feel the beat in my veins / And I’m searching for love.” It isn’t long before the guttural screams and electric guitars come in, as the BABYMETAL girls sing poppy melodies over the hybrid instrumentals and atmosphere. Both artists complement one another, with neither’s sound overpowering the other or taking center-stage; catchy, fun, and dynamic, I wouldn’t be surprised to hear “RATATATA” on the dance floor or in the mosh pit! – Isabella Le

No one does emotional vulnerability quite as beautifully as BAILEN. Simultaneously exposed and raw, elegant and refined, the New York City trio radiate heartfelt harmonies as they dwell in life’s intimate depths, picking apart the delicate intricacies of the human experience – all those feelings we tend not to talk about, but have felt plenty of times throughout our lives. BAILEN let their inner light shine especially bright on “You Would Never Know,” a tender, achingly intimate and brutally vulnerable song featured on the recently-released expanded edition of their 2023 sophomore album, Tired Hearts (Deluxe). An enchanting eruption of inner turmoil and words unspoken, “You Would Never Know” finds siblings Julia, Daniel, and David Bailen spilling bruised hearts through rich, radiant melodies and breathtaking harmonies that send shivers down the spine. It’s a cathartic confessional that fits perfectly within Tired Hearts’ themes of “finding the beauty in all of that struggle,” as Julia poetically put it to me last year.

Starting mid-story (or really, at the tail-end of the story), “You Would Never Know” opens with an homage to the trio’s hometown and the tug of an impending, hard goodbye. Yet as soon as everything’s begun, it starts to breakdown – and BAILEN erupt into an enchanting, vulnerable, and cathartic confessional, their three voices resonating together in beautiful, bone-chilling harmony:

You’ve been saving it for never
Holding it together
But you would never know
I’ve been crying on the subway
Dealing with it my way
I can’t help that it shows
Somewhere underneath your silence
I can see the pain you’re fighting
But you would never know…

Tired Hearts is full of this kind of diaristic songwriting channeled through warm, wondrous sound. It’s one of BAILEN’s best qualities that they can find harness their combined talents and lived experiences to shine a light on life’s dark moments – or rather, to turn emotional pain into musical beauty. And perhaps that’s why I’m so drawn to this song; “You Would Never Know” is BAILEN at their best, unpacking heartache, self-doubt, longing, and more one second, one step, and one note at a time. – Mitch Mosk

When 21-year-old Benson Boone auditioned for American Idol in 2021 he had the judges shocked when he said he grew up in a family of non-singers and never really sang himself as a kid. His spine-tingling performance had everyone in awe of his raw gift. Later though, he withdrew from the competition show when he began to obtain a viral presence on social media. Now with 7.2M follows on TikTok the artist has definitely bumped up quickly to superstar status. It is easy to see how this pop-rocker rose to success with a voice so piercing and melodic.

Boone may have a handle on his musical career, but his stunning piece “Beautiful Things” is an honest narration of feeling out of control. He has a relationship that for the first time he is scared to lose and you can hear that intense, emotive quality in his voice. The track starts off slow and builds into an upbeat punch of passion in the chorus that carries utter conviction. As he boldly begs, “please don’t take these beautiful things that I’ve got” we are reminded of all the amazing things in are life that we can take for granted. – Chloe Robinson

The last few years of music has shone in innovative and creative production methods – and Eilish’s new album definitely reflects the best of this. In standout single “LUNCH,” Eilish’s vocals are instantly recognizable in their low timbre, laid over funky bass guitars and driving rhythms.

2024 has also been the year sexually explicit queer female pop music has dominated. Expressions of unapologetic queer desire are most forthcoming in Eilish’s new record, and she gave us a sneak peek of this earlier in the year with first single “LUNCH.” Definitively fun and playful, Eilish turns the otherwise multi-layered frustrations of longing into something upbeat and light-hearted – with this certainly asking whatever’s so wrong with being down bad. – Rachel Leong

Let me be the first to say I am late to the Caroline Polachek train. Just never found the time in 2023. Last month, however, I did find the time to see the Jane Schoenbrun’s I Saw The TV Glow, a surreal horror film with heavy gender dysphoria themes. Two things jumped out at me after leaving the theater: firstly, watching that film feels like it merits an essay on gender theory as a prerequisite for viewing. Secondly, the soundtrack was just banger after banger. Nonemoreso than Polachek’s addition of “Starburned and Unkissed.” While (Sandy) Alex G does a fine job of scoring the whole production, Polachek’s piece sums up the movie in just over three-and-a-half-minutes; lyrics fracture on caesuras of plans broken-off and phantom bodies grasping all the while cathode ray vocals, keys and strings stretch past a breaking point, pushing a center that cannot hold. The movie itself is brilliant, but this song? It might be even more wise to what the main characters felt. – Ben Niesen

Chappell Roan burst onto the pop scene this year with nothing but upbeat and powerful anthems that will have anyone – and anything – with a pulse wondering what she puts in her music to make life feel oh so grand. Her first and only single of 2024 thus far, “Good Luck, Babe!” is a pivotal and transcendent song within her discography.

Released on April 5, 2024, “Good Luck, Babe!” is arguably one of the best songs, if not the best, to come out of 2024 so far. With a synced 1-2 beat, glittering instrumentals and a range of vocals, Roan takes people on a journey about the denial of one’s feelings. More specifically, when you know someone has feelings for you, but they are not admitting so. Instead of the normal sadness or heartache one may feel in this situation, Roan completely changes the trajectory of that feeling. Although she is frustrated, she is extremely confident in the fact that the person she is singing about does have feelings for her. It is almost as if you can hear her roll her eyes when she sings “guess I’m the fool,” because she knows it is indeed quite the opposite. But no matter how much she wants this potential relationship, no matter how much she knows she is right and how great the relationship could be — she is not going to wait around and waste her time. Instead, she hints at the question, “Do you really think you are going to find anything better than this?” As she states in the song, the individual can, “Kiss a hundred boys in bars/ Shoot another shot, try to stop the feeling” or “Make a new excuse, another stupid reason,” the words let the person grapple with that unspoken question as well as the idea that they are not going to be able to stop the feelings no matter how hard they try. In addition, she ends the chorus with a line that could halt a person in their place. You can see her smirk as she sings, “Well, good luck, babe!”

