Best Songs Of 2024 (So Far)

Complex’s best songs of 2024 so far features songs from a wide range of artists, from SZA to Central Cee to Kendrick Lamar.

Jun 11, 2024

Complex

Much was made of hip-hop’s alleged decline in 2023. The conversations were always a little overblown but if you were strident in your belief that hip-hop is a declining genre, 2024 will make you rethink that idea.

Rap music was dominant in the first half of 2024, on the charts and in the zeitgeist. A good part of this dominance came from the monumental Drake vs. Kendrick Lamar beef, which gave us some of the best songs and music-related conversations in years. We might be biased but a year when hip-hop is running shit is good for pop culture in general.

Now that we are at the midpoint of the year, let’s take a look back at the best songs of 2024 so far.

Album: N/A
Can a meme also be great music? It’s a prompt Metro Boomin provoked back in May when he ordered a John Wick-style audio hit on Drake. Metro released the “BBL Drizzy” beat and encouraged artists to remake their own version. Artists and influencers mostly clowned around. But there were some who took the assignment seriously, like Sammy Andaluz, a producer from New York City who turned “BBL Drizzy” into a Merengue jam that clears all the other remixes easily. (The song is so good it even gained some momentum on TikTok.) A couple of weeks after Metro pulled his stunt, Drake gritted his teeth and rapped over the “BBL Drizzy” beat on Sexxxy Red’s “My Everything,.” Rookie mistake. He should have embraced Sammy Andaluz’ version instead. —Dimas Sanfiorenzo — youtube.com

**Album**: N/A
Can a meme also be great music? It’s a prompt Metro Boomin provoked back in May when he ordered a *John Wick*-style audio hit on Drake. Metro released the “BBL Drizzy” beat and encouraged artists to remake their own version. Artists and influencers mostly clowned around. But there were some who took the assignment seriously, like Sammy Andaluz, a producer from New York City who turned “BBL Drizzy” into a Merengue jam that clears all the other remixes easily. (The song is so good it even gained some momentum on TikTok.) A couple of weeks after Metro pulled his stunt, Drake gritted his teeth and rapped over the “BBL Drizzy” beat on Sexxxy Red’s “My Everything,.” Rookie mistake. He should have embraced Sammy Andaluz’ version instead. —*Dimas Sanfiorenzo*

youtube.com

**Album**: N/A
Can a meme also be great music? It’s a prompt Metro Boomin provoked back in May when he ordered a *John Wick*-style audio hit on Drake. Metro released the “BBL Drizzy” beat and encouraged artists to remake their own version. Artists and influencers mostly clowned around. But there were some who took the assignment seriously, like Sammy Andaluz, a producer from New York City who turned “BBL Drizzy” into a Merengue jam that clears all the other remixes easily. (The song is so good it even gained some momentum on TikTok.) A couple of weeks after Metro pulled his stunt, Drake gritted his teeth and rapped over the “BBL Drizzy” beat on Sexxxy Red’s “My Everything,.” Rookie mistake. He should have embraced Sammy Andaluz’ version instead. —*Dimas Sanfiorenzo*

Album: Texas Technician
No one does parking lot pimpin’ like Texas and Memphis. That Mexican OT and Moneybagg Yo remind us of that fact with “Twisting Fingers,” a retro-sounding cut that emanates effortless, down-south cool. OT and Moneybagg are technically sharp, but they don’t get in the way of the beat, and their viscous tones are only enhanced by the heavy bass. OT’s irresistible hook will have you throwing up gang signs in your mirror for weeks. —Peter A. Berry — youtube.com

**Album:** *Texas Technician*
No one does parking lot pimpin’ like Texas and Memphis. That Mexican OT and Moneybagg Yo remind us of that fact with “Twisting Fingers,” a retro-sounding cut that emanates effortless, down-south cool. OT and Moneybagg are technically sharp, but they don’t get in the way of the beat, and their viscous tones are only enhanced by the heavy bass. OT’s irresistible hook will have you throwing up gang signs in your mirror for weeks. —*Peter A. Berry*

youtube.com

**Album:** *Texas Technician*
No one does parking lot pimpin’ like Texas and Memphis. That Mexican OT and Moneybagg Yo remind us of that fact with “Twisting Fingers,” a retro-sounding cut that emanates effortless, down-south cool. OT and Moneybagg are technically sharp, but they don’t get in the way of the beat, and their viscous tones are only enhanced by the heavy bass. OT’s irresistible hook will have you throwing up gang signs in your mirror for weeks. —*Peter A. Berry*

Album: Keep It Goin Xav
Describing Xaviersobased’s sound as eclectic doesn’t nearly do it justice. Existing within the distorted chaos of hyperpop, inesscent grooves of jerk rap while possessing an out-of-pocket swagger reminiscent of Lil B, the New York native’s latest mixtape, Keep It Goin Xav, serves as a defining moment—and a semi-breakthrough— for all the right reasons. Xavier’s natural malleability to a slew of rap sub-genres (while staying true to his NYC roots) is uncanny yet wildly impressive, most specifically on “Need Me.” Barely marked at two minutes long, the most prolific aspect of the track is Xav’s outlook on his sound as a whole: “A lot of the bass, the sound of that music, is aggressive. It’s more of a dance and a pop, so every time I listen to it, I wanna groove,” Xav says at the end of the track. —Jon Barlas — youtube.com

**Album:** *Keep It Goin Xav*
Describing Xaviersobased’s sound as eclectic doesn’t nearly do it justice. Existing within the distorted chaos of hyperpop, inesscent grooves of jerk rap while possessing an out-of-pocket swagger reminiscent of Lil B, the New York native’s latest mixtape, *Keep It Goin Xav,* serves as a defining moment—and a semi-breakthrough— for all the right reasons. Xavier’s natural malleability to a slew of rap sub-genres (while staying true to his NYC roots) is uncanny yet wildly impressive, most specifically on “Need Me.” Barely marked at two minutes long, the most prolific aspect of the track is Xav’s outlook on his sound as a whole: “A lot of the bass, the sound of that music, is aggressive. It’s more of a dance and a pop, so every time I listen to it, I wanna groove,” Xav says at the end of the track. —*Jon Barlas*

youtube.com

**Album:** *Keep It Goin Xav*
Describing Xaviersobased’s sound as eclectic doesn’t nearly do it justice. Existing within the distorted chaos of hyperpop, inesscent grooves of jerk rap while possessing an out-of-pocket swagger reminiscent of Lil B, the New York native’s latest mixtape, *Keep It Goin Xav,* serves as a defining moment—and a semi-breakthrough— for all the right reasons. Xavier’s natural malleability to a slew of rap sub-genres (while staying true to his NYC roots) is uncanny yet wildly impressive, most specifically on “Need Me.” Barely marked at two minutes long, the most prolific aspect of the track is Xav’s outlook on his sound as a whole: “A lot of the bass, the sound of that music, is aggressive. It’s more of a dance and a pop, so every time I listen to it, I wanna groove,” Xav says at the end of the track. —*Jon Barlas*

Album: The Year I Turned 21
In the spirit of Katt Williams’ prophetic sayings of reckoning, 2024 is the year of spotlighting facts and unlocking mental wellness as true wealth. And Nigerian singer Ayra Starr captures this year's unbothered and thriving essence through “Commas,” the sizzling single from her sophomore album, The Year I Turned 21. Ayra sings in a blend of English, Pidgin, and Yoruba over a mellow Afropop beat, giving a nod to her heritage while highlighting her confident truth as a rising star in the Nigerian music scene. She confidently sings, “Smallie wey dey mighty,” which means “a small girl who is powerful,” and “Na which kind life wey I never see? / I carry God, so I fear nothing / Steady increasing the commas,” showing her divine reliance and unapologetic self-celebration, symbolizing boundless progress and prosperity. —Gabrielle Nicole Pharms — youtube.com

