A few days ago, we looked back at the best R&B projects of the past five years, so it’s only right to show hip-hop love. And like R&B, rap has gone through some necessary growing pains over the past half-decade.
If you’re a frequent visitor here, you know my patience for mainstream hip-hop has been thin for YEARS, with many of the game’s biggest headliners phoning it in with repetitive, lazy releases. The chickenheads seemingly have to come home to roost over the past year or so, with weary fans and a maturing fanbase beginning to reject artists who are unwilling (or unable) to step up their material.
That’s opened the door for the artists we’ve always celebrated in this space – the veterans who may have gone unnoticed in prior years but still remain at the top of their games, the rap collectives who follow the blueprints of legends to carve out new legacies, the young up-and-comers who embrace authenticity in their music, and, of course, the future GOATs. That Kendrick Lamar is something special, but I’ve been telling y’all that since like 2011.
So let’s look back at 25 of the best albums from 2020-2025. Again, we won’t be officially ranking them just yet – we’ll do that once the decade officially wraps up.
It feels like we’re on the cusp of a shift in hip-hop. These are the 25 albums that are leading the way.
Honorable mentions:
Lupe Fiasco, Drill Music in Zion
Snoop Dogg, BODR
Westside Gunn, Pray for Paris
Benny the Butcher, Tana Talk 4
Nas, Magic 3
Noname, Sundial
LL Cool J, The Force
Doechii, Alligator Bites Never Heal
Topaz Jones, Don’t Go Tellin’ Your Momma
Mach-Hommy, Pray for Haiti
J. Cole, The Off Season
Jay Electronica, A Written Testimony
Busta Rhymes, Extinction Level Event 2: The Wrath of God
Benny the Butcher, Burden of Proof
El Michels Affair and Black Thought, Glorious Game
Skyzoo, The Mind of a Saint
Mick Jenkins, The Patience
Tyler, the Creator, Chromakopia
Common & Pete Rock, The Auditorium Vol. 1
Slum Village, F.U.N.
Nas and DJ Premier, Light-Years
Ghostface Killah, Supreme Clientele 2
Freddie Gibbs and The Alchemist, Alfredo 2
Freddie Gibbs and The Alchemist, Alfredo
Raekwon, The Emperor’s New Clothes
De La Soul, Cabin in the Sky
Saba and No I.D., From the Private Collections of Saba and No I.D.
JID, God Does Like Ugly
Che Noir, The Color Chocolate 2
Vince Staples, Ramona Park Broke My Heart (2022)
I get it, Vince Staples’ self-titled 2021 project wasn’t for everyone. While I considered it one of the best albums of the year, others felt it was a little bland, lacking the vibrancy of earlier efforts like FM. Well, Vince heard y’all. Ramona Park Broke My Heart is a much more vibrant and relatable release, but maintains the same introspection of his best works. Vince clearly wears his heart on his sleeve, detailing heartbreak, pain and his quest to heal as honestly as possible. But despite the heavy topics, the atmosphere keeps the energy high, even when Vince himself is feeling pretty low. The dynamic works very well, and Vince continues to build upon his impressive legacy.
D Smoke, Black Habits (2020)
I love D Smoke’s story. As a member of a deeply musical family (his brother being TDE rising star SiR), D Smoke spent years in the game, penning hits for artists like Ginuwine and Jaheim and even releasing his own music. But it wasn’t until he won the inaugural Rhythm & Flow competition on Netflix that he truly broke out, which resulted in one of the best offerings of 2020. Black Habits is a compelling, family-focused look at Black life, touching on everything from battling bullies on the playground, celebrating Black curves and parental work ethic. It’s all tied together by his compelling production and effortless flow. The project already has netted him two well-deserved Grammy nominations – regardless if he gets the trophies or not, he should be very proud. Decades of hard work has finally paid off.
Kendrick Lamar, GNX (2024)
We’ll all look back at 2024 as the Great Decimation of Drake, but there’s a much larger story to be told – this is the year that Kendrick Lamar cemented himself as, unquestionably, the greatest rapper of his generation. From The Pop Out concert and chart-busting singles to a slot at the Super Bowl in 2025 with a world tour on the way, Kendrick had the momentum of the Juggernaut, and RIP to your carrer if you stood in his way. To that end, GNX was the perfect way to cap off a history-making run. While some fans found Kendrick’s previous project Mr. Morale to be too weighty, GNX is a much lighter, much more brash and way more fun. Serving as both a love letter to the West Coast and a final mocking of his detractors, GNX features all of Kendrick’s trademarks – the off-kilter but catchy production, the matchless wordplay, the wisdom beyond his years – but packaged into one rowdy victory lap. Though its lacks the intricate concepts of Kendrick’s best work, it’s still leagues above most of his competition. But that was the story of 2024 – no matter how good you think you are, you probably aren’t as good as Kendrick Lamar.