What is clever about Roan’s writing and artistry though is that she can convey feelings not only descriptively but you can feel what she is saying physically. This overall gives more insight into the story than what is bluntly stated. Furthermore, it lets people resonate with her words. For example, she repeats the words “I told you so” in the bridge such that by the last time she sings it, she’s screaming. The word “so” is even drawn out for another couple of seconds. It holds its place and blends into the background as the song jumps back into its chorus one last time – almost as if it is supposed to reflect the relationship. It hints at the idea of a reoccurring issue Roan has brought up within the relationship that will continue to drag on because feelings that strong just do not simply go away. As the song nears its end, this idea is even more prevalent. She repeats a different line, “You’d have to stop the world just to stop the feeling.” Each time this line is uttered, it is sung slower and slower – ultimately mimicking the effect of a broken record player, which, one could say, is the whole underlying message of this song. – Lauren Turner

“Sympathy is a knife” is one of the catchiest and most accessible pop songs on Charli XCX’s outstanding album brat. But that doesn’t mean that this song doesn’t also have a lot of depth to it. It’s a track that combines massive, rhythmic synths and vocal hooks with lyrics that explore the complexities of doubt and insecurity. And yes, this song is almost certainly referencing Taylor Swift, but it’s not a “diss track” at all. Instead, it’s a song that shows Charli grappling with her own feelings when she finds herself in the same room as the most famous pop star in the world. – Aaron Childree

If brat is the sonically and aesthetically cohesive pop record of the year, then “Von Dutch” is the energetic heart of the record, embodying the swaggering persona Charli takes on for this record. – Kylie Gurewitz

Charlotte Day Wilson can sing any song she damn well pleases. Since debuting her classic set of pipes, the one-time hockey prospect has scored three JUNO nominations. But any Canadian who dares cover the most celebrated entry in the American songbook better add a new wrinkle.

Wilson treats “Over the Rainbow” with the same sleek but minimal production that’s made her a standard-bearer for Contemporary R&B. The fanciful strings that accompanied the 1939 Academy Award winner are stripped away, leaving her piano free to splash jazzily amidst a wash of field recordings. It’s fresh and familiar, but what makes this a great cover is more a matter of perspective.

“Somewhere after the rainbow.” Wilson sounds smoky as ever, though the way her falsetto bends to meet her own backing vocals, it’s like she’s joining into conversation with her past and future.

Cyan Blue does dwell on more pressing concerns like queer motherhood, but the title of Wilson’s new album is directly addressed to her closeted youth. It wasn’t exactly what she had in mind. But where the original leaves Dorothy pregnant with childish wonder, by playing around with the lyrics, Wilson grants “Over the Rainbow” the assurance of a happy ending. After all, she now has a loving partner to share her trophies with. “Those dreams that you dared to dream really do come true.” – Will Yarbrough

Chastity Belt returned this year with possibly their most complete record yet. Live, Laugh, Love. While the album is chock-full of great material, “I-90 Bridge” might be the single best cut off the record. The band captures the beauty of a summer evening in the Pacific Northwest in song; when the day seems to stretch forever and then, reaching the twilight hour, it takes all sixty minutes to paint the horizon in amber vermillion, periwinkle blue, and the deepest indigo. There’s a touch of melancholy the piece, a restlessness inherent, whether it’s the open chord progression, the twiddling guitar melodies or just Lydia Lund’s stunning lyricism, all is quelled by the waters of Lake Washington: “cut the water with the sharp knife of your hand/ never seen a stroke so smooth / same long fingers that can carry any mood/ and relieve the pain I carry.” Together it puts music to the phenomena of flying so close to the Puget Sound. As far as songs go, it’s a triumph of art painting a place deeper than any roadmap or chart. – Ben Niesen

Cool and cryptic in its delivery and construction, “Baby Blue Movie” continues Cigarettes After Sex’s remarkable discography of breathtakingly beautiful songs that speak to characterizations of love and loving. It is haunting and classically Cigarettes After Sex, while verging on something new for the band in terms of it’s storytelling, it’s pretty undeniable that the band continues to captivate an audience with melancholically tunes that detail the complications of relationships and musings on love. – Brianna Corrine

Clairo made her comeback after three years with the release of “Sexy to Someone,” the leading single off her recently-released third album, Charm. Clairo’s masterful songwriting skills are apparent as ever on this track, unpacking the incredibly human need to be feel desired. She brings her undeniably warm, gentle voice together with witty lyrics like, “Sexy to somebody, it would help me out / Oh, I need a reason to get out of the house / And it’s just a little thing I can’t live without.” The track feels cosy and summery, building upon what already has made her a staple name in indie-pop. A song as effortlessly addictive as “Sexy To Someone” is fitting for an album titled Charm, Clairo welcoming listeners back into her arms. – Marc Maleri

I happened upon this song, and this group, by chance. I had been looking up something else and they appeared in the list I was browsing of Latin artists who are on the rise this year. The title of the song references Japanese dolls that represent good luck and fortune, and it was my good fortune to discover this song because it’s an absolute feel-good, breezy summer jam I can’t get out of my head. It’s funky, it’s cute, it’s perfect for dancing to or cruising along on a beautiful day to.

