40 Best Songs of 2024 (So Far)

Reading Time: 39 min read

40 Best Songs of 2024 (So Far) features music by Beyoncé, Billie Eilish, Kendrick Lamar, Sabrina Carpenter, Tinashe, and Tommy Richman.

The time has come as it comes every year. The ambitious and arduous task of I, The Musical Hype picking the best songs of the year (so far) 😬 😮‍💨. It is subjective. Every year, there are surprises. Every year there are omissions, some glaring. Sometimes, I rank the songs. Sometimes I don’t (that is the case in this edition). Even if the songs are ranked, what does it mean in the long run? In the 2024 version of the best songs of 2024 (so far), I have selected 40 songs, hence, 40 Best Songs of 2024 (So Far). The criteria were simple: the song was released or reached its peak in 2024. I love oldies but they aren’t allowed on this one. As parenthesized, the 40 songs selected are not ranked. This year, they are listed in alphabetical order. 40 Best Songs of 2024 (So Far) features music by Beyoncé, Billie Eilish, Kendrick Lamar, Sabrina Carpenter, Tinashe, and Tommy Richman. So, without further ado, start exploring this lengthy list or, check out the hyperlinked Table of Contents to read my commentary on the best of 2024 (so far).

~ Table of Contents ~

1. 21 Savage, “Redrum”

2. Ariana Grande, “yes, and?”

3. Artemas, “I like the way you kiss me”

4. Benson Boone, “Beautiful Things”

5. Beyoncé, “Texas Hold ‘Em”

6. Beyoncé, “YA YA”

7. Billie Eilish, “LUNCH”

8. Blessing Offor & Dolly Parton, “Somebody’s Child”

9. Chappell Roan, “Good Luck, Babe!”

10. Charli XCX, “Von dutch”

11. Chris Housman, “Guilty As Sin”

12. Cole Redding, “Gay Americana”

13. Conan Gray, “Lonely Dancers”

14. David Archuleta, “Hell Together”

15. Fred again.., Anderson .Paak & CHIKA, “places to be”

16. Future, Metro Boomin & Kendrick Lamar, “Like That”

17. Future, Metro Boomin & The Weeknd, “We Still Don’t Trust You”

18. Halsey, “The End”

19. Hozier, “Too Sweet”

20. Kacey Musgraves, “Deeper Well”

21. Kehlani, “After Hours”

22. Kendrick Lamar, “Not Like Us”

23. Kim Gordon, “BYE BYE”

24. Megan Thee Stallion, “HISS”

25. Orville Peck & Willie Nelson, “Cowboys Are Frequently Secretly Fond of Each Other”

26. Orville Peck, Kylie Minogue & Diplo, “Midnight Ride”

27. Post Malone, “I Had Some Help”

28. Sabrina Carpenter, “Espresso”

29. Sabrina Carpenter, “Please Please Please”

30. Shaboozey, “A Bar Song (Tipsy)”

31. St. Vincent, “Broken Man”

32. SZA, “Saturn”

33. T-Pain, “On This Hill”

34. Tems, “Love Me JeJe”

35. Tinashe, “Nasty”

36. Tommy Richman, “MILLION DOLLAR BABY”

37. Twenty one pilots, “Overcompensate”

38. Usher & Pheelz, “Ruin”

39. WILLOW, “b i g f e e l i n g s”

40. Zach Bryan, “Pink Skies”

1. 21 Savage, “Redrum”

American dream // Slaughter Gang, LLC / Epic // 2024

“Want it all, I won’t leave a breadcrumb / Bitch, what? I thought a nigga said somethin’ /… G Block, all we know is redrum / Redrum, redrum, redrum, redrum.” “Redrum” is the banging third track from American dream, the 2024 studio album by Grammy-winning rapper, 21 Savage. Sleekly produced by London on Da Track and AyoPeeb, “redrum” samples “Serenata Do Adeus” by Elza Laranjeira, “A Lot” by 21 Savage, and the ‘Here’s Johnny’ dialogue from the movie, The Shining. Expectedly, the chilling samples and theme, murder, make “redrum” eerie sounding. The backdrop is the perfect fuel for 21’s fire. The rapper is bold, unapologetic, and fittingly, murderous. High-flying one-liners include “Take my chopper everywhere, that’s bae,” “Two revolves on my waist, John Wayne,” and “I got big kahunas and I’m lettin’ ‘em hang.” “Redrum” is a hell of a banger. Or should I say, a hellacious banger 😈.