Benny the Butcher, The Plugs I Met 2 (2021)
I thought it would be pretty tough for Benny to outdo the original The Plugs I Met but his partnership with producer Harry Fraud certainly makes me question that. The first half of this short, nine-track set is among some of Benny’s best work to date, backed by some of Fraud’s best production in a long time. Benny’s confidence leaps out of the speakers – he KNOWS this is his time and revels in it. While the momentum slows slightly on the second half, Benny never loses his focus, making The Plugs I Met 2 a worthy successor to the celebrated original.
JID, The Forever Story (2022)
Full disclosure – it took awhile for me to come around to JID. He wasn’t a bad rapper by any means but his albums rarely pulled me in – certainly not to the level that his legions fans on Twitter was claiming. A few tracks into The Forever Story and my opinion didn’t really change. But halfway through – and definitely by the time the album ended – I had changed my tune. JID really is as good as y’all said he is. While I never questioned JID’s rapid-fire lyricism, what pulled me into The Forever Story is, well, his storytelling. He’s described this album as his origin story, a deep dive into family connections and influences that drive him today. The Forever Story is a dense listen but a crucial step in raising JID’s artistry. Plus it won me over, so that’s a big win.
Phife Dawg, Forever (2022)
Phife’s posthumous album doesn’t come with the hype of others on this list, but that doesn’t keep it from being the most heartfelt album of the half-decade. Crafted together from unfinished demos, the release is a reflection of Phife’s life post A Tribe Called Quest – working to regain his health, embracing his family while he still can and celebrating the joys of hip-hop itself. In many ways, the album is constructed like a tribute to super producer J. Dilla, with Phife lamenting that he wasn’t able to connect with him before passing. To counter that, this album’s many guest stars work to not make that mistake with Phife himself – Redman, Q-Tip, Rapsody and more come through to bid farewell to Tribe’s trailblazer, along with some gorgeous production to tell that story. Forever is a surprisingly emotional experience, but not one of sorrow. It’s a celebration of hip-hop’s legacy and one of the unsung heroes who helped us fall in love with it.
Little Simz, No Thank You (2022)
Coming in at the very tail end of 2022, Simz knows how to turn heads – even at the 11th hour. Once again, the British MC teams with producer Inflo of SAULT, reuniting the team that brought us the equally incredible Sometimes I Might Be Introvert. No Thank You is a much breezier listen but it packs the same emotional punch, all thanks to standout production and Simz’s impressive lyricism. As always, Simz has her heart on her sleeve, with moving tributes to lost friends and keen insight into her community. It’s quickly become one of my favorite drops of the decade so far.
Joey Bada$$, 2000 (2022)
In 2012, Joey looked like he was next up. His landmark mixtape 1999 bridged the growing gap between hip-hop generations – a 17-year-old kid who directly related to younger listeners but whose affinity for boom-bap and 90s icons appealed to older heads. The albums that followed were pretty strong, but he always seemed to get overshadowed by bigger, flashier names. 2000, his third LP, looks to restate his claim to the crown, proclaiming himself among the holy trinity that includes Kendrick Lamar and J. Cole. And while, again, this album didn’t get the buzz it deserved, Joey absolutely proves his worth as an MC. Joey branches out from boom bap to incorporate more contemporary sounds. His chemistry with producers Statik Selektah and Chuck Strangers rivals the synergy between Nas and Hit-Boy. But, as you’d expect, Joey’s real strength is his effortless wordplay – his pen is as sharp as ever. There are lots of albums on this list that may not have been on your radar. If 2000 hasn’t crossed your playlists yet, catch up. Joey’s still an unsung hero in hip-hop.
Little Simz, Sometimes I Might Be Introvert (2021)
Fun fact that I just learned that I’m sure some of you will Internet shame me for – the awkward album title is simply an acronym for Simbi, Simz’s real-life nickname. And before y’all “you so late” me to death, here’s my point – it’s a deeply personal title for a deeply personal album. The UK rapper’s last effort, GREY Area, proved to be a bit of a breakout for her, and with all eyes her way, she’s wasted no time in letting listeners peer into her psyche. While, as you’d expect, much of the album looks inward, Simz is only SOMETIMES introverted, remember, and has no problem being the extrovert, grooving to upbeat records or talking that talk over brash trap beats. While the uninformed continue to typecast female MCs, Simz keeps shattering perceptions, revealing a little more of herself along the way.