**Album**: *The Year I Turned 21*
In the spirit of Katt Williams’ prophetic sayings of reckoning, 2024 is the year of spotlighting facts and unlocking mental wellness as true wealth. And Nigerian singer Ayra Starr captures this year's unbothered and thriving essence through “Commas,” the sizzling single from her sophomore album, *The Year I Turned 21*. Ayra sings in a blend of English, Pidgin, and Yoruba over a mellow Afropop beat, giving a nod to her heritage while highlighting her confident truth as a rising star in the Nigerian music scene. She confidently sings, “*Smallie wey dey mighty*,” which means “a small girl who is powerful,” and “*Na which kind life wey I never see? / I carry God, so I fear nothing / Steady increasing the commas,”* showing her divine reliance and unapologetic self-celebration, symbolizing boundless progress and prosperity. —*Gabrielle Nicole Pharms*

youtube.com

**Album**: *The Year I Turned 21*
In the spirit of Katt Williams’ prophetic sayings of reckoning, 2024 is the year of spotlighting facts and unlocking mental wellness as true wealth. And Nigerian singer Ayra Starr captures this year's unbothered and thriving essence through “Commas,” the sizzling single from her sophomore album, *The Year I Turned 21*. Ayra sings in a blend of English, Pidgin, and Yoruba over a mellow Afropop beat, giving a nod to her heritage while highlighting her confident truth as a rising star in the Nigerian music scene. She confidently sings, “*Smallie wey dey mighty*,” which means “a small girl who is powerful,” and “*Na which kind life wey I never see? / I carry God, so I fear nothing / Steady increasing the commas,”* showing her divine reliance and unapologetic self-celebration, symbolizing boundless progress and prosperity. —*Gabrielle Nicole Pharms*

Album: It’s Us Vol. 1
Karrahbooo reminds me of Denver Nuggets star Nikola Jokic—she has an effortlessness about her approach to the game and raw talent that can’t be taught. She is the budding star of Lil Yachty’s Concrete Boys collective, and proves her massive potential on “Where Yo Daddy?” Karrah’s barely been rapping for two years, but she’s already found her natural pocket and conversational flow that she depends on. But this is not a DaBaby situation—she’s still able to captivate listeners despite rapping pretty much the same on most of her songs. That’s because you’re more invested in listening to her rap about how she’s been navigating fame and maintaining her principles rather than the ways she’s delivering these bars. —Jordan Rose — youtube.com

**Album***: It’s Us Vol. 1*
Karrahbooo reminds me of Denver Nuggets star Nikola Jokic—she has an effortlessness about her approach to the game and raw talent that can’t be taught. She is the budding star of Lil Yachty’s Concrete Boys collective, and proves her massive potential on “Where Yo Daddy?” Karrah’s barely been rapping for two years, but she’s already found her natural pocket and conversational flow that she depends on. But this is not a DaBaby situation—she’s still able to captivate listeners despite rapping pretty much the same on most of her songs. That’s because you’re more invested in listening to her rap about how she’s been navigating fame and maintaining her principles rather than the ways she’s delivering these bars. —*Jordan Rose*

youtube.com

**Album***: It’s Us Vol. 1*
Karrahbooo reminds me of Denver Nuggets star Nikola Jokic—she has an effortlessness about her approach to the game and raw talent that can’t be taught. She is the budding star of Lil Yachty’s Concrete Boys collective, and proves her massive potential on “Where Yo Daddy?” Karrah’s barely been rapping for two years, but she’s already found her natural pocket and conversational flow that she depends on. But this is not a DaBaby situation—she’s still able to captivate listeners despite rapping pretty much the same on most of her songs. That’s because you’re more invested in listening to her rap about how she’s been navigating fame and maintaining her principles rather than the ways she’s delivering these bars. —*Jordan Rose*

Album: C,XOXO
"I Luv It" is one of the weirdest pop songs of the year, and I mean that in the most complimentary way possible. Over a ridiculously catchy beat that features a pitched-up flip of Gucci Mane’s “Lemonade,” Camila sings the phrase “I luv it” more than 50 times (!) before Playboi Carti raps a delirious verse about novacane and the Clermont twins. It’s an endearingly self-indulgent song from two artists who seem to only have one goal in mind: have as much fucking fun as possible. Their carefree energy is contagious, and they ended up with one of the most addictive left-of-center pop songs you’ll hear all year. —Eric Skelton — youtube.com

**Album:** *C,XOXO*
"I Luv It" is one of the weirdest pop songs of the year, and I mean that in the most complimentary way possible. Over a ridiculously catchy beat that features a pitched-up flip of Gucci Mane’s “Lemonade,” Camila sings the phrase “I luv it” more than 50 times (!) before Playboi Carti raps a delirious verse about novacane and the Clermont twins. It’s an endearingly self-indulgent song from two artists who seem to only have one goal in mind: have as much fucking fun as possible. Their carefree energy is contagious, and they ended up with one of the most addictive left-of-center pop songs you’ll hear all year. *—Eric Skelton*

youtube.com

**Album:** *C,XOXO*
"I Luv It" is one of the weirdest pop songs of the year, and I mean that in the most complimentary way possible. Over a ridiculously catchy beat that features a pitched-up flip of Gucci Mane’s “Lemonade,” Camila sings the phrase “I luv it” more than 50 times (!) before Playboi Carti raps a delirious verse about novacane and the Clermont twins. It’s an endearingly self-indulgent song from two artists who seem to only have one goal in mind: have as much fucking fun as possible. Their carefree energy is contagious, and they ended up with one of the most addictive left-of-center pop songs you’ll hear all year. *—Eric Skelton*

Album: Ehhthang Ehhthang
GloRilla had a brutal 2023. While relatively productive output-wise, the songs weren’t sticking commercially or creatively. Then at the top of the year, she drops “Yeah Glo!,” a modern-day crunk classic. The song displays the high energy and charisma that made her the rookie of the year in 2022. Part of the song’s strength is that she's on the offensive, addressing critics who threw dirt on her after a cold stretch. “Big Glo, where you been at? Mane, everywhere, I'm workin' hard Maybach and G-Wagon trucks, got M&M's in my garage Quick to crank up on a ho, you bitches better not get me started,” she raps on the song. —Dimas Sanfiorenzo — youtube.com

**Album**: *Ehhthang Ehhthang*
GloRilla had a brutal 2023. While relatively productive output-wise, the songs weren’t sticking commercially or creatively. Then at the top of the year, she drops “Yeah Glo!,” a modern-day crunk classic. The song displays the high energy and charisma that made her the rookie of the year in 2022. Part of the song’s strength is that she's on the offensive, addressing critics who threw dirt on her after a cold stretch. “Big Glo, where you been at? Mane, everywhere, I'm workin' hard Maybach and G-Wagon trucks, got M&M's in my garage Quick to crank up on a ho, you bitches better not get me started,” she raps on the song. —*Dimas Sanfiorenzo*

youtube.com

**Album**: *Ehhthang Ehhthang*
GloRilla had a brutal 2023. While relatively productive output-wise, the songs weren’t sticking commercially or creatively. Then at the top of the year, she drops “Yeah Glo!,” a modern-day crunk classic. The song displays the high energy and charisma that made her the rookie of the year in 2022. Part of the song’s strength is that she's on the offensive, addressing critics who threw dirt on her after a cold stretch. “Big Glo, where you been at? Mane, everywhere, I'm workin' hard Maybach and G-Wagon trucks, got M&M's in my garage Quick to crank up on a ho, you bitches better not get me started,” she raps on the song. —*Dimas Sanfiorenzo*

Album: 2093
Yeat is a man with a million voices, so when he decides to do outrageous things like saying the word “breathe” nearly 30 times in the same song, he can still keep you on your toes, alternating between pitched-up alien voices and much lower registers. When you throw in an off-the-wall beat from Bart How and Starboy that sounds like it should be playing in a nightclub on Mars, you end up with one of the most oddly addictive (and energizing) rap songs of the year. —Eric Skelton — youtube.com