It is DARUMAS’ debut single, and it puts their best foot forward. The lyrics mention longing for a better world, health, money, and lots of love (“Anhelos de un mundo mejor / Salud, dinero, mucho amor”) and it’s a perfect thesis statement that buoys the sunny disposition of the music. The group hails from a wide radius of Latin America, with roots from Argentina to Haiti to Cuba, but you don’t need to speak Spanish to understand that this is an amazing testament to the spirit of determination and positivity that DARUMAS brings to the table. – Kendall Graham

“Beach House” is a breezy, memorable pop song that cements UK based daydreamers as a band to watch in 2024 and beyond. The jangly guitars, live drums, and lyrics that evoke memories of summers past all create a warm nostalgia. But there’s also something very of-the-moment in the song’s clean, shimmering production and relaxed vocal delivery. “Beach House” is only the second single from daydreamers, and it has me eagerly awaiting more music from the group.” – Aaron Childree

The Backseat Lovers’ frontman Joshua Harmon quietly teased a solo project on May 3, 2024 titled Deeper Sleeper, initially releasing 2 singles with very little promotion or forewarning. Showcasing his painstaking vocal ability, Harmon’s “Want” is a beautifully distressed ballad in stripped down, ultra-raw form. Harmon masters the intensity of an instrumental build-up, starting calmly until ultimately reaching the pinnacle scream out of “should I want to want again,” followed by a remarkably noticeable bass solo. If you’re familiar with The Backseat Lovers, you’ll notice a shift to a more moody, Radiohead-y sound on their most recent record Waiting to Spill, and it appears that sound is a desirable direction for the group (or at least for Harmon). I’ve long been mesmerized at Harmon’s ability to capitalize upon his ability to project in almost an agonizing fashion, and am excited to see he’s pursuing such style with Deeper Sleeper. – Miles Campbell

Continuing their tradition of creating some of the most appealing hooks and choruses in existence, the Chicago trio resumed their legacy on “Dog Days.” As the intro track to their newest album Poetry, it garners the unkemptness of making bad decisions, manifesting solutions for the intricacies we face every day. With insanely amusing lyrics like, “It’s a home run for the masses, it’s a pair of fake Gucci sunglasses,” sliding over the buoyant rhythm, the song is a perfect ode to those who confront the everyday qualms of being human on a daily basis. – Kevin Cost

This is the best kind of pillow talk. Del Water Gap’s S. Holden Jaffe and Holly Humberstone are basking in a beautiful moment of raw intimacy and connection. A world full of responsibilities and obligations awaits them, but the world can wait: In “Cigarettes & Wine,” two souls combine into one for a dreamy, romantic rendezvous. “I think I’ll put you in another song – a little glimpse of you before you’re gone,” Jaffe sings. It’s a precious, fleeting moment of love and unity before their lives ultimately tear them apart once more – and while that time is fast approaching (it always is), for now they’re together; for now they’re one – and this is their heart-to-heart. Jaffe and Humberstone capture love’s weight, warmth, and wonder in their irresistible new indie pop anthem “Cigarettes & Wine,” a cinematic and soul-stirring ode to long distance relationships full of energy, urgency, and an aching euphoria.

“Cigarettes & Wine” brings the best of both worlds together as Jaffe and Humberstone celebrate a union, lament looming separation, and make the most of whatever time they have together. The pair rise to a fever pitch in the song’s breathtaking chorus, channeling all that built-up tension and the pressures of long distance into a spectacular sonic and emotional climax:

Let’s keep living on cigarettes and wine
Shut the curtains to keep the world inside
No it don’t make a difference
Who cares what we’re missing?
Let’s keep living how we’re living

“Cigarettes & Wine” ends on a high as Jaffe and Humberstone resolve to “keep living how we’re living,” embracing their love and their lifestyle. This is what real love looks like; this is how some love stories go – brief moments of intensity and euphoria, followed by dry spells of longing and long distance. And while the pair certainly capture a bit of that pain, “Cigarettes & Wine” is more about the passion they feel when they’re reunited with their loved ones. It’s that dynamic eruption of intimacy and intensity, making the most of every second, every minute, every hour – because every literal breath counts when they’re so few and far between. – Mitch Mosk

As audience members, we often listen to music in order to view the world from the artist’s perspective, to seek either an escape from our own or validation that someone else can relate to our experience. The perspective that Dora Jar offers her listeners is one of beauty, strangeness, and intrigue. She has this wonderful gift of getting you to ask, “what the hell is she talking about?” while also saying, “I know exactly what she is talking about.” For this reason, I won’t try to overanalyze the lyrics of her recent single, “She Loves Me,” as it might ruin what makes them so great, but I will try to win you over to give the song a listen, if you haven’t already.

From the start of this song, Ms. Jar invites us to enter the rhythmic world of yearning and dancing laid out by the killer bass/guitar riff in the intro. This sonic hook is followed by Dora’s unique description of the song’s subject, “She always shows up haunted in a nightgown/Looking like a crumpled napkin/Frozen like a snowy mountain.” The chorus of the song relies on an oscillating melody which sounds like it was meant to be, as if someone should have already written it, but simultaneously a little too weird for anyone else to have written it but Dora Jar herself. Regardless, it is catchy enough to make you physically dance along while Dora runs through the scenes of the music video, wearing a bath towel through a house party and stealing a sandwich from a stranger sitting on a park bench. If this all sounds slightly confusing, but altogether peaks your interest, take my word for it and jump into the world of Dora Jar. “She Loves Me” is a great place to start. – Olivia Martinez

Technically, this song was released a single in November 2023, but since the accompanying album didn’t come out until May, I’m going to cheat somewhat and count “Houdini” as a 2024 release. Quibble with that if you will, but it’s much harder to argue with a track backed by such outstanding new-school disco production – which that grandiose guitar riff really helps to cap off as superb – and such an infectious central lyric as “I’m not here for long. Catch me or I go, Houdini.” The largely unarguable message here is that pop artists of Dua Lipa’s caliber aren’t around all that often, so we ought to appreciate her likes while they’re still around and making music for us. Sound advice, if you ask me. – Josh Weiner

Producer/rapper Erick the Architect (of Flatbush Zombies fame) released a powerhouse album, “I’ve Never Been Here Before”. Boasting collaborations with George Clinton, Lalah Hathaway, Chanel Tres, Kimbra, Baby Rose, Joey Bada$$ WESTSIDE BOOGIE, and more, the album cemented Erick has a bonafide heavy-hitter (if you weren’t already following his career). “Ambrosia”, his single with Chanel Tres, is a genre-bending, house-inspired, instant classic. Brimming with that effortless cool factor (the two artists were connected by James Blake, if that says anything), “Ambrosia” is an infectious, breezy, groove-infused anthem that lights up a room from the inside out. – Danielle Furman

Masterfully sitting on the knife edge of the avant-garde and the bold freeway of indie music, Fontaines D.C.’s indestructible and delicate single “Starburster” offers a fresh, attitude-packed first look at their upcoming fourth studio album, ROMANCE, due to be released in August. The sound is fresh, authentic and artful – everything guitar music was supposed to be. – Hamish Monk

Glass Animals without a doubt pushed themselves, and their art, with “A Tear in Space (Airlock).” The second single off their new album I Love You So F***ing Much is propulsive, intoxicating, and utterly unrelenting. Glass Animals hold nothing back as they unpack passion’s raw guts, basking in bold, thick sounds that evoke the fire we’ve all felt in our hearts. A song about infatuation’s intensity – and the ways in which something that seems so big to us can simultaneously be so small when we zoom out – “A Tear in Space (Airlock)” is a groovy, hypnotic, and deeply provocative fever dream: A pressure cooker of intense emotion and sound. In truth, it’s just as all-consuming as its subject matter.