Che Noir & Apollo Brown, As God Intended (2020)
The names Apollo Brown and Che Noir weren’t immediately recognizable to some fans in 2020, even some of you who frequent this site. But it didn’t take long to see that they are masters of their craft. Brown has stood as one of the most dependable producers of the past decade. His dusty brand of soul never fails and it’s the perfect canvas for Che Noir, who pairs intricate rhymes with an effortless delivery, straight from the Frank White playbook. As God Intended is a masterful look at black life in 2020, socially relevant but never preachy. In an era filled with stellar underground hip-hop, this is one not to be missed.
Freddie Gibbs, You Only Die 1nce (2024)
A few years back, I seemed to really annoy Hip-Hop Twitter when I proposed that it’s time to consider Freddie Gibbs one of the best of his generation. I didn’t see this as a controversial statement – and for all y’all that gave me grief, this album is my vindication. Serving as a sorta-sequel to his 2017 album, You Only Die 1nce sees Freddie in a much different place in his life. He’s enjoying the high life of Hollywood, but with those perks comes devilish temptations, which he details as only he can. That comes with heaps of soulful samples – everyone from Tony Toni Tone to 112 gets a callback – and loads of Freddie’s brutal punchlines and biting wit. His delivery is as effortless as ever, and at barely 40 minutes, it’s one of the few projects this year that left me wanting more. While not quite reaching the peaks of his top-tier efforts like Bandana, You Only Die 1nce likely will go down as one of Freddie’s best projects to date. Y’all should have listened to me the first time – he’s one of the best.
Tyler, the Creator, Call Me If You Get Lost (2021)
If you were on the scene in the 2000s, I’m pretty sure you heard DJ Drama’s minion yelling GANGSTA GRILLZ in the background of your favorite mixtape cuts. That’s why it was such an inspiring choice for Tyler to turn back the clock on Call Me If You Get Lost, giving it a throwback feel to an era when artists were destined to prove themselves. Obviously, Tyler is no rookie – six albums in, more than a decade in the game, and tons of media projects adorn his resume – but he’s well aware that some fans and critics (myself included) have often questioned his consistency over the years. Well, this album shuts us right up. With Drama as the loud-mouthed hype man, Tyler delivers his best album to date, flexing the lyrical dexterity that he’s shown glimpses of in the past but rarely to this extent. Combine that with his vastly underrated production skills and storytelling and you have by far the most dynamic project in his catalog. Mixtapes were often used for emerging artists to sell themselves to the public and potential labels. In this case, Tyler uses it to remind us who he always was – an incomparable talent.
Stove God Cooks, Reasonable Drought (2020)
We’re halfway through the decade and after a collection of standout features, the streets are salivating for a new Stove God project. Look no further than Reasonable Drought to see how we all got so thirsty in the first place. Thanks to Roc Marciano’s grimy yet soulful production and Stove God’s commanding delivery, Reasonable Drought has become one of the most celebrated rap releases in recent memory. Stove God paints pictures with theatrical flair, using wild metaphors and his growling delivery to make even the most well-worn street tales feel fresh. There’s not a hint of crossover appeal, no attempts for radio play, just a MC overflowing with charisma and the confidence of a 20-year vet. Reasonable Drought has all the makings of a cult classic, and we’re just waiting for SGC to hit that next level.
Nas, Magic (2021)
You can’t talk about Nas’ King Disease victory lap without also mentioning the magic he brought to the table. The first entry in the Magic trilogy seemingly (and fittingly) appeared out of nowhere but left an indelible mark. Feeling like the spiritual successor of his renowned Lost Tapes, Magic was a stripped down, no-frills banger, the type boom-bap dreams are made of. Sure it pushed all the right nostalgia buttons, but Hit-Boy’s modern-day production made this a glimpse into rap’s future instead of a reflection of its past. The original Magic is not just the best of that mini-series but yet more affirmation that Nas is the best rapper walking planet Earth.
Conway the Machine, From King to a God (2020)
Benny the Butcher, Westside Gunn and Conway the Machine are the underground MVPs of 2020, with Conway’s From King to a God standing as the crown jewel. The most immediate criticism of the crew’s work is that it typically sounds the same. To remedy that, Conway wisely steps out of his comfort zone, recruiting veteran producers like DJ Premier, Hit-Boy and Rockwilder to reinvent his sound. Tack on some of the most poignant and personal bars of his career and From King to a God not only becomes a career highlight but one of the strongest LPs of the vast Griselda empire.
