The 25 Best Albums of 2024 – So Far
I’ll keep it a buck with y’all – 2024 started out very shaky in the world of music.
Things were so dry around spring that I worried I wouldn’t be able to find 25 albums for our annual celebration of the best of the first half of the year. But then … we got this.
WOP WOP WOP WOP!
It’s probably a reach to directly compare Kendrick Lamar’s exposure of the Aubrey Graham hoax to music dramatically improving in the weeks that followed. But hey, it happened. In fact, many of the albums we’ll discuss on this list are some of the best LPs ever released by long-tenured artists. Everyone seems to be raising their games.
We were starving for most of 2024, forced to eat scraps from floundering veterans and overhyped Twitter sensations. But now we’re eating good.
From January to late June, I listened to 120 albums, mixtapes and LPs. Many of them underwhelmed. But these 25 projects excelled. From industry icons to fresh faces new to the scene, every album on this list deserves your ear.
Is it coincidence or is the Kendrick Effect a real thing? Who knows, I’m just celebrating the W.
Honorable mentions:
Ransom and Harry Fraud, Lavish Misery
Heems and Lapgan, LAFANDAR
Vince Staples, Dark Times
Conway the Machine, Slant Face Killah
New Kids on the Block, Still Kids
Boldy James, Trapper’s Alley: Pros & Cons
Jynx716 and Che Noir, ANDY
Devin Morrison, Dreamsoul Ballads
Boldy James and Nicholas Craven, Penalty of Leadership
Tems, Born in the Wild
Hiatus Kaiyote, Love Heart Cheat Code
Jade Novah, Where Have I Been?
Genia, 4AM in the Ville
Benny the Butcher, Everybody Can’t Go
For far too long, Benny and the Griselda gang have been locked inside the boom-bap box, unfairly characterized as one-trick ponies. Props to the crew for showing the doubters just how diverse their arsenal can be. Everybody Can’t Go is the next chapter in Benny’s career, a delicate balance of his gritty early work and visions of mainstream appeal. Alchemist and Hit-Boy come through to provide a fresh update to Benny’s sound, blending ethereal production and soulful beats as backdrops for the Butcher’s war stories. Benny remains one of the game’s most intriguing storytellers, delivering every bar with a boastful confidence and pinpoint precision. “Jermaine’s Graduation,” equal parts victory lap and survivors guilt, stands as one of the best rap tracks of the year. Benny always feels like he’s a few steps away from reaching that next level of stardom, and this album doesn’t break his stride.
Sir, Heavy
Sir has been going through it, but we all know that pain is a powerful motivator for great music. Heavy lives up to its namesake – a look at our world through the eyes of a very weary artist. But Sir shines brightest when he leans on his vulnerability. The production has more urgency than his previous releases, using the oft-dreaded trap&B production to greater effect than most of his peers. Heavy is, well, heavy, and even a little clunky at times, but that adds to its effect. Sir maneuvers around hardship the best way he can, but the journey is always more interesting than the destination.
Mach-Hommy, #RICHAXXHAITIAN
Ride with me on this one, but Mach-Hommy reminds me a lot of MF DOOM. And coming from me, that’s a pretty high complement. Not only does he value his mysterious aura (has anyone seen him unmasked? I haven’t) but he has an equally unorthodox approach to his delivery. And just like DOOM, there’s a lot of value in dissecting and unraveling his bars. #RICHAXXHAITIAN comes off the heels of the acclaimed Pray for Haiti, and it doesn’t take a hit in quality. The soulful, sparce production gives Mach room to unfurl his intricate bars and even when guest stars like Black Thought and Roc Marciano threaten to steal the spotlight, he quickly steps back to the forefront. Mach is a deep storyteller, especially when reflecting on his life in Haiti, but the best part is that he always keeps us guessing.
Sy Smith, Until We Meet Again
Some things are just meant to be. Although Sy Smith has been in the game since Clintons were in the White House, her most recent accolades have come from being the Foreign Exchange’s secret weapon. Now officially under the FE banner, Until We Meet Again boats that same fulfilling, expressive soul that carried those previous projects. Though the album has melancholy moments, it really thrives when Sy embraces nostalgia – like “Summer of 93” – or showcases her flirty side, as on “Slide.” Even when the subject matter gets heavy, the warm production and her inviting vocals still can make heartbreak feel good. Until We Meet Again is a full-bodied R&B experience that only a veteran like Sy can pull off effortlessly.