We are so big, and yet so small, and in three and a half minutes, the British band capture both sides of that philosophical coin in a song that demands not only our undivided attention, but also our unrelenting movement. “A Tear In Space (Airlock)” is dramatic, immersive, and unrelenting; a pop song with an insatiable beat, just like the chart-topping, record-breaking “Heat Waves,” and yet one that, like so much of Glass Animals’ music, forces its audience to contemplate identity with fresh perspective. – Mitch Mosk

Water, running down my face
Water, running different ways
Water, like a billion waves
Water, just a tear in space
Water, running down my face
Water, running different ways
Water, like a billion waves
Water, just a tear in space

Perhaps the anthem for unrequited love as Abrams sings, “I burn for you and you don’t even know my name” is the second single from her sophomore album, The Secret of Us. “Close to You” by one Gracie Abrams is an uninhibited declaration of lust and love driven by a thumping beat that mimics a racing heart and melodies that harp on a yearning that goes unfulfilled in the best way possible. The thing about “Close To You” that makes it so addicting beside the fact that it is a gorgeous song in it of itself, is that it has finally come to fans ears after a seven year wait. In a sense the creation of the song mimics the story that the song itself tells, and shows the resolution of the situation. “Close To You” is both a story of waiting and one of success, as fans fell in love with a snippet of it seven years ago, and Abrams has finally reworked and delivered a stunning little tune. – Brianna Corrine

It was awesome getting to see Hozier perform this song (and many others!) at Boston Calling this past May, and I’ve enjoyed getting to have that performance come alive in my mind during my subsequent listening sessions. Props to this very talented musician for scoring his first #1 single with this song after many years of music-making – it’s well-deserved! – Josh Weiner

I have become the family photographer, like my mother before me and her mother before her. It’s not just because I like taking pictures, which I do; whenever there’s a special event, I make sure to document it – capturing it for posterity, so that it lives on not only in our minds, but also in a physical freeze-frame. Life is long and filled with special moments big and small, and I’ve found that we (I) tend to forget most of them; that they all sort of bleed into one another when I’m not looking, especially when they lack a reference. So I take pictures to remember who I am and who I’ve been. We take pictures to remember who we are.

Well happy birthday baby
Everybody’s here for you
Happy birthday baby
Six candles lighting up the whole room
Outdated kitchen full of smiles
Everyone’s standing around
We take pictures so we remember who we are
25 years from now

Joe P’s latest single hits especially hard, bringing with it a trail of happy tears and heartfelt memories. An impassioned, anthemic song of raw humanity and intimate connection, “Birthday Baby (The Girl with No Smile)” aches with the weight of love and loss, time and change. It’s a candid, cathartic reflection on life cycles: The things we pass down from generation to generation, how we hold onto those who came before us, and all the ways we remember those who have gone from our lives. The New Jersey-based multi-instrumentalist singer/songwriter sits deep in a state of reverie, remembrance, and reckoning as he unpacks bits of his own history, family heritage, and the thin veil between life and death.

For me, this song has been a comforting reminder that life is short and long; that we endure, that we carry the past on our shoulders and in our hearts, and that there is a connective tissue between us that remains when we are not present anymore. Joe P’s forthcoming debut album Garden State Vampire promises to have more of that same raw emotion and radiant energy, but I’ll forever be brought back to the raw, resounding aches of “Birthday Baby (The Girl with No Smile).” – Mitch Mosk

But you curse like your mother
And you act like your father
Your sister called back,
but your brother doesn’t have your number
So you drove by his house
Now he’s got a daughter
and they named her after you
The girl with no smile,
the girl with no smile

The Velvet Underground legend John Cale is deeply committed to evolving with the times at the ripe age of 82. A rich sonic playground that artfully marries the classic and the contemporary, lead single “How We See The Light” manages to be emotionally both bright and deep, making the lofty and contemplative accessible. Cale’s age is his asset, imbuing his writing with an air of slow-cooked wisdom. “How We See The Light” is a stunning labyrinth of heart-opening chord progressions and truly relatable philosophical musings. – Danielle Furman

We already know that Kacey Musgraves is one of the best songwriters of the 21st century. From “Blowing Smoke” to “Follow Your Arrow” to “Golden Hour,” her ability to tug our heart strings and make us smile has never failed. Add in her charming, homespun way of delivering these messages and any of her albums sounds like a greatest hits.

On her sixth album, Deeper Well, she may have written her best song yet. “The Architect” is stirring, thought-provoking, and eternally repeatable. As musically simple as it is lyrically deep, a simple acoustic guitar plods along as she ponders the beauty of the universe, the awe inspired by something as small as an apple. It’s not a God-promoting song—Musgraves is a long way from hymns—but rather a call to look around at the world we’re lucky enough to be a small part of. Her final sentence, “Is there an architect?” confirms this, leaving us with a palpable sense of wonder. On an album all about slowing down and embracing nature, “The Architect” is not just an album, but a career highlight. – Oliver Crook

In a year where so many of the biggest artists in the world have put out major albums, new faces have emerged seemingly ready to step up to the next level of popstardom, and even surprise crossovers from the indie/heavy music world have popped up, the most impactful releases of the year that have occupied my brain space have been singles in a rap beef. Kendrick Lamar’s tracks have passed on from the feud, and now “Not Like Us” is a certified hit. Still, “Euphoria” remains perhaps the hardest hitting song of the beef. Lamar showing off his speed, rhyming ability, and of course, the venom. Despite being a pointed track at Drake, it’s been endlessly replayable, with new jabs found on each listen.