Mobb Deep, Infinite (2025)
I’ll talk about the Alchemist in a minute, but I think we have to salute Nas and Mass Appeal’s Legend Has It series for using their own brand of Black magic to resurrect so many careers In 2025. Few have made me happier than the improbable return of Mobb Deep. Production from Alchemist and Havoc, along with unreleased vocals from the late, great Queensbridge kingpin Prodigy, create an album that, at times, rivals some of the best work from rap’s most Infamous duo. Most impressively is how seamlessly P’s verses are incorporated next to Havoc’s – this feels more like a lost album recorded in 1999 than a posthumous record stitched together decades later. QB’s Finest truly are immortal.
Run the Jewels, RTJ4 (2020)
They say music reflects the times, and there’s no album more reflective of the social chaos of 2020 than Run the Jewels’ fourth opus. As images of protestors fill our screens, as Confederate monuments tumble and Black voices scream for liberation, Killer Mike and El-P’s anarchic rebel rap is the soundtrack to our times. This isn’t just a case of recency bias, however – even if this album dropped in less tumultuous times, it would still reign among the best of their catalog. The hyperactive production and passionate lyrics are timeless, resonating with messages that resound with one refrain – destroy and rebuild. El-P especially sounds energized, delivering some of the most empowered bars of his career. When people ask me what makes a classic album, I repeat two key elements – incredible music that defines an era. Time will tell but RTJ4 just might fit that bill.
Pusha T, It’s Almost Dry (2022)
For better or worse – actually, it’s always better – you know what’s coming on every Pusha T verse before he yells YUUUUUUGH into the microphone. Those hoping that It’s Almost Dry, Pusha’s latest LP, diversifies his portfolio, well, you might wanna shop elsewhere. This is exactly the album you’d expect – boastful tales of powder and power from Va’s favorite son. Production from cohorts Kanye West and the Neptunes pave the way as Pusha bends his trademark coke bars to his will. And, of course, the highly publicized return of Malice shows that the brothers Thornton continue to have an undeniable bond. It’s Almost Dry is another gem in a crown that Push has worn for more than two decades. Yeah, we’ve heard these war stories before – but few tell them as well as Push.
Killer Mike, Michael (2023)
While compiling our list of the 50 greatest rap albums of the 2010s, I stumbled upon an interesting stat – three of those albums (with an honorable mention raising that to four) were claimed by Killer Mike, a feat matched only by Kendrick Lamar. That quietly cements Mike as one of the best artists of the past decade, and his latest solo album, Michael, keeps the bar very high. While his Run the Jewels projects typically featuring him raging against the political machine, Michael is a much more personal affair, drenched in gospel chords but retaining his trademark fire. Mike focuses squarely on the Black family structure, diving deep into the loss of his mother and grandmother, teen pregnancy and the affect of drug abuse on loved ones. And of course, this is Mike, so he’s spitting with reckless abandon the entire time. This isn’t a RTJ project and that’s by design – this is more personal and more immediate yet just as empowering. Looks like Mike is getting ready to dominate the 2020s as well.
Nas, King’s Disease III (2022)
The story of the 2020s was the resurgence of Nas, and he truly found his muse in producer Hit-Boy. The duo have made magic – and not just the album of the same name. Magic, along with the first two installments of the King’s Disease series, have become the stuff of modern legend. And with the edition of Kings Disease III, Nas has four albums in the span of two years that rivals some of his best work ever. King’s Disease III feels like the culmination of the Nas/Hit-Boy partnership, embracing regal ambiance of the first two installments but is much more lyrically dense, in the vein of Magic. The result is one of the best albums of the era, featuring Nas celebrating nearly 30 years of hip-hop while continuing to embrace his role as the godfather of the game. For those who spent the past decade doubting Nasir’s legacy, we await your apology. This is the best rapper alive.
Rapsody, Please Don’t Cry (2024)
In a world where mainstream female MCs all seem to be cut from the same skimpy cloth, the purists scream “we need more women like Rapsody!” I’m just as guilt as anyone. But to paraphrase Mr. Morale, Rapsody is not your savior. In many ways, Please Don’t Cry is a reflection of Kendrick’s divisive 2022 album. Both come from superior artists who are held to unfair expectations of hip-hop perfection. And, like that Lamar album, Please Don’t Cry is not an easy listen. It’s dense, reflective and sober – but also brilliant, daring and necessary. Rapsody branches away from longtime mentor 9th Wonder to find inspiration from the likes of BLK ODYSSY and Hit-Boy as she dives deep into her own psyche. Like the two LPs that proceeded it, Please Don’t Cry is an unflinching look at womanhood, where she learn to embrace her emotions instead of running from them. From the introspective themes to the potential hits (“3 a.m.” might be the breakout track she’s always needed), Please Don’t Cry is Rap’s threepeat.