Lupe Fiasco, Samurai
I’ve said it many times before, and I’ll continue to say it here – everything that we celebrate J. Cole and Kendrick Lamar for today, Lupe was doing at an equally high level (arguably, even higher) a half-decade earlier. But instead of rehashing what could have been, Lupe seems focused on his present. After the success of 2022’s Drill Music in Zion, Lupe unsheathes Samurai, an album cut from the same jazzy cloth as its predecessor. What results is a masterclass of lyricism, featuring mind-bending storytelling and dense wordplay that forces the listener to peel back every layer to maximize the experience. At just eight tracks, the margin for error here is razor thin and there are few stumbles, proving that this Samurai is as light on his feet – and deadly – as ever before.
Annie Tracy, ACT II
I’ve had this music reviewer gig for quite awhile, and with that experience comes intuition. Sometimes you just KNOW when someone has something special. Annie Tracy has it – and hopefully the world will catch on soon. Her 2023 EP ACT 1 was a promising effort but it’s this year’s follow up that hooked me with her engaging rasp. ACT II’s blend of R&B and pop is solid enough on its own, but it’s the EP’s witty writing that takes this to the next level. Take “Music Taste” for instance: Annie warns a woman that everything her man plays for her was stolen from Annie playlists, and oh yeah, that guy is still trying to get back with Annie too! He’s wack on multiple levels! I’ve heard countless songs about slimy men, but that’s a new twist even for me. Annie’s creativity is boundless, as is her potential.
Saigon and Fredo, The Jordan Era
Saigon was once heralded as one of rap’s saviors in the mid-00s, before his incredible debut was derailed by unforeseen circumstances. Undeterred, Saigon is still on a mission to make rap better, and in this case he looks to the past. The Jordan Era is the Time Stone that helps him turn back the clock. Swedish producer Fredro laces Saigon with production straight out of rap’s Golden Era, making this feel like an authentic history lesson. From the genius of “Tournament” (“a tourney of torment you can enter for 64 cents!”) to heartfelt lessons against the evils of gun violence, Saigon authentically captures the spirit and lessons of a more innocent time. Saigon has several great albums on his resume, but this may wind up as his most meaningful.
Jae Skeese and Superior, Testament of the Times
Jae Skeese blew me away with 2023’s Abolished Uncertainties, one of the best rap releases of the year. Clearly he’s not one to lay low. Testament of the Times, with producer Superior, continues to keep that momentum rolling. While the previous album was a bit more introspective, Jae seems more ready to go for the jugular here as he delivers deliberate bars over a wide range of strong production. He hasn’t lost his storytelling chops, as he often reflects on family and self. But his mission is clear – he wants to be taken seriously as a major force in the game. Albums like this make his case stronger and stronger.
Usher, Coming Home
No, it’s not Confessions 2, but we’ll take it. Usher’s return to prominence has been the biggest story in R&B in recent memory, with his Super Bowl performance in February being the largest stage for R&B – literally – in years. True to its name, Coming Home is Usher’s re-entry into the house that he helped build, and when he’s focused, few can touch him. Coming Home really shines on the second half of the album, when he embraces his signature sensuality. Tracks like “One of Them Ones,” “I Am the Party” and “Please U” feels like they were plucked from his glory days, while efforts like “Bop” are a more modernized take on his sound. Sure, there are a few shaky moments to be found (let us ever mention that “Big” song) but overall this is a very welcome homecoming.
Tha Dogg Pound, W.A.W.G.
Sometimes the heart wants what the heart wants, and all this 90s kid wanted was that G-Funk sound. With W.A.W.G., Tha Doggs delivered. Feeling like a love letter to their glory days, Tha Dogg Pound recaptures the spirit of that mid-90s sound but adds the maturity that comes with being seasoned vets in the game. Hearing Daz and Kurupt celebrate grandchildren and work toward building their families’ legacy is the type of OG talk that’s sorely needed in today’s hip-hop. Don’t mistake their newfound kindness for weakness though, as they still spit with the hunger of malnourished pups from 1995. West Coast hip-hop has experienced a lot of wins this year (hi, Kendrick) and the timing couldn’t be better for this Dogg Pound victory lap.
Brittany Howard, What Now
Alabama does not get enough credit for being an incubator for great Black musicians. Aretha Franklin, Percy Sledge, Otis Redding and so many more recorded classics on Alabama’s red clay. And don’t get me started on Rich Boy! Now it’s time for Brittany Howard to get her flowers. As the lead for the Grammy-winning Alabama Shakes, she’s no stranger to accolades, and if there is justice in this world, What Now, her second solo release, will get just as many kudos. This album thrives in its versatility. It’s rock. It’s R&B. It’s funk. It’s sped-up soul samples straight from 2000s-era hip-hop. It’s a melancholy cry for peace in turbulent times – the kind of music that exists in the moment but is effortlessly evergreen. She’s not just a student of the game, she’s a deeply emotional thinker, another attribute of the legendary artists that paved the way for her journey.