While things cooled following Drizzy’s “The Heart Part 6,” seeing K.Dot’s “The Pop Out” concert reignited the excitement surrounding those singles, and it’s incredibly exciting after his debut performance of the entire “euphoria” track to hear the whole audience screaming along to it. While it doesn’t seem like there’ll be new barbs in this battle, it’s given us an album’s worth of great tracks (from both artists), even if we all know the victor. – James Crowley

Knocked Loose is one of the most staple bands in the modern hardcore scene, gaining acclaim from non-fans and critics alike — all for good reason! As far as my relationship with the band goes, I was mostly unfamiliar until lead singer Bryan Garris collaborated with Motionless in White in 2022, but as of today, I’d credit them for reviving my love for metalcore, and more, keeping the ethos of the genre alive in mainstream music.

The third single off their recently released record, You Won’t Go Before You’re Supposed To, “Suffocate” sees Knocked Loose channeling rage, betrayal, confinement, and catharsis. Garris’s vocal performance is nothing short of bone-chilling, as he screams over pounding guitar riffs and crashing drums: “Take it now, take it now / Everything that I have / Leaving nothing left.” There is no room for stillness or subtlety, as alt-pop collaborator Poppy delivers equally goosebump-inducing screams just before the song’s reggaeton breakdown. With pure aggression and sonic ferocity, Knocked Loose do what they do best on “Suffocate,” leaving me with nothing but praises for the band and their musical sensibilities! – Isabella Le

Lizzy McAlpine’s third studio album Older is as beautiful as it is raw. It was almost titled “Vortex” after its closing track and we can understand why. Vortex encapsulates the chaotic rollercoaster of the relationship the album entails. With McAlpine’s vocals at the forefront, accompanied by crystal clear keys, “Vortex” hits all the spots. Its bridge is the most powerful on the album. These lyrics matched with her vocals are a combination that are as rare as they are powerful. – Kelly Dorogy

And you’re screaming at me, and I’m watching it fall
And I’m slamming the door and you make yourself tall
But it’s always an act and it never lasts long
‘Cause I always come back when I need a new song
And I’m tired of this and the way that it feels
I’m not there anymore, this has never been real
We’re just awful together and awful apart
I don’t know what to do anymore

This year Lucius released a new recording of their entire first, seminal album Wildewoman. You couldn’t have convinced me there was a way to improve upon the lament that is “Go Home,” but Jess Wolfe and Holly Laessig’s legendary songwriting and tight, wailing vocals are showcased in even brighter relief by the addition of their longime friend Marcus Mumford’s resonant, expressive singing. He takes center stage on the second verse, a rare solo voice on a Lucius song, and slide guitar meanders over top of it all, a moody, plodding ode to heartbreak. – Christine Buckley

While much of the hip-hop world has had their ears glued to a certain A-list rap beef, the enigmatic Mach-Hommy quietly came out of his shell to provide some of the genre’s best music in years. For an artist who dwells in the dark, “#RICHAXXHAITIAN” finds the artists diving head first into banger territory and the result couldn’t be more refreshing. Mach-Hommy’s lighting fast delivery meet 03 Greedo’s infectious chorus on KAYTRANADA’s best instrumental in ages. Present are all of the makings of a certified hit as Mach-Hommy proves his versatility as an artist. – Jake Fewx

Off Mannequin Pussy’s critically acclaimed second album, I Got Heaven, “Loud Bark” could easily start a revolution. The track is a towering feat, a brand-new anthem for those filled with rage who want to scream and set the world on fire. The melancholic set of guitar notes drifting over Missy’s haunting voice and pounding drums evoke the feeling of cracking your knuckles, ready to knock someone out. Masters of their craft, Mannequin Pussy continue to push the envelope of indie-rock and punk music that will influence the genres for generations to come. – Kevin Cost

This was a very tough call; every one of the twelve songs off Medium Build’s breathtaking 2024 masterpiece Country could (and should) be on this best-of list. It’s a testament as much to Nick Carpenter’s talents as a singer and songwriter, as it is to his (and producer Laiko’s) abilities as a world-builder: Country is a record of raw humanity, honesty, vulnerability, and connection, and these traits shine especially bright on songs like “Cutting Thru the Country,” “Knowing U Exist,” “Beach Chair,” and last but certainly not least, “Stick Around.”

A breathtakingly bold, grand finale worth it weight in gold, Country’s epic conclusion is an ode to those loved ones in our lives who support us and see us through our darker, tougher times. One of Country‘s few real anthems, “Stick Around” is an ode to living, to loving, and to being alive: “And I gotta thank you for giving me a thousand reasons to stick around,” Carpenter sings over pools of sleek, groovy piano chords and smoldering saxophone riffs. “And, baby, it came true: All the little things that I wished for that I never said out loud, out of my mouth! Oh my little, little lie…” This is Medium Build at his most euphoric, celebrating life itself; he’s still digging for meaning and looking for his place in the world, as he does throughout Country – but perhaps the biggest takeaway, as he closes his album, is that he’s not alone. It’s a lesson worth remembering and taking to heart. – Mitch Mosk

To be totally honest, I’ve described Mk.gee’s debut album Two Star & The Dream Police to most of my friends as one immersive song, chopped up into 12 parts. That’s how it feels, to me; I recognize that each one has its own lyrical and melodic contours, its own emotions and meaning, but the record feels like an experience that’s meant to be felt in one comprehensive listening session – not broken up into parts. Still, highlights from the record range from the brooding, hypnotic propulsion of “I Want” and the aching charm of “Candy,” to the spellbinding dark depths of “Dream police,” the burning and yearning of “Are You Looking Up,” the moody, glitchy warmth of “How many miles,” and of course, the dramatic passion of “Rylee & I” – a song that accentuates Mk.gee’s talents as a melody-maker, as a guitarist, as producer, and more. Not only are his guitar tones utterly intoxicating throughout the song’s two and a half minute run, but his voice is absolutely breathtaking; he sends shivers down the spine as the first lines fall from his lips, beckoning us deep into a world that is his and his alone. “I believe I can’t let go, just when you think you can cut everybody you know, Rylee, it’s just Rylee and I,” he sings.