Nas, King’s Disease II (2021)
When you think about it, King’s Disease II could be one of the most important albums of Nas’ storied career. No, it could never have the industry-shaking impact of Illmatic in ’94 (still the best rap album ever recorded). It’s not the sharp sonic left turn that was It Was Written in ’96, nor is it the climatic comeback that was Stillmatic in 2001. It’s not even the shining example of hip-hop maturity that is the vastly underrated Life is Good in 2012. But now, more than any other era in the past decade, all eyes are on Nasir. King’s Disease Part 1, finally, FINALLY, helped Nas land that long-overdue Grammy win that had alluded him for nearly 30 years. Also, he found incredible chemistry with producer Hit-Boy, which helped bridge the gap between Nas’ Day One boom-bap base and younger rap fans who were brought up on a steady diet of trap and autotune. With the respect he was so long overdue, Nas had to earn it all again with King’s Disease II. Not only did he do that, he topped the original King’s Disease in every conceivable way. From production to concepts to pacing, everything flows tighter, hits harder and thinks more deeply.
Clipse, Let God Sort Em Out (2025)
2025 was the year of the improbable comeback. But if you told me that 2025 would be the year that Malice would reunite with Pusha T and reform Clipse, I probably wouldn’t believe you. But if you told me that if Clipse somehow reunited that they’d probably have the best album of the year, THAT I would believe. They’re just that good. Let God Sort Em Out shows that the brothers Thornton haven’t lost an ounce of their chemistry or lyrical acumen, but it also proves that they’re so much more than coke rappers. They’re grieving sons mourning the loss of their parents. They’re deeply spiritual men constantly trying to atone for past sins. They’re the OGs trying to warn the next generation not to move as they moved. And yes, they’re also two of the most gifted lyricists we’ve ever heard, and they’re not afraid to remind you. Backed by impressive production by Pharrell, Let God Sort Em Out fulfills its mission – a declarative statement that real rap never left the building. Pusha and Malice have every right to be cocky – they’ve survived a game that by all means should have taken them down years ago. They’re still here, still standing, and still better than everyone who dares to compete.
Jay Electronica, Act II: The Patents of Nobility (The Turn) (2020)
Yes, I know that Jay Elec’s Act II was 10 years old by the time it was finally released in 2020. In fact, his mysterious debut had been one of hip-hop’s greatest myths – and punchlines. We weren’t even sure it existed, especially when he released A Written Testimony in its stead earlier this year. But, as randomly as everything else in that bizarre year, it suddenly popped up in its entirety on streaming services this fall, allegedly after it was retrieved from hackers. After listening to it, my biggest question was this – WHY wasn’t this released? It’s incredible. While it feels a little unfinished in spots, the sparseness actually aids the atmosphere, with Jay Elec weaving intricate bars over artistic production. Random clips of Ronald Regan and Dick Tracy toy commercials are incorporated into his narratives, creating an unpredictable but infinitely compelling listen. True to its mysterious nature, however, Act II was snatched from streaming services a few weeks into its release, only to reappear months later. It’s weird, it’s confusing but it’s so enthralling. There is nothing like this album and I’m glad we finally it officially.
Kendrick Lamar, Mr. Morale and the Big Steppers (2020)
Five years is an eternity in today’s fast-moving music scene. That makes Mr. Morale and the Big Steppers, Kendrick’s first release in half a decade, arguably his most important LP to date. Unlike most of his generation, Kendrick hasn’t fallen into the trap of dropping hollow releases or resorting to Twitter antics to keep his name trending. In fact, his recent absence, especially during the social unrest of 2020, had even his most ardent fans and colleagues questioning his commitment to the cause. His response? “I am not your savior.” Playing out like an open therapy session, Kendrick bares his soul as only he can – blatantly admitting his faults and fears while empowering listeners to not look to celebrities for leadership, but to look within. Mr. Morale and the Big Steppers is a mature, thoughtful tome of an artist staring in the mirror, confronting his own demons. It’s by no means an easy listen, and that’s probably why this is the most divisive album in his catalog. The radio cuts and club bangers are all but nonexistent but Kendrick’s brutal honesty and next-level artistry make Mr. Morale and the Big Steppers one of the best albums the genre has seen in years. It’s not for everyone, especially not younger fans – it takes a bit of personal experience to relate to Kendrick’s journey. But for those who can relate, it’s an unforgettable experience. It was the first album to receive a 5-star review on this site in a full decade – and of this writing, the last. It may be one of the most unappreciated albums of its era, but it’s also one the absolute best.
It’s your turn – let me know your favorite hip-hop records of the 2020s so far.
Leave A Reply