Masta Ace and Marco Polo, Richmond Hill
Masta Ace has long made a case for being one of the most underrated rappers of all time – maybe THE most underrated. I proudly proclaimed A Breukelen Story, his last LP with producer Marco Polo, as one of the best rap albums of the 2010s. When it’s all said and done, Richmond Hill might make the list for the 2020s. Like all of Ace’s albums, there’s a running narrative – this time, following the early years of Marco’s life. Ace serves as narrator to details the highs and lows of life, from the trappings of materialism to the importance of believing in self. What pulls this all together is Ace’s unwavering flow and Marco’s diverse production. I’m a sucker for storytelling, and Masta Ace and Marco are quickly becoming rap’s Coen brothers.
Andra Day, Cassandra (Cherith)
Now obviously, Andra Day is no stranger to the spotlight. Her 2015 debut album, home to the inescapable song “Rise Up,” turned heads, as well as her award-winning portrayal of Billie Holiday in 2021. But in my view, Cassandra is not only her best album to date, but also the best showcase for her immense vocal talent. It’s an album that constantly keeps your ear guessing, bouncing from gospel-tinged melodies and jazz influences to hip-hop and vintage pop. And, as you’d expect, each track is delivered with the soul-stirring vocals that first made us rise up from our seats years ago. Andra’s talent was ever in question, but Cassandra proves that she isn’t just a great singer and a great actress – she’s a true artist.
Megan thee Stallion, Megan
It’s no secret that I haven’t been that enamored with Megan thee Stallion’s rise to rap queendom. Outside of a few freestyles, her singles, her LPs, her mixtapes, they’re all just … fine at best. But on Megan, she has a lot to get off her chest, and the result is her most impressive album to date, by far. This isn’t just a Hot Girl Summer, this woman is downright heated. Tired of being the victim of hip-hop’s rampant misogynoir, Meg fires back with some of her most biting bars ever. But it’s not just diss tracks – Meg embraces her love of anime and her Southern rap roots to great effect, making this an album that goes beyond formulaic club tracks. A focused Meg is a dangerous Meg. She’s finally reaching her potential.
Lalah Hathaway, VANTABLACK
Despite my reputation for wildin out when garbage music infiltrates my airpods, I’m never reactionary when it comes to my music takes. If I write it or said it, I put a lot of thought into it. So when I went on social media and proclaimed that VANTABLACK is likely Dr. Lalah Hathaway’s best album ever, many of y’all said it was recency bias. Well, that bias must be mighty strong because weeks later I haven’t changed my mind. Lalah has always been blessed with one of the most enduring, yet underrated, voices in modern music. She’s always had great songs. The production has always been solid. But on VANTABLACK, all three of those elements come together like never before. The album’s title refers to the deepest shade of black, so, true to its name, this LP is an exploration of blackness on the deepest levels. It’s an submersive yet empowering experience that brings the listener into Lalah’s journey while bringing them closer to their own. All of her projects are strong but this is her blackest, and likely, her one best yet.
Seafood Sam, Standing on Giant Shoulders
I’m pretty late to the Seafood party – I’ve only been listening to his music for about a year now – and it’s clear I’ve been missing out. My first impression was that this guy has an immaculate ear for beats; listening to his tracks is like sitting in the lap of sonic luxury. But what makes Standing on Giant Shoulders so impressive are the flows between those notes. Sam effortlessly glides over production that feels plucked from the glory days of Stax Records. His laid-back charisma and addictive production make Standing on Giant Shoulders one of 2024’s most underrated efforts.
Ledisi, Good Love
Don’t call it a comeback, she’s been dropping heat for years. After taking a few years off to conquer Hollywood, Ledisi’s return to the booth for her 11th studio and shows no signs of rust. Although Good Life is all about embracing the happiness of the moment, Ledisi doesn’t shy away from the harsh realities of womanhood. Production from heavy hitters like DJ Camper and really strong collabos with Butcher Brown and Kenny Lattimore (the latter being one of the best duets of the year) give Good Life the edge over many other R&B releases this year. Ledisi rarely disappoints and Good Life doesn’t break that streak. Back like she never left.
Brother Ali and unJUST, Love & Service
Love & Service is the best kind of nostalgia bait. The premise is simple: Producer unJUST chops up clips from educational kids programming from the 70s and 80s, while rap vet Brother Ali uses his OG wisdom to carry those lessons into 2024. What could easily become weary and preachy instead is much more fun and engaging. Credit Ali’s deft delivery and the inventive production. It’s one of the best kept secrets of 2024.