So when you shake it up, baby
You give me mine
Yes, I was there when you said
you saw an angel, divine
Just Rylee, Rylee and I

Still, this is just one of Two Star & The Dream Police‘s many magic moments. Every song contains multitudes, and every moment is worth revisiting five, ten, twenty times, as I myself keep taking more and more away from Mk.gee’s cryptic, all-consuming art. – Mitch Mosk

Based in Cornwall, UK, Nathan Ball’s music is like an antidote to life’s troubles. Reminiscent of Bon Iver and Ziggy Alberts (two artists who he has actually supported in the past), Ball’s warm, whiskey-soaked vocals seem to encompass you like a much needed hug. His latest single “Stateline” does exactly that. Through organic instrumentation, a toe-tapping beat and warbling guitar line that instantly lifts your spirit, the infectious track sees the songwriter experiencing a moment of reflection. Taking note of the fast-paced environment we live in, Ball identifies how we often get swept away with our dreams, only to suddenly be dragged back to reality.

While the narrative of the song may seem melancholic, “Stateline” delivers quite the opposite effect, as the artist teases what is yet to come from his impending EP due later this year. I anticipate “Stateline” being on my favorites list for the rest of the year and potentially beyond! – Joe Beer

“Wild God” begins with Nick Cave’s signature lyrical quest for his abandoned God, swaddled in dark comedic poetry and minimal but pleasing layers of instruments. However, the real song begins after the first bridge. Cave’s hypnotic vocals transcend until the track finally breaks into a crescendo of grand, triumphant redemption. The last minute and a half are truly a dramatic metamorphosis into the very best of Nick Cave. A panoptic, breathtaking, sonic climax that delivers some of the grandest sound this band has ever played. – Liv Goodbody

I can still remember where I was the first time I heard this song, and it still hits me with the same emotional gut-punch I felt on that first listen. The arrangement starts with a dark, moody bass riff and builds throughout “Years On,” adding guitars and emotive string swells. Singer and songwriter Ali Lacey sings of love and coming to terms with the loss of that love in his signature falsetto. Even though it’s a melancholy song, the music provides an emotional lift that leaves you feeling less alone. This is everything you want from a Novo Amor song. – Aaron Childree

This is a subtle, slow-burner from ex-Maccabees frontman, Orlando Weeks. The instrumentation is reminiscent of an early Tame Impala, with its dampened drums, fuzzy bass, and looping keys. Weeks’ vocal delivery is characteristically close-to-mic and restrained. The choice of handing a feature to Wet Leg’s frontwoman, Rhian Teasdale, is a clever one, too. Her verse holds the momentum of the track as it builds to a psychedelic and washed out middle eight that will appease any Maccabees fan. “Dig” is a great song and the video must not to be missed. – Hamish Monk

If you go on Youtube and scroll down to the first comment underneath PACKS’ music video for their song “Missy,” the top commenter, @window92, says about the song, “This is like listening to Nirvana across the street while walking home in ‘87.” I suppose I couldn’t have said it better myself, except for I wasn’t alive in 1987. The sentiment reigns true though. The best way I can think to describe the PACKS guitar sound is jangly. And to be clear, I mean that in a good way. PACKS make music that feels nostalgic in a similar vein as indie bands such as Twin Peaks and Foxygen, but with their own playful spin. “Missy” draws its listeners into an immediate hooky verse melody, balancing an upbeat and bouncy rhythmic feel with slightly darker chords which pull at ambiguous yet significant heartstrings.

The song’s chorus reminds us that not every hook has to have a lyric. Composed of the repeated syllable, “ah,” the melody creates a pleasant earworm that you will be singing to yourself on a loop for days after listening to the track. The third verse is a surprise feature in Spanish by tormentatropica, delivered with cool and understated confidence, perfectly suited for the tone of the song as a whole. In the music video for Missy, Madeline Link (frontperson) and tormentatropica, act out a mini-movie of what appears to be some sort of secret agent mission, reminiscent of a plot from a ’60s spy film. The retro feel of the video adds to the song’s vintage-inspired sound. The entirety of PACKS’ new album, Melt The Honey, is definitely worth a listen for any alternative rock fans, and it is safe to say that “Missy” is the standout track of the bunch. – Olivia Martinez

The dark, angst-ridden centerpiece to the Pillow Queens’ third full-length, which, at its core, is a collection of songs written around the idea of the painful dissolution of a marriage, “The Bar’s Closed” is where the elements present throughout ultimately converge – lonely, pissed off, and lusty, it begins with a blast of noise before it settles into a slow, slithering groove that dramatically builds as a means of punctuating the hurt, confusion, and frustration from the band’s vocalist and guitarist, Pamela Connelly uses the space to deliver, among other things, one of the realest lines in pop music in 2024: “Save all your money. Sell off the memories. Buy back your life.” – Kevin Krein

On a debut inspired by ‘Devastating Events’, Rachel Chinouriri’s “The Hills” stands out as one of the singer’s most gut-wrenching singles yet. As poignant as it is catchy, Chinouriri tackles deep personal afflictions while masterfully towing the line between intimacy and accessibility; needless to say, it’s a bop. “Broken is the understatement of the whole year,” the artist confesses amidst the wall of roaring guitars and earth-shattering drums – Chinouriri’s emotional search for belonging is masked as a raw, powerful, nostalgia-laced rock anthem whose message cuts deep and whose melody strongly resonates with merit. – Jake Fewx

“Genesis,” is a true exhibition of RAYE’s unparalleled versatility. Seven minutes, three genres and one breathtaking music video, it’s hard to compute the creativity behind this single track. Opening with an introspective spoken word verse, expertly coalescing into a darkly intense, pop-infused R&B dance track and eventually converting into a jaunty big-band jazz narrative. RAYE completely transcends what I thought was possible of a single song. Her divine opus brimming with deeply personal anxieties and raw emotion demands universal recognition and she has without doubt redefined the sonic landscape of 2024. – Liv Goodbody