**Album:** *2093*
Yeat is a man with a million voices, so when he decides to do outrageous things like saying the word “breathe” nearly 30 times in the same song, he can still keep you on your toes, alternating between pitched-up alien voices and much lower registers. When you throw in an off-the-wall beat from Bart How and Starboy that sounds like it should be playing in a nightclub on Mars, you end up with one of the most oddly addictive (and energizing) rap songs of the year. —*Eric Skelton*

youtube.com

**Album:** *2093*
Yeat is a man with a million voices, so when he decides to do outrageous things like saying the word “breathe” nearly 30 times in the same song, he can still keep you on your toes, alternating between pitched-up alien voices and much lower registers. When you throw in an off-the-wall beat from Bart How and Starboy that sounds like it should be playing in a nightclub on Mars, you end up with one of the most oddly addictive (and energizing) rap songs of the year. —*Eric Skelton*

Album: Vultures
No. 1 records are what have escaped Playboi Carti for the majority of his career. But a link-up with frequent collaborator Kanye West and Ty Dolla $ign at the height of VULTURES hype made “CARNIVAL” feel like a Christopher Nolan movie coated in smoke. While hundreds of thousands of TikTok videos admittedly drove the Hooligan-assisted “go go go go” chant into the ground—evidently aiding to its No. 1 peak on the Hot 100— “CARNIVAL” turned out to be the gold both Ye and Carti needed to strike at this point in their careers. Let’s also not forget the mainstream resurrection of Rich The Kid, who is the main reason why the track is so addictive. —Jon Barlas — youtube.com

**Album:** *Vultures*
No. 1 records are what have escaped Playboi Carti for the majority of his career. But a link-up with frequent collaborator Kanye West and Ty Dolla $ign at the height of *VULTURES* hype made “CARNIVAL” feel like a Christopher Nolan movie coated in smoke. While hundreds of thousands of TikTok videos admittedly drove the Hooligan-assisted “go go go go” chant into the ground—evidently aiding to its No. 1 peak on the Hot 100— “CARNIVAL” turned out to be the gold both Ye and Carti *needed* to strike at this point in their careers. Let’s also not forget the mainstream resurrection of Rich The Kid, who is the main reason why the track is so addictive. —*Jon Barlas*

youtube.com

**Album:** *Vultures*
No. 1 records are what have escaped Playboi Carti for the majority of his career. But a link-up with frequent collaborator Kanye West and Ty Dolla $ign at the height of *VULTURES* hype made “CARNIVAL” feel like a Christopher Nolan movie coated in smoke. While hundreds of thousands of TikTok videos admittedly drove the Hooligan-assisted “go go go go” chant into the ground—evidently aiding to its No. 1 peak on the Hot 100— “CARNIVAL” turned out to be the gold both Ye and Carti *needed* to strike at this point in their careers. Let’s also not forget the mainstream resurrection of Rich The Kid, who is the main reason why the track is so addictive. —*Jon Barlas*

Album: The Death of Slim Shady
The “lead Eminem single” is a topic that has been dissected for decades now. And over the years, Em has done a lot of experimenting, embracing more downbeat lead singles—think “Walk on Water” with Beyoncé or “Not Afraid,” of course. But “Houdini,” the first single from his upcoming The Death of Slim Shady album, is a return to form for Eminem, who goes back to his early parody roots. The song works because Em is not overthinking stuff here, he’s rapping like he’s having a blast. Yes there are “problematic” references like R. Kelly, the Megan Thee Stallion shooting, and transgender cats (?) but they are performed in such a breezy, off-the-cuff kind of way it’s hard to be truly mad. (Even though the internet did kinda try.) —Dimas Sanfiorenzo — youtube.com

**Album:** *The Death of Slim Shady*
The “lead Eminem single” is a topic that has been dissected for decades now. And over the years, Em has done a lot of experimenting, embracing more downbeat lead singles—think “Walk on Water” with Beyoncé or “Not Afraid,” of course. But “Houdini,” the first single from his upcoming *The Death of Slim Shady* album, is a return to form for Eminem, who goes back to his early parody roots. The song works because Em is not overthinking stuff here, he’s rapping like he’s having a blast. Yes there are “problematic” references like R. Kelly, the Megan Thee Stallion shooting, and transgender cats (?) but they are performed in such a breezy, off-the-cuff kind of way it’s hard to be truly mad. (Even though the internet did kinda try.) —*Dimas Sanfiorenzo*

youtube.com

**Album:** *The Death of Slim Shady*
The “lead Eminem single” is a topic that has been dissected for decades now. And over the years, Em has done a lot of experimenting, embracing more downbeat lead singles—think “Walk on Water” with Beyoncé or “Not Afraid,” of course. But “Houdini,” the first single from his upcoming *The Death of Slim Shady* album, is a return to form for Eminem, who goes back to his early parody roots. The song works because Em is not overthinking stuff here, he’s rapping like he’s having a blast. Yes there are “problematic” references like R. Kelly, the Megan Thee Stallion shooting, and transgender cats (?) but they are performed in such a breezy, off-the-cuff kind of way it’s hard to be truly mad. (Even though the internet did kinda try.) —*Dimas Sanfiorenzo*

Album: Might Delete Later
You can question J. Cole’s stomach for rap competition, but you can never question his pen. When a snippet for “Crocodile Tearz” was included in his Might Delete Later video series, Cole’s line, “The Fall Off is like Hov droppin' Reasonable Doubt last” set the timeline on fire, and for good reason. Comparing any current album to Jay-Z’s magnum opus would usually be considered blasphemous, but Cole raps with such conviction that he makes even skeptics a believer. And he immediately proves why you should take him seriously throughout the rest of “Crocodile Tearz,” asserting his dominance in the game with double entendres and metaphors about fair-weather friends and shook rappers. It may be harder for some to believe these boasts post-apology, but I still believe. If you give Cole the opportunity to prove something he’ll deliver. —Jordan Rose — youtube.com

**Album:** *Might Delete Later*
You can question J. Cole’s stomach for rap competition, but you can never question his pen. When a snippet for “Crocodile Tearz” was included in his *Might Delete Later* video series, Cole’s line, “*The Fall Off* is like Hov droppin' *Reasonable Doubt* last” set the timeline on fire, and for good reason. Comparing any current album to Jay-Z’s magnum opus would usually be considered blasphemous, but Cole raps with such conviction that he makes even skeptics a believer. And he immediately proves why you should take him seriously throughout the rest of “Crocodile Tearz,” asserting his dominance in the game with double entendres and metaphors about fair-weather friends and shook rappers. It may be harder for some to believe these boasts post-apology, but I still believe. If you give Cole the opportunity to prove something he’ll deliver. —*Jordan Rose*

youtube.com

**Album:** *Might Delete Later*
You can question J. Cole’s stomach for rap competition, but you can never question his pen. When a snippet for “Crocodile Tearz” was included in his *Might Delete Later* video series, Cole’s line, “*The Fall Off* is like Hov droppin' *Reasonable Doubt* last” set the timeline on fire, and for good reason. Comparing any current album to Jay-Z’s magnum opus would usually be considered blasphemous, but Cole raps with such conviction that he makes even skeptics a believer. And he immediately proves why you should take him seriously throughout the rest of “Crocodile Tearz,” asserting his dominance in the game with double entendres and metaphors about fair-weather friends and shook rappers. It may be harder for some to believe these boasts post-apology, but I still believe. If you give Cole the opportunity to prove something he’ll deliver. —*Jordan Rose*

Album: Megan
Yes, Megan Thee Stallion absolutely cleaned up Nicki Minaj on this—the “Meg’s law” bar is one of the more disrespectful lines in recent memory—but don’t sleep on what she does to Drake. Without saying his name, Megan deftly uses some of the same disses Kendrick would utilize. “Cosplay gangsters, fake-ass accents/Posted in another nigga hood like a bad bitch” is basically “Not Like Us” in a couple of lines. When Meg raps with this level of aggression and competitive energy she is unstoppable. —Dimas Sanfiorenzo — youtube.com

**Album:** *Megan*
Yes, Megan Thee Stallion absolutely cleaned up Nicki Minaj on this—the “Meg’s law” bar is one of the more disrespectful lines in recent memory—but don’t sleep on what she does to Drake. Without saying his name, Megan deftly uses some of the same disses Kendrick would utilize. “Cosplay gangsters, fake-ass accents/Posted in another nigga hood like a bad bitch” is basically “Not Like Us” in a couple of lines. When Meg raps with this level of aggression and competitive energy she is unstoppable. —*Dimas Sanfiorenzo*

youtube.com

**Album:** *Megan*
Yes, Megan Thee Stallion absolutely cleaned up Nicki Minaj on this—the “Meg’s law” bar is one of the more disrespectful lines in recent memory—but don’t sleep on what she does to Drake. Without saying his name, Megan deftly uses some of the same disses Kendrick would utilize. “Cosplay gangsters, fake-ass accents/Posted in another nigga hood like a bad bitch” is basically “Not Like Us” in a couple of lines. When Meg raps with this level of aggression and competitive energy she is unstoppable. —*Dimas Sanfiorenzo*

Album: Hit Me Hard and Soft
A couple of weeks ago, we listed Billie Elish’s “Lunch” as a possible song of the summer contender. We’re going to take the L on that now: “Birds of a Feather” is the song from Hit Me Hard and Soft. It is just incredible—an uncharacteristically warm and romantic track from Billie that will make your day better the second you listen to it. It also helps that “Birds of a Feather” is being aided by Netflix and their marketing forces. —Dimas Sanfiorenzo — youtube.com

**Album:** *Hit Me Hard and Soft*
A couple of weeks ago, we listed Billie Elish’s “Lunch” as a possible song of the summer contender. We’re going to take the L on that now: “Birds of a Feather” is the song from *Hit Me Hard and Soft*. It is just incredible—an uncharacteristically warm and romantic track from Billie that will make your day better the second you listen to it. It also helps that “Birds of a Feather” is being aided by Netflix and their marketing forces. —*Dimas Sanfiorenzo*

youtube.com

**Album:** *Hit Me Hard and Soft*
A couple of weeks ago, we listed Billie Elish’s “Lunch” as a possible song of the summer contender. We’re going to take the L on that now: “Birds of a Feather” is the song from *Hit Me Hard and Soft*. It is just incredible—an uncharacteristically warm and romantic track from Billie that will make your day better the second you listen to it. It also helps that “Birds of a Feather” is being aided by Netflix and their marketing forces. —*Dimas Sanfiorenzo*

Album: american dream
21 Savage has always been theatrical, so it shouldn’t be a surprise that the Atlanta rapper is capable of slicing his way through a track like “Redrum” while a sample of 1960s Brazilian singer Elza Laranjeira bellows in the background. A common critique of Savage is that he is monotone and that his raps sound too similar. But, I would argue, “Reddrum” features some of Savage’s most creative bars; at one point he raps “I'll never do no song with no rat, pussy/Put a lego in a stick, it rat-a-tat, pussy.” At another point he spits, “Smack niggas, then, I get on live and sing.”Just elite rapping here. —Jordan Rose — youtube.com

**Album:** *american dream*
21 Savage has always been theatrical, so it shouldn’t be a surprise that the Atlanta rapper is capable of slicing his way through a track like “Redrum” while a sample of 1960s Brazilian singer Elza Laranjeira bellows in the background. A common critique of Savage is that he is monotone and that his raps sound too similar. But, I would argue, “Reddrum” features some of Savage’s most creative bars; at one point he raps “I'll never do no song with no rat, pussy/Put a lego in a stick, it rat-a-tat, pussy.” At another point he spits, “Smack niggas, then, I get on live and sing.”Just elite rapping here. —*Jordan Rose*

youtube.com

**Album:** *american dream*
21 Savage has always been theatrical, so it shouldn’t be a surprise that the Atlanta rapper is capable of slicing his way through a track like “Redrum” while a sample of 1960s Brazilian singer Elza Laranjeira bellows in the background. A common critique of Savage is that he is monotone and that his raps sound too similar. But, I would argue, “Reddrum” features some of Savage’s most creative bars; at one point he raps “I'll never do no song with no rat, pussy/Put a lego in a stick, it rat-a-tat, pussy.” At another point he spits, “Smack niggas, then, I get on live and sing.”Just elite rapping here. —*Jordan Rose*

Album: We Still Don’t Trust You
Future’s cynicism and trust issues take sonic form on “Beat It,” a ballad for those who live and die behind the ultimatums they establish in toxic relationships. On the track, Future goes deep into his melodic bag as he waxes poetic about hop-scotching between wanting to settle down with a woman and fighting the bad thoughts that they will inevitably betray him. Even when he inches closer to commitment, the streets call him back to where he belongs and he’s forced to tell his latest partner to “beat it. He just has too many options. Only Hendrix can make such an abundance of free will sound tragic. —Jordan Rose — youtube.com

**Album:** *We Still Don’t Trust You*
Future’s cynicism and trust issues take sonic form on “Beat It,” a ballad for those who live and die behind the ultimatums they establish in toxic relationships. On the track, Future goes deep into his melodic bag as he waxes poetic about hop-scotching between wanting to settle down with a woman and fighting the bad thoughts that they will inevitably betray him. Even when he inches closer to commitment, the streets call him back to where he belongs and he’s forced to tell his latest partner to “beat it. He just has too many options. Only Hendrix can make such an abundance of free will sound tragic. —*Jordan Rose*

youtube.com

**Album:** *We Still Don’t Trust You*
Future’s cynicism and trust issues take sonic form on “Beat It,” a ballad for those who live and die behind the ultimatums they establish in toxic relationships. On the track, Future goes deep into his melodic bag as he waxes poetic about hop-scotching between wanting to settle down with a woman and fighting the bad thoughts that they will inevitably betray him. Even when he inches closer to commitment, the streets call him back to where he belongs and he’s forced to tell his latest partner to “beat it. He just has too many options. Only Hendrix can make such an abundance of free will sound tragic. —*Jordan Rose*

Album: CRG
Great rappers need other great rappers. Central Cee and Lil Baby are two great emcees who have, at times, suffered with consistency. “BAND4BAND” is great because you see the two matching each other’s skill and tenacity level. Baby has taken a lot of shit over the years for sounding uninspired but he slightly steals the track, delivering sharp lines like, “They hit him up on his birthday, did him the worst way, he had a death wish.” —Dimas Sanfiorenzo — youtube.com

**Album:** *CRG*
Great rappers need other great rappers. Central Cee and Lil Baby are two great emcees who have, at times, suffered with consistency. “BAND4BAND” is great because you see the two matching each other’s skill and tenacity level. Baby has taken a lot of shit over the years for sounding uninspired but he slightly steals the track, delivering sharp lines like, “They hit him up on his birthday, did him the worst way, he had a death wish.” —*Dimas Sanfiorenzo*

youtube.com

**Album:** *CRG*
Great rappers need other great rappers. Central Cee and Lil Baby are two great emcees who have, at times, suffered with consistency. “BAND4BAND” is great because you see the two matching each other’s skill and tenacity level. Baby has taken a lot of shit over the years for sounding uninspired but he slightly steals the track, delivering sharp lines like, “They hit him up on his birthday, did him the worst way, he had a death wish.” —*Dimas Sanfiorenzo*

Album: Mr Beat the Road
BossMan Dlow's a man of multiple talents, but it generally comes down to this: he’s got the ability to make you feel really cool, and with that goal in mind his breakout single, "Get In With Me," is a statement of purpose. Checking in at a brisk two minutes, the track takes you through a day of reckless driving and glitzy clubbing for a DBoy's joyride of a lifestyle, with his snappy quips ringing off like the funniest jokes in barbershop. The bluntness of his flexes makes it all feel like, no matter how extravagant the brag, he's been there before, imbuing the lyrics here with a very real sense of authority. Then there's his effortless manner of sliding over the beat—a cadence that feels like a half-ramble, yet never misses the pocket. Those are the ingredients of the song, but what's more important is the cumulative effect—when Dlow tells you to get in, you listen. —Peter A. Berry — youtube.com

**Album:** *Mr Beat the Road*
BossMan Dlow's a man of multiple talents, but it generally comes down to this: he’s got the ability to make you feel *really* cool, and with that goal in mind his breakout single, "Get In With Me," is a statement of purpose. Checking in at a brisk two minutes, the track takes you through a day of reckless driving and glitzy clubbing for a DBoy's joyride of a lifestyle, with his snappy quips ringing off like the funniest jokes in barbershop. The bluntness of his flexes makes it all feel like, no matter how extravagant the brag, he's been there before, imbuing the lyrics here with a very real sense of authority. Then there's his effortless manner of sliding over the beat—a cadence that feels like a half-ramble, yet never misses the pocket. Those are the ingredients of the song, but what's more important is the cumulative effect—when Dlow tells you to get in, you listen. —*Peter A. Berry*

youtube.com

**Album:** *Mr Beat the Road*
BossMan Dlow's a man of multiple talents, but it generally comes down to this: he’s got the ability to make you feel *really* cool, and with that goal in mind his breakout single, "Get In With Me," is a statement of purpose. Checking in at a brisk two minutes, the track takes you through a day of reckless driving and glitzy clubbing for a DBoy's joyride of a lifestyle, with his snappy quips ringing off like the funniest jokes in barbershop. The bluntness of his flexes makes it all feel like, no matter how extravagant the brag, he's been there before, imbuing the lyrics here with a very real sense of authority. Then there's his effortless manner of sliding over the beat—a cadence that feels like a half-ramble, yet never misses the pocket. Those are the ingredients of the song, but what's more important is the cumulative effect—when Dlow tells you to get in, you listen. —*Peter A. Berry*

Album: N/A
When Playboi Carti dropped “Backr00ms” on the very first day of 2024, a new album felt imminent. He’d just released a barrage of songs on Instagram and YouTube over the previous few weeks, and a big Travis Scott collab felt like it might just be the final warning shot before MUSIC arrived. Well, now it’s six months later, and we’re still waiting for the album, but at least he left us with songs as good as “Backr00ms” to keep playing on repeat. Leaning into the new deep-voice flow he’s been using, Carti pulls off a hypnotizing hook that’ll crawl inside your brain and never leave (even if you aren’t completely sure what all of the lyrics mean) before rattling off a series of bonkers one-liners that are as surprising as they are catchy, including “I was in the spot yesterday with my pops, my grandma still play bingo” and “I think I need me a Ice Spice, yeah, I want me a munch.” There’s no one quite like Carti, and we’ll be waiting for him whenever he decides to reemerge again. —Eric Skelton — youtube.com

**Album:** N/A
When Playboi Carti dropped “Backr00ms” on the very first day of 2024, a new album felt imminent. He’d just released a barrage of songs on Instagram and YouTube over the previous few weeks, and a big Travis Scott collab felt like it might just be the final warning shot before *MUSIC* arrived. Well, now it’s six months later, and we’re still waiting for the album, but at least he left us with songs as good as “Backr00ms” to keep playing on repeat. Leaning into the new deep-voice flow he’s been using, Carti pulls off a hypnotizing hook that’ll crawl inside your brain and never leave (even if you aren’t completely sure what all of the lyrics mean) before rattling off a series of bonkers one-liners that are as surprising as they are catchy, including “I was in the spot yesterday with my pops, my grandma still play bingo” and “I think I need me a Ice Spice, yeah, I want me a munch.” There’s no one quite like Carti, and we’ll be waiting for him whenever he decides to reemerge again. —*Eric Skelton*

youtube.com

**Album:** N/A
When Playboi Carti dropped “Backr00ms” on the very first day of 2024, a new album felt imminent. He’d just released a barrage of songs on Instagram and YouTube over the previous few weeks, and a big Travis Scott collab felt like it might just be the final warning shot before *MUSIC* arrived. Well, now it’s six months later, and we’re still waiting for the album, but at least he left us with songs as good as “Backr00ms” to keep playing on repeat. Leaning into the new deep-voice flow he’s been using, Carti pulls off a hypnotizing hook that’ll crawl inside your brain and never leave (even if you aren’t completely sure what all of the lyrics mean) before rattling off a series of bonkers one-liners that are as surprising as they are catchy, including “I was in the spot yesterday with my pops, my grandma still play bingo” and “I think I need me a Ice Spice, yeah, I want me a munch.” There’s no one quite like Carti, and we’ll be waiting for him whenever he decides to reemerge again. —*Eric Skelton*

Album: Quantum Baby
Tinashe might want someone to match her freak, but her breakthrough single “Nasty” proves that very few pop stars are on her level. Released a decade after her first chart-topping hit, the ScHoolboy Q-assisted “2 On,” the singer’s viral song made its rounds after being meme-ified, and later, Tinashe joined in on the fun herself. “Nasty” rides with atmospheric production, throbbing bass and a teasing “I’ve been a nasty girlllll, nasty” hook, making the song an undoubted summertime anthem contender. Ten years into being a solo act, Tinashe hasn’t lost a step.—Jaelani Turner-Williams — youtube.com

**Album:** *Quantum Baby*
Tinashe might want someone to match her freak, but her breakthrough single “Nasty” proves that very few pop stars are on her level. Released a decade after her first chart-topping hit, the ScHoolboy Q-assisted “2 On,” the singer’s viral song made its rounds after being meme-ified, and later, Tinashe joined in on the fun herself. “Nasty” rides with atmospheric production, throbbing bass and a teasing “I’ve been a nasty *girlllll*, nasty” hook, making the song an undoubted summertime anthem contender. Ten years into being a solo act, Tinashe hasn’t lost a step.—*Jaelani Turner-Williams*

youtube.com

**Album:** *Quantum Baby*
Tinashe might want someone to match her freak, but her breakthrough single “Nasty” proves that very few pop stars are on her level. Released a decade after her first chart-topping hit, the ScHoolboy Q-assisted “2 On,” the singer’s viral song made its rounds after being meme-ified, and later, Tinashe joined in on the fun herself. “Nasty” rides with atmospheric production, throbbing bass and a teasing “I’ve been a nasty *girlllll*, nasty” hook, making the song an undoubted summertime anthem contender. Ten years into being a solo act, Tinashe hasn’t lost a step.—*Jaelani Turner-Williams*

Album: Blue Lips
ScHoolboy Q delivers a series of introspective revelations on Blue Lips. But “Blueslides” might be some of the most potent as the West Coast rapper reflects on the loss of his close friend Mac Miller. Using original vocals and instrumentalization from Mario Luciano and Lauren Santi that sound like they were teleported from a 1940s jazz sample, ScHoolboy pays homage to Mac’s debut album Blue Slide Park while waxing poetic about the mental and emotional hurdles he’s had to overcome over the last few years. “We were screaming ‘mental health,’ now we wanna kill ‘em all,” Q croons in the second verse, spotlighting the hypocrisy where the streets and rap industry meet. His confessions give “Blueslides” a breath of rare honesty that both he and Mac shared. —Jordan Rose — youtube.com

**Album:** *Blue Lips*
ScHoolboy Q delivers a series of introspective revelations on *Blue Lips.* But “Blueslides” might be some of the most potent as the West Coast rapper reflects on the loss of his close friend Mac Miller. Using original vocals and instrumentalization from Mario Luciano and Lauren Santi that sound like they were teleported from a 1940s jazz sample, ScHoolboy pays homage to Mac’s debut album *Blue Slide Park while* waxing poetic about the mental and emotional hurdles he’s had to overcome over the last few years. “We were screaming ‘mental health,’ now we wanna kill ‘em all,” Q croons in the second verse, spotlighting the hypocrisy where the streets and rap industry meet. His confessions give “Blueslides” a breath of rare honesty that both he and Mac shared. —*Jordan Rose*

youtube.com

**Album:** *Blue Lips*
ScHoolboy Q delivers a series of introspective revelations on *Blue Lips.* But “Blueslides” might be some of the most potent as the West Coast rapper reflects on the loss of his close friend Mac Miller. Using original vocals and instrumentalization from Mario Luciano and Lauren Santi that sound like they were teleported from a 1940s jazz sample, ScHoolboy pays homage to Mac’s debut album *Blue Slide Park while* waxing poetic about the mental and emotional hurdles he’s had to overcome over the last few years. “We were screaming ‘mental health,’ now we wanna kill ‘em all,” Q croons in the second verse, spotlighting the hypocrisy where the streets and rap industry meet. His confessions give “Blueslides” a breath of rare honesty that both he and Mac shared. —*Jordan Rose*

Album: Almighty So 2
For "Treat Myself," Chief Keef swirls petulant flexes and emotional lucidity with a deceptively layered soundscape and a hook that begs to be murmured under your breath. He shifts between flossy imagery and profoundities with seamless ease. One minute he says his “yellow diamonds make it look like he's pissed himself.” The next, he serves up a poignant metaphor that could represent Keef and countless others affected by blockboy trauma: "I done been through so much smoke to where I couldn't even see myself." It's hard to be silly, celebratory and reflective at once, but Chief Keef pulls it off on one of the very best cuts from Almighty So 2. —Peter A. Berry — youtube.com

**Album:** *Almighty So 2*
For "Treat Myself," Chief Keef swirls petulant flexes and emotional lucidity with a deceptively layered soundscape and a hook that begs to be murmured under your breath. He shifts between flossy imagery and profoundities with seamless ease. One minute he says his “yellow diamonds make it look like he's pissed himself.” The next, he serves up a poignant metaphor that could represent Keef and countless others affected by blockboy trauma: "I done been through so much smoke to where I couldn't even see myself." It's hard to be silly, celebratory and reflective at once, but Chief Keef pulls it off on one of the very best cuts from *Almighty So 2*. —*Peter A. Berry*

youtube.com

**Album:** *Almighty So 2*
For "Treat Myself," Chief Keef swirls petulant flexes and emotional lucidity with a deceptively layered soundscape and a hook that begs to be murmured under your breath. He shifts between flossy imagery and profoundities with seamless ease. One minute he says his “yellow diamonds make it look like he's pissed himself.” The next, he serves up a poignant metaphor that could represent Keef and countless others affected by blockboy trauma: "I done been through so much smoke to where I couldn't even see myself." It's hard to be silly, celebratory and reflective at once, but Chief Keef pulls it off on one of the very best cuts from *Almighty So 2*. —*Peter A. Berry*

Album: Lana
“Saturn” debuted on Grammy night—possibly the happiest evening of SZA’s life—but the singer-songwriter wanted to be somewhere else altogether. On the dream pop-coated ballad, SZA imagined herself in an outer realm, no longer wanting to be “stuck in this paradigm.” Despite SZA’s morose thoughts, “Saturn” caught instant acclaim, no surprise since her sophomore album SOS broke multiple records. Now that fans are anticipating her third album, tentatively titled Lana, we can’t help but wonder what other planets SZA has in store. —Jaelani Turner-Williams — youtube.com

**Album:** *Lana*
“Saturn” debuted on Grammy night—possibly the happiest evening of SZA’s life—but the singer-songwriter wanted to be somewhere else altogether. On the dream pop-coated ballad, SZA imagined herself in an outer realm, no longer wanting to be “stuck in this paradigm.” Despite SZA’s morose thoughts, “Saturn” caught instant acclaim, no surprise since her sophomore album *SOS* broke multiple records. Now that fans are anticipating her third album, tentatively titled *Lana*, we can’t help but wonder what other planets SZA has in store. —*Jaelani Turner-Williams*

youtube.com

**Album:** *Lana*
“Saturn” debuted on Grammy night—possibly the happiest evening of SZA’s life—but the singer-songwriter wanted to be somewhere else altogether. On the dream pop-coated ballad, SZA imagined herself in an outer realm, no longer wanting to be “stuck in this paradigm.” Despite SZA’s morose thoughts, “Saturn” caught instant acclaim, no surprise since her sophomore album *SOS* broke multiple records. Now that fans are anticipating her third album, tentatively titled *Lana*, we can’t help but wonder what other planets SZA has in store. —*Jaelani Turner-Williams*

Album: In Sexyy We Trust
The baddies will always win, and “Get It Sexyy” is their theme song. Sexyy Red has the unique ability to make uniquely authentic music that can still connect with a wide demographic of people. (Because who doesn’t want to feel sexy and talk their shit?) The song also displays the special chemistry that Tay Keith and Sexyy have established; “Get it Sexxy” is just one of many collaborations between the two that can become major hits. —Jordan Rose — youtube.com

**Album:** *In Sexyy We Trust*
The baddies will always win, and “Get It Sexyy” is their theme song. Sexyy Red has the unique ability to make uniquely authentic music that can still connect with a wide demographic of people. (Because who doesn’t want to feel sexy and talk their shit?) The song also displays the special chemistry that Tay Keith and Sexyy have established; “Get it Sexxy” is just one of many collaborations between the two that can become major hits. —*Jordan Rose*

youtube.com

**Album:** *In Sexyy We Trust*
The baddies will always win, and “Get It Sexyy” is their theme song. Sexyy Red has the unique ability to make uniquely authentic music that can still connect with a wide demographic of people. (Because who doesn’t want to feel sexy and talk their shit?) The song also displays the special chemistry that Tay Keith and Sexyy have established; “Get it Sexxy” is just one of many collaborations between the two that can become major hits. —*Jordan Rose*

Album: N/A
The real Drake curse is that whenever he drops a really quality diss track, it gets stomped out by a far more sinister one. It was the case in 2018 when he released “Duppy Freestyle” and Pusha T dropped “Story of Adidon.” And history repeated itself when The Boy made “Family Matters”—his 7-minute response to Kendrick’s “Euphoria” and “6:16 in LA”—and then proceeded to get overshadowed by the dark “Meet the Grahams” and the hit “Not Like Us.” History will show that Dot won the war, but Drake still put up a valiant effort with this track. The entire second verse is a heater, with Drake meticulously picking apart Rick Ross, The Weeknd, and ASAP Rocky. He then closes the track with a series of strong one-liners like, “Kendrick just opened his mouth, someone go hand him a Grammy right now,” and “We get that you like to put gin in your juice/We get that you think that you Bishop in Juice,” but these moments inevitably get lost when people in clubs around the world are calling you a “certified pedophile.” —Jordan Rose — youtube.com

**Album:** N/A
The real Drake curse is that whenever he drops a really quality diss track, it gets stomped out by a far more sinister one. It was the case in 2018 when he released “Duppy Freestyle” and Pusha T dropped “Story of Adidon.” And history repeated itself when The Boy made “Family Matters”—his 7-minute response to Kendrick’s “Euphoria” and “6:16 in LA”—and then proceeded to get overshadowed by the dark “Meet the Grahams” and the hit “Not Like Us.” History will show that Dot won the war, but Drake still put up a valiant effort with this track. The entire second verse is a heater, with Drake meticulously picking apart Rick Ross, The Weeknd, and ASAP Rocky. He then closes the track with a series of strong one-liners like, “Kendrick just opened his mouth, someone go hand him a Grammy right now,” and “We get that you like to put gin in your juice/We get that you think that you Bishop in Juice,” but these moments inevitably get lost when people in clubs around the world are calling you a “certified pedophile.” —*Jordan Rose*

youtube.com

**Album:** N/A
The real Drake curse is that whenever he drops a really quality diss track, it gets stomped out by a far more sinister one. It was the case in 2018 when he released “Duppy Freestyle” and Pusha T dropped “Story of Adidon.” And history repeated itself when The Boy made “Family Matters”—his 7-minute response to Kendrick’s “Euphoria” and “6:16 in LA”—and then proceeded to get overshadowed by the dark “Meet the Grahams” and the hit “Not Like Us.” History will show that Dot won the war, but Drake still put up a valiant effort with this track. The entire second verse is a heater, with Drake meticulously picking apart Rick Ross, The Weeknd, and ASAP Rocky. He then closes the track with a series of strong one-liners like, “Kendrick just opened his mouth, someone go hand him a Grammy right now,” and “We get that you like to put gin in your juice/We get that you think that you Bishop in Juice,” but these moments inevitably get lost when people in clubs around the world are calling you a “certified pedophile.” —*Jordan Rose*