NxWorries, Why Lawd
Anderson.Paak and Knxwledge are one of those duos I never knew we needed but now I can’t picture the game without them. Their debut Yes Lawd was one of the hidden gems of 2016, laced with catchy production and effortless swag. If Yes Lawd represents the kids being carefree, Why Lawd is an exploration of the maturity – and heartbreak – associated with growing up. Though the themes are often heavy as the duo explores the consequences of living recklessly, the production is as engaging as ever. Knxwledge’s beats are absolutely decadent, giving Paak plenty of room to showcase his charisma. It took a long time to get here, but this follow up was worth the wait.
Marv Won, I’m Fine, Thanks for Asking
Marv Won has been in the game longer than some of y’all reading this post have been alive, and although he’s a seasoned veteran of the battle rap scene and has been upholding the banner of Detroit for decades, he still hasn’t received the exposure he’s due. Do us both a favor – after you finish reading this thrilling review, of course – and get familiar with I’m Fine, Thanks for Asking. Marv’s strength is his ability to paint vivid pictures with each verse. When he lays out his dreams to attend the Roc Nation Brunch, you can feel his excitement to hobnob with the greats – and you can almost smell those mini muffins in the air. Likewise, you can feel his mom standing over his shoulder has he vents his frustration on “Nosy.” Those lived experiences come to life on the track – bars crafted by an expert storyteller. It’s hard for most artists to drop an album this strong 20 years into their career, but I’m Fine, Thanks for Asking is his best work yet. Hopefully, he gets the eyeballs he rightfully deserves. As long as it’s not his mom prying again…
Marsha Ambrosius, Casablanco
Look, part of me is just happy we actually got this album on time. Y’all know how Dr. Dre moves – we were talking about Detox back when Bernie Mack was airing new episodes, and that thing is still sitting in the back of his freezer. Jokes aside, when word leaked that one of R&B’s most dynamic voices would link with one of hip-hop’s preeminent producers, we knew magic would result. And we weren’t wrong. Casablanco is a sonic experience that exists in its own world, a melding of classic hip-hop samples with jazzy backdrops that presents Marsha as a hood Hollywood starlet. If we ever get that Black James Bond, this would be his soundtrack. As always, Marsha’s pleading vocals are gripping and work especially well against the elegant atmosphere. Casablanco might not be everyone’s cup of tea – it takes a couple of listens to digest – but it’s the type of experimentation R&B sorely needs. This one feels like cinema.
Slum Village, F.U.N.
Slum Village has had more lineup changes than Dru Hill but the homies have always been undeterred, adapting and changing with the times. At this point, T3 and RJ, just want to have F.U.N. RJ’s production steals the show here, veering away from their most-known J. Dilla inspired sounds to embrace a more diverse vibe. Sometimes it’s funky, sometimes it’s more traditional boom-bap, but it’s always a good time. The duo are totally confident in their own skin, the cool uncles at the party who don’t care who are looking, they’re dancing anyway. T3 and RJ are in their own world having a blast. It’s our privilege to sit back and watch.
Lucky Daye, Algorithm
Unless you’re new here, you know this site has been the home of four irrefutable words: Lucky. Daye. Don’t. Miss. We’re three albums in, and I still don’t see a lie. Algorithm once again pairs Lucky’s inventive songwriting with top-tier production, including input from R&B MVP D’Mile. But don’t expect a rehash of previous LPs Painted or Candydrip. Algorithm embraces a rock aesthetic that does wonders to diversify his sound, as well as keep the listener’s pulse pounding. The fingerprints of Lenny Kravitz and Prince are all over this project, but it’s Lucky’s expert songwriting and willingness to experiment that makes this more than a tribute to previous eras. The first half of this album alone features some of the best sequencing and production in recent memory. Algorithm positions Lucky as heir apparent to R&B’s throne. He was destined to be here – he doesn’t miss, after all.
Beyonce, Cowboy Carter
Is Cowboy Carter an authentic country album? I’ll let the Yee Haw experts among us debate those finer points while I stay in my lane. But here’s what I can say for sure – Cowboy Carter expands Beyonce’s musical portfolio in fantastic ways, proving that her talent just may be limitless. Her voice is built for this brand of soulful Southern storytelling, adding her own spin on standards like “Jolene” and “Blackbiird” while venturing down her own dusty roads on “16 Candles” and “Protector.” But the album’s best win may be its unwillingness to conform, veering from country to 80s pop to hip-hop and all points in between. Bey’s mission to reclaim Black music easily surpasses her previous Renaissance. She’s still riding high.
Rapsody, Please Don’t Cry
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 – a very, very strong contender for 2024’s album of the year.
What are you favorite albums of 2024 so far? Put us on and share them in the comments below.
Dark Times. Vince Staples.
It’s very good, would have made the top 25 if not for all the new albums that dropped right before the list was finalized.