Richard Hawley is the darling of contemporary British chamber music. There are not many who can match his voice, the lush arrangements, the beautiful simplicity of his songwriting or even the quality of his vintage gear. Starting out as the touring guitarist for Pulp, Hawley made his name with his first solo LP, Late Night Final, in 2001. He has since released 9 albums and each boasts at least one timeless, perfect number. I was lucky enough to see him perform his latest single, “Heavy Rain,” at London’s iconic Hammersmith Apollo, and – like the rest of the set – it was exquisuite. – Hamish Monk

British singer/songwriter Roisin O’Hagan delves into the human psyche in her newest single “Midnight Indigo” as she looks at how people respond to certain situations when they are under the intoxicating spell of love. Sometimes our actions don’t make sense, but pair that with a fiery, passionate and toxic relationship and it results in some peculiar behavior. The vibrant “Midnight Indigo” mimics this energy, delivering an energetic yet polished release, with catchy lyrics that will have you singing in harmony. O’Hagan’s passionate vocals emit emotion and determination, as they soar over fast-paced percussion, leading guitars and finger snaps. This is a track you’ll definitely be putting on repeat. – Joe Beer

Unless you’re in a coffee shop, saying “espresso” will certainly make bystanders think of the song that solidified Sabrina Carpenter’s place as a fully formed pop star. After only seemingly scratching the surface of mainstream pop in 2022 with her album emails i can’t send, Carpenter finally arrives in the pantheon of pop on “espresso”. It had already been crowned the song of the summer by April, and gave her a career-first Billboard Top 10. Sampling a beat from LA-based DJ Oliver, Carpenter stunned us all on this self-confidence anthem with a simple hook, “I’m working late, ‘cuz I’m a singer” — and the clever, charismatic hook, “That’s that me espresso.” – Blake McMillan

Sabrina Carpenter and this song have been everywhere this summer season, and for good reason. “Please Please Please” is the second single from Carpenter’s recent spade of releases. Most notably, her lamenting “I beg you don’t embarrass me motherf*cker” in the chorus has seemingly struck a chord with everyone, everywhere. Tongue-in-cheek lyricism has marked Carpenter’s songwriting since the beginning, but “Please Please Please” stands out in showing off her sweeping range while still maintaining catchy pop sensibilities.

Accompanied also by one of my favorite music videos of the year, an equally playful visual representation of the single stars Carpenter and Barry Koeghan in a heist-akin love story. Would you ever have imagined Koeghan single-handedly taking out a group of men on beat to the song and in slow motion? Needless to say, the song is irresistible and we’re definitely looking forward to the full album at the end of the summer. – Rachel Leong

Shannon and the Clams haven’t shied away from the darkness on the group’s powerful, genre-blurring new LP: The album’s genesis dates back to the death of lead singer Shannon Shaw’s fiancé, Joe Haener, who uttered the phrase that graces its cover and heads up its enchanting, heavy lead single. The song is an earworm, suitably haunting, noir-ish and almost like a fever dream. It packs a punch, and then some, and Shaw’s impressive vocals give it plenty of gravitas in a live setting. – Beau Hayhoe

“On the street I’m king-sized killer… I can make your kingdom come.” With an opening like that, how can the first single from Annie Clark’s outrageously good album All Born Screaming not be destined for greatness? It’s a cacophony of percussion reminiscent of glass bottles being bludgeoned mixed with crashing electric synth chords, like what a defibrillator must sound like from the inside of someone’s beatless heart. You could almost dance disco to it, but by the end you’d collapse to the floor, crawling, desperate, angry, occasionally bursting into flames, crying “Lover nail yourself right to me” and “What are you looking at?! Like you’ve never seen a broken man!” – Christine Buckley

I have never heard a song by Still Woozy that I didn’t like. Really. His characteristic blend of pop, alternative and hip-hop is on perfect display here. His lyrics are always equally playful, strange and heartening. What really anchors this song is the post-chorus, because it offers an introspective but hopeful note that I find myself singing out of context pretty often: “Feels right, baby it feels right, yeah it just feels right, right to me / In the night, in the dead of night, we make the wrong things right eventually.” It’s short and sweet, like many of his songs, but it hits the spot. – Kendall Graham

It’s no surprise that Taylor Swift is at the top of her game. The difference between her and others is that when she reaches the so-called top, she continuously shatters it to reach new heights. Her elevent studio album, The Tortured Poets Department, has blown audiences away with fan favorites like “I Can Do It With a Broken Heart” and “But Daddy I Love Him.” However, it’s bonus track “The Black Dog” that captures the magic and talent of early Taylor and catapults it into her honed skills of today. It’s specific, melodic and poignant. It’s timeless while also capturing such a specific moment in our time. – Kelly Dorogy

I am someone who, until recent events
You shared your secrets with
And your location
You forgot to turn it off
And so I watch as you walk
Into some bar called The Black Dog
And pierce new holes in my heart
You forgot to turn it off
And it hits me
I just don’t understand

There’s only so much more ink that can be spilled about Taylor Swift before the entire world gets irreversibly drenched in black. So, I’ll keep the spillage to a minimum: it’s a well-crafted song, in which all three contributors – Taylor and her delicate vocals; Post Malone and his equally tender delivery; and the ever-dependable production talents of Jack Antonoff – merge together beautifully. T-Swizzle has occasionally faced criticism for her lead single choices, but in the case of The Tortured Poets Department, I feel like she got it just right with “Fortnight.” – Josh Weiner

While music is in a constant state of evolution, some artists have distinctly timeless sounds that make it difficult to tell from when they came; this is the case for the up-and-coming punk rock band The Mainliners, four friends hailing from Hollywood, California. Nodding to classic punk influences, steeped in the music and culture by their families during formative years, The Mainliners were described as “a younger Suicidal Tendencies” by an audience member I met at one of their shows. Their debut EP Mainliner Motel was straight to the point, stripped of frills, ruleless, fast, and aggressive, as are most songs in the classic punk genre.