~ Table of Contents ~

2. Ariana Grande, “yes, and?”

eternal sunshine // Republic // 2024

“Now, I’m so done with caring / What you think, no, I won’t hide.” On “yes and?”, the promo single from her seventh LP, eternal sunshine, Grammy-winning pop superstar Ariana Grande embraces a dance-pop vibe. Interestingly, there is homage paid to pop icons and references to her relationship (“Your business is yours and mine is mine / Why do you care so much whose d**k I ride?”). The sound of the record deserves a shout-out. It begins with ample production gimmickry from the onset, followed by an infectious, danceable groove. Beyond that beat, there are plenty of ear-catching instrumental moments that complement the always brilliant vocals of Grande. Before establishing the narrative in the verses, the introduction lasts nearly 50 seconds. Grande eats from a vocal perspective, singing with ease. “Boy, come on, put your lipstick on / … Come on and walk this way through the fire,” she sings in the pre-chorus, embracing and promoting inclusivity. In the chorus she drops a few swears for ‘the sake of uplifting.’ “‘Yes, and?’ / Say that shit with your chest, and / Be your own fuckin’ best friend…” Woo! She brings the heat on the empowering, entertaining, and exuberant “yes, and?”.

Appears in 🔻:

Honorable Mention(s): “the boy is mine” and “We can’t be friends (wait for your love)”

~ Table of Contents ~

3. Artemas, “I like the way you kiss me”

I like the way you kiss me // Artemas // 2024

“I like the way you kiss me, I can tell you miss me / I can tell it hits, hits, hits, hits.” English alt-pop singer, songwriter, and producer Artemas released a surefire bop with the infectious “I like the way you kiss me”. Artemas penned this ‘NSA’ record with Jesse Fink and his fellow producers, Kevin White and Daintree. “I like the way you kiss me” is ‘anti-romance’ – rather, perceived anti-romance – at its best. In the chorus, Artemas continues, “Not tryna be romantic, I’ll hit it from the back / Just so you don’t get attached.” Still, by the time the first verse arrives, he asserts, “You take the heat, and with such grace / You say we’re done, but here you stay.” Hmm, sounds like more than sex… “Said you’re scared I’ll let you down… / Stick around and you’ll find out.” Still, in the second verse, one wonders what kind of scene he’s getting at, particularly since he asks, “Can we make it loud?” Regardless, Artemas is proud of his baby, attached or nah. “I like the way you kiss me” is something Artemas should be proud of given the energy he brings and the colorful, driving sound.

Appears in 🔻:

Bops That Pop: April 2024

~ Table of Contents ~

4. Benson Boone, “Beautiful Things”

Fireworks & Rollerblades // Night Street / Warner // 2024

22-year-old Benson Boone had a big year in 2024. The biggest triumph by the big-voiced pop star was his viral, no. 2 Billboard Hot 100 hit, “Beautiful Things.” “Please stay / I want you, I need you, oh God / Don’t take / These beautiful things that I’ve got,” he belts in the energetic, unforgettable chorus. Boone (and those vocal cords) gives his all during the song’s most memorable section. The chorus signals ‘hit’ the first time you hear it, hence why the song has been streamed a lot. What’s interesting about the highlight from Fireworks & Rollerblades is the contrast. He still ‘cuts’ singing the verses (he has that type of voice) but exhibits more poise and performs at a softer dynamic level. “Beautiful Things” is a beautiful song, thanks to Boone’s vocal abilities, his immense faith (“And I thank God every day / For the girl He sent my way”), and, of course, the production (Evan Blair) and songwriting (Blair, Boone, and Jack LaFrantz).

Honorable Mention: “Slow It Down”

~ Table of Contents ~

5. Beyoncé, “Texas Hold ‘Em”

Cowboy Carter // Parkwood Entertainment LLC / Columbia // 2024

“This ain’t Texas (Woo) / Ain’t no hold ‘em (Hey) / So lay your cards down, down