Album: U Made Me a St4r
All transparent internet gimmicks aside, 4Batz really did something with “act ii: date @ 8.” For the track, he grafts his pitched-up vocals onto a relaxed soundscape that feels designed for late night cruising. In the era of forced-toxicity, the Dallas artist is refreshingly earnest, diving deep into his tricking bag for some sincere lyrics that don’t feel all that forced: “I buy you shit because you rare/And, plus, because you know I care.” While he had cultivated a buzz before “date @ 8,” the track served as an official arrival for one of the most mesmerizing talents Dallas has to offer. —Peter A. Berry — youtube.com

**Album:** *U Made Me a St4r*
All transparent internet gimmicks aside, 4Batz really did something with “act ii: date @ 8.” For the track, he grafts his pitched-up vocals onto a relaxed soundscape that feels designed for late night cruising. In the era of forced-toxicity, the Dallas artist is refreshingly earnest, diving deep into his tricking bag for some sincere lyrics that don’t feel all that forced: “I buy you shit because you rare/And, plus, because you know I care.” While he had cultivated a buzz before “date @ 8,” the track served as an official arrival for one of the most mesmerizing talents Dallas has to offer. —*Peter A. Berry*

youtube.com

**Album:** *U Made Me a St4r*
All transparent internet gimmicks aside, 4Batz really did something with “act ii: date @ 8.” For the track, he grafts his pitched-up vocals onto a relaxed soundscape that feels designed for late night cruising. In the era of forced-toxicity, the Dallas artist is refreshingly earnest, diving deep into his tricking bag for some sincere lyrics that don’t feel all that forced: “I buy you shit because you rare/And, plus, because you know I care.” While he had cultivated a buzz before “date @ 8,” the track served as an official arrival for one of the most mesmerizing talents Dallas has to offer. —*Peter A. Berry*

Album: Cowboy Carter
Beyonce’s two lead Cowboy Carter singles, "TEXAS HOLD ‘EM" and "16 Carriages,” were met with mixed reviews upon its release—with some critics (even radio stations) challenging the song's “authenticity.” Native Houstonians, such as myself, weren’t shocked or outraged. We know our city. Growing up, whether you lived in the suburbs or inside the Loop, the Houston Livestock Show & Rodeo was the one thing you looked forward to showing up and showing out in your finest Western wear—or at least a cowboy hat.
Everything about Cowboy Carter is intentional, and “TEXAS HOLD ‘EM” was an obvious single to lead the charge of country’s renaissance. The track, a unique blend of soul and country-western, starts with catchy plucks of the banjo—an instrument that originated in West Africa and was brought to North America in the 17th century by enslaved persons—played by iconic multi-instrumentalist Rhiannon Giddens. Beyoncé sings in a way that encourages listeners to engage in a Do-si-do or whatever moves that make you “take it to the floor.” —Gabrielle Nicole Pharms — youtube.com

**Album:** *Cowboy Carter*
Beyonce’s two lead Cowboy Carter singles, "TEXAS HOLD ‘EM" and "16 Carriages,” were met with mixed reviews upon its release—with some critics (even radio stations) challenging the song's “authenticity.” Native Houstonians, such as myself, weren’t shocked or outraged. We *know* our city. Growing up, whether you lived in the suburbs or inside the Loop, the Houston Livestock Show & Rodeo was the one thing you looked forward to showing up and showing out in your finest Western wear—or at least a cowboy hat.
Everything about *Cowboy Carter* is intentional, and “TEXAS HOLD ‘EM” was an obvious single to lead the charge of country’s renaissance. The track, a unique blend of soul and country-western, starts with catchy plucks of the banjo—an instrument that originated in West Africa and was brought to North America in the 17th century by enslaved persons—played by iconic multi-instrumentalist Rhiannon Giddens. Beyoncé sings in a way that encourages listeners to engage in a Do-si-do or whatever moves that make you “*take it to the floor*.” —*Gabrielle Nicole Pharms*

youtube.com

**Album:** *Cowboy Carter*
Beyonce’s two lead Cowboy Carter singles, "TEXAS HOLD ‘EM" and "16 Carriages,” were met with mixed reviews upon its release—with some critics (even radio stations) challenging the song's “authenticity.” Native Houstonians, such as myself, weren’t shocked or outraged. We *know* our city. Growing up, whether you lived in the suburbs or inside the Loop, the Houston Livestock Show & Rodeo was the one thing you looked forward to showing up and showing out in your finest Western wear—or at least a cowboy hat.
Everything about *Cowboy Carter* is intentional, and “TEXAS HOLD ‘EM” was an obvious single to lead the charge of country’s renaissance. The track, a unique blend of soul and country-western, starts with catchy plucks of the banjo—an instrument that originated in West Africa and was brought to North America in the 17th century by enslaved persons—played by iconic multi-instrumentalist Rhiannon Giddens. Beyoncé sings in a way that encourages listeners to engage in a Do-si-do or whatever moves that make you “*take it to the floor*.” —*Gabrielle Nicole Pharms*

Album: N/A
You know that sensation when the alcohol hits your bloodstream after you take a heavy shot of Casamigos Reposado or Hennessy In the club? That’s what it feels hearing the beat drop on Cash Cobain and Bay Swag’s “Fisherrr.” The song has the slowest tempo out of any track of the current summer contenders, but the way that Cash and Bay glide on the beat make its intoxicating lyrics go down even smoother. Despite “Fisherrr” being a very New York-sounding song, horny-talk is a universal language, so if you’ve ever met a person “with an attitude but [they] bad as fuck” so you got over it, than you’ll wave your hand to the beat all the same. —Jordan Rose — youtube.com

**Album:** N/A
You know that sensation when the alcohol hits your bloodstream after you take a heavy shot of Casamigos Reposado or Hennessy In the club? That’s what it feels hearing the beat drop on Cash Cobain and Bay Swag’s “Fisherrr.” The song has the slowest tempo out of any track of the current summer contenders, but the way that Cash and Bay glide on the beat make its intoxicating lyrics go down even smoother. Despite “Fisherrr” being a very New York-sounding song, horny-talk is a universal language, so if you’ve ever met a person “with an attitude but [they] bad as fuck” so you got over it, than you’ll wave your hand to the beat all the same. —*Jordan Rose*

youtube.com

**Album:** N/A
You know that sensation when the alcohol hits your bloodstream after you take a heavy shot of Casamigos Reposado or Hennessy In the club? That’s what it feels hearing the beat drop on Cash Cobain and Bay Swag’s “Fisherrr.” The song has the slowest tempo out of any track of the current summer contenders, but the way that Cash and Bay glide on the beat make its intoxicating lyrics go down even smoother. Despite “Fisherrr” being a very New York-sounding song, horny-talk is a universal language, so if you’ve ever met a person “with an attitude but [they] bad as fuck” so you got over it, than you’ll wave your hand to the beat all the same. —*Jordan Rose*

Album: COYOTE
The momentum Tommy Richman’s “Million Dollar Baby” has garnered in a matter of weeks is undeniable. A No. 2 debut on the Billboard Hot 100 was just the tip of the iceberg for the DMV rising star; this song is truly inescapable. A strong song of the summer contender, scroll any platform’s For You page and within seconds you’ll hear Richman’s high-pitched “Cause I want to make it, Million Dollar Baby” hook. He’s anything but a one-hit wonder, though. Tommy’s superpower is making music that not only sounds nostalgic, but of-the-moment, and “MILLION DOLLAR BABY” is the winning lottery ticket for all of ISO Supremacy. No wonder why Brent Faiyaz is contemplating retirement; Richman is the freshest face of the wave. A viral hit that seemed unstoppable from its earliest snippet, his forthcoming debut album, COYOTE, should be packed with more moments brimming with akin energy. —Jon Barlas — youtube.com

**Album:** *COYOTE*
The momentum Tommy Richman’s “Million Dollar Baby” has garnered in a matter of weeks is undeniable. A No. 2 debut on the Billboard Hot 100 was just the tip of the iceberg for the DMV rising star; this song is truly inescapable. A strong song of the summer contender, scroll any platform’s For You page and within seconds you’ll hear Richman’s high-pitched “Cause I want to make it, Million Dollar Baby” hook. He’s anything but a one-hit wonder, though. Tommy’s superpower is making music that not only sounds nostalgic, but of-the-moment, and “MILLION DOLLAR BABY” is the winning lottery ticket for all of ISO Supremacy. No wonder why Brent Faiyaz is contemplating retirement; Richman is the freshest face of the wave. A viral hit that seemed unstoppable from its earliest snippet, his forthcoming debut album, *COYOTE*, should be packed with more moments brimming with akin energy. —*Jon Barlas*

youtube.com

**Album:** *COYOTE*
The momentum Tommy Richman’s “Million Dollar Baby” has garnered in a matter of weeks is undeniable. A No. 2 debut on the Billboard Hot 100 was just the tip of the iceberg for the DMV rising star; this song is truly inescapable. A strong song of the summer contender, scroll any platform’s For You page and within seconds you’ll hear Richman’s high-pitched “Cause I want to make it, Million Dollar Baby” hook. He’s anything but a one-hit wonder, though. Tommy’s superpower is making music that not only sounds nostalgic, but of-the-moment, and “MILLION DOLLAR BABY” is the winning lottery ticket for all of ISO Supremacy. No wonder why Brent Faiyaz is contemplating retirement; Richman is the freshest face of the wave. A viral hit that seemed unstoppable from its earliest snippet, his forthcoming debut album, *COYOTE*, should be packed with more moments brimming with akin energy. —*Jon Barlas*

Album: We Don't Trust You
“Like That” is a perfect storm of “what the fuck?” moments that all crescendo at the right time, in the right sequence, and with the right delivery to create a symphony of pure hip-hop chaos that will be remembered for years to come. First, you get punched in the chest by an orchestra of trumpets, snares, and a Rodney-O and Joe Cooley-sampled beat from Metro Boomin that could be a diss itself. Then Future comes through to deliver an impressive verse that’s unrelated to any beef. (He’s rapping about losing diamond rings in women’s throats.) And of course, Kendrick Lamar shocks the world and launches the rap war. —Jordan Rose — youtube.com

**Album:** *We Don't Trust You*
“Like That” is a perfect storm of “what the fuck?” moments that all crescendo at the right time, in the right sequence, and with the right delivery to create a symphony of pure hip-hop chaos that will be remembered for years to come. First, you get punched in the chest by an orchestra of trumpets, snares, and a Rodney-O and Joe Cooley-sampled beat from Metro Boomin that could be a diss itself. Then Future comes through to deliver an impressive verse that’s unrelated to any beef. (He’s rapping about losing diamond rings in women’s throats.) And of course, Kendrick Lamar shocks the world and launches the rap war. —*Jordan Rose*

youtube.com

**Album:** *We Don't Trust You*
“Like That” is a perfect storm of “what the fuck?” moments that all crescendo at the right time, in the right sequence, and with the right delivery to create a symphony of pure hip-hop chaos that will be remembered for years to come. First, you get punched in the chest by an orchestra of trumpets, snares, and a Rodney-O and Joe Cooley-sampled beat from Metro Boomin that could be a diss itself. Then Future comes through to deliver an impressive verse that’s unrelated to any beef. (He’s rapping about losing diamond rings in women’s throats.) And of course, Kendrick Lamar shocks the world and launches the rap war. —*Jordan Rose*

Album: N/A
You’d be lying if you said you haven’t heard “Not Like Us” at a barbecue, backyard party, or maybe even a baby shower within the last few weeks since it dropped. Dot’s nuclear weapon against Drake has transcended diss tracks and entered the collective pop culture zeitgeist to a degree that not even Drake has been able to accomplish. Sure, “Back to Back” was the first diss track to be nominated for a Grammy, but did it have people across the globe screaming in unison “Certified Lover Boy, Certified pedophile?” I think not.
Beyond “Not Like Us” going No. 1 on the Billboard 100, being the song of summer 2024, and making people from New York to London crip-walk, the song also smited the most commercially successful rapper of all time by beating him at his own game. Kendrick infused venomous bars with his Compton DNA and Reagan era crack cooked up by DJ Mustard on the beat to create a concoction so potent that it could even slay the 6ix god. Heavy is the head and small are the shoes of the king of Compton. —Jordan Rose — youtube.com

**Album:** N/A
You’d be lying if you said you haven’t heard “Not Like Us” at a barbecue, backyard party, or maybe even a baby shower within the last few weeks since it dropped. Dot’s nuclear weapon against Drake has transcended diss tracks and entered the collective pop culture zeitgeist to a degree that not even Drake has been able to accomplish. Sure, “Back to Back” was the first diss track to be nominated for a Grammy, but did it have people across the globe screaming in unison “Certified Lover Boy, Certified pedophile?” I think not.
Beyond “Not Like Us” going No. 1 on the Billboard 100, being the song of summer 2024, and making people from New York to London crip-walk, the song also smited the most commercially successful rapper of all time by beating him at his own game. Kendrick infused venomous bars with his Compton DNA and Reagan era crack cooked up by DJ Mustard on the beat to create a concoction so potent that it could even slay the 6ix god. Heavy is the head and small are the shoes of the king of Compton. —*Jordan Rose*

youtube.com

**Album:** N/A
You’d be lying if you said you haven’t heard “Not Like Us” at a barbecue, backyard party, or maybe even a baby shower within the last few weeks since it dropped. Dot’s nuclear weapon against Drake has transcended diss tracks and entered the collective pop culture zeitgeist to a degree that not even Drake has been able to accomplish. Sure, “Back to Back” was the first diss track to be nominated for a Grammy, but did it have people across the globe screaming in unison “Certified Lover Boy, Certified pedophile?” I think not.
Beyond “Not Like Us” going No. 1 on the Billboard 100, being the song of summer 2024, and making people from New York to London crip-walk, the song also smited the most commercially successful rapper of all time by beating him at his own game. Kendrick infused venomous bars with his Compton DNA and Reagan era crack cooked up by DJ Mustard on the beat to create a concoction so potent that it could even slay the 6ix god. Heavy is the head and small are the shoes of the king of Compton. —*Jordan Rose*

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Best Songs Of 2024 (So Far)

30. Sammy Andaluz, "El BBL"

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29. That Mexican OT & Moneybagg Yo, "Twisting Fingers"

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28. Xaviersobased, "Need Me"

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27. Ayra Starr, "Commas"

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26. Concrete Boys, Karrahbooo, "Where Yo Daddy?"

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25. Camila Cabello f/ Playboi Carti, "I Luv It"

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24. GloRilla, "Yeah Glo!"

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23. Yeat, "Breathe"

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22. Ye & Ty Dolla Sign f/ Playboi Carti & Rich tha Kid, “Carnival”

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21. Eminem, "Houdini"

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20. J. Cole, "Crocodile Tearz"

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19. Megan Thee Stallion, "HISS"

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18. Billie Eilish, "Birds of a Feather"

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17. 21 Savage, "Redrum"

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16. Future & Metro Boomin, "Beat It"

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15. Central Cee & Lil Baby, "BAND4BAND"

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14. Bossman DLow, "Get In With Me"

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13. Playboi Carti f/ Travis Scott, "Backr00ms"

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12. Tinashe, "Nasty"

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11. ScHoolboy Q, "Blueslides"

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10. Chief Keef, "Treat Myself"

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9. SZA, "Saturn"

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8. Sexyy Red, "Get It Sexyy"

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7. Drake, "Family Matters"

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6. 4Batz, "act ii: date @ 8"

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5. Beyoncé, "Texas Hold Em"

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4. Cash Cobain f/ Bay Swag, "Fisherrr"

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3. Tommy Richman, "Million Dollar Baby"

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2. Future & Metro Boomin f/ Kendrick Lamar, "Like That"

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1. Kendrick Lamar, "Not Like Us"

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