What was refreshing about the EP was that it didn’t feel repetitive, especially the aptly placed third track, “Jesusita.” A surf-rock guitar riff cascades over pounding drums and trumpets as lead singer Cash Mathieu chants, “Jesusita, come my way!” The song doesn’t heavily rely on any single element, whether that be the instruments, lyrics, vocals, or tempo; each component works together to create a compelling listening experience backed by energy, confidence, and earwormed intensity. Ending on the final line, “It’s time to smile now / And save the cries for later” “Jesusita” starts and concludes fun and effortlessly, maintaining the visceral, no-nonsense approach of punk rock, but polishing up just enough for the less familiar listener. – Isabella Le

The Staves’ “I’ll Never Leave You Alone” is a dreamy, achingly intimate reverie; a lilting, fragile, and soul-stirring confession to that profound weight each of us feels, puppeting around this Earth with so many invisible strings attached to our backs, each one another strand of identity connecting us to something (or someone) outside ourselves.

But more to the point, this song’s melody has been stuck in my head from the moment I heard it, several months ago. It hasn’t left there since, and it shows no sign of leaving – and while that is certainly not the only hallmark of a great song (nor is it by any means this song’s only redeeming quality), in this case, the melody is so catchy that “I’ll Never Leave You Alone” might as well have demanded I put it on this list.

As tender and gentle as it is vulnerable and visceral, the fourth single off The Staves’ fourth studio album All Now feels, in many ways, like a homecoming of sorts for the English band: Sisters Jessica and Camilla Staveley-Taylor return to the folk roots of their first two albums in a song that sees the pair blending their voices together in enchanting, soul-shaking harmony. Light acoustic guitar strums, a soft rhythm section, and hushed electric guitar fills add refreshing depth, color, and nuance to an incredibly delicate musical and emotional experience that, like so many Staves songs that came before, ultimately focuses our attention on the voices in our ears – both what they’re saying, and how they’re saying it.

While there’s no doubt about that intimate, heavy weight within, Jessica and Camilla Staveley-Taylor’s performance is sweetly radiant – their buoyant melodies glistening like a summer breeze as they unpack our interconnectedness, our individuality, and the relationship between the two. “I’m a horse, I’m a dog, I’m a sparrow. I’m a spider inside you, trying to keep you off the straight and narrow,” Jessica sings at the song’s start, weaving vivid visuals and emotionally charged metaphors with her words. “Pick me up, put me down, let me dangle. I’m a carrot on a string, I’m the sword as it hangs above you.”

The pair ultimately reach their climax in a cathartic chorus with the refrain, “I’ll never leave you alone.” It’s a beautiful, haunting phrase layered in meaning and enough vocal oohs to leave those who sing along with the Staveley-Taylor sisters properly out of breath… and it’s a reminder that all these parts of us don’t go away when we’re not thinking about them; they’re ever-present. Jessica Staveley-Taylor is a sister, a bandmate, a daughter, an aunt, someone’s ex… the list goes on. The (mostly metaphorical, we hope) spiders inside us, the “dirty little liar,” the “curse,” the “cure,” the “solution” – all those elements great and small, wicked and wondrous, add up to one bold, unapologetically multifaceted person.

They’ll never leave you alone, and throughout their song we get to bear witness to The Staves’ acceptance of that truth. – Mitch Mosk

The road to release of The Warning’s fourth album, “Keep Me Fed,” out June 28, has been long. They’ve been releasing singles for a year at this point, and this is the absolute best of them. It’s fun and ferocious and captures in a three-minute span everything that is amazing about this band. From Ale’s thundering bass to Pau’s storming percussion to Dany’s hurricane of a guitar riff, there is nothing to dislike about this track.

It’s a relentless assault on the senses as well as a proclamation of how our propensity for excess can encroach on our most valuable relationships. By the time we get to the end of the bridge and Dany screams “I can’t take anymore!” you will likely find yourself in full agreement; it’s crazy out here, but what else can we do besides grit our teeth and power through it? To juxtapose the ideas of hell and the dreamscape is a bold move, and it absolutely pays off. Their synergy really pays off here. It’s almost hard to describe why The Warning are a cut above the rest in rock music, but blasting this song at full volume will help fill in those blanks. – Kendall Graham

Much of Waxahatchee’s Tigers Blood feels settled in. Her folky style of indie rock has a very soothing quality, like laying on the couch with your partner after a long day. Making it a duet with Wednesday’s MJ Lenderman makes it sound all the more lived in. It’s certainly the best love song of the year from an album of plenty of honest takes on a longstanding romance. – James Crowley

The stunning, dazzling, and slow burning opening track to Katie Crutchfield’s most recent full-length under the Waxahatchee moniker, “Three Sisters,” as it unfolds and eventually builds into a moment that is rather breathtaking when it arrives, gives listeners the opportunity to hear the command Crutchfield has over her breath and diction, in how she allows her voice to rise and fall with an impressive kind of beauty, stretching certain syllables so the land just where she wishes them to within the gentle arranging that coasts and swirls underneath her. “Three Sisters,” a mission statement, or thesis, of sorts to the songs that will follow sequential on the album, introduces one of the more important thematic elements from Tigers Blood — “If you’re not living, then you’re dying.” – Kevin Krein

Named “the band to watch” across various platforms, Wishy is becoming a powerhouse in the ever-evolving indie scene. As a five-piece band, they unleash their own decadent sound with ease and create lush, atmospheric melodies in multiplicity. “Love On The Outside” is the first single off their upcoming debut album, Triple Seven, out in August, and boy does it pack a punch. This track provides a delicious riff and lyrics that provoke tinges of nostalgia with an overall blanket of vibration. It is a strong contender on the proliferating soundtrack of songs for this summer season. – Kevin Cost

Zsela comes out swinging on her stunning debut album, Big For You. Single “Not Your Angel” is raw, stripped down, and bold. Zsela has never relied on bells and whistles, and her sound has a way of making the listener feel as though they are the sole audience member. Her rich, velvety, vocal tone is specific to her, and carries a unique, soulful, natural beauty. “Not Your Angel” (which also made history as the first music video filmed with Apple Vision Pro) captures the essence of yearning with intensity and vulnerability. Zsela’s gentle honesty is part of what makes her persona distinctly fierce. – Danielle Furman

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Music of 2024 (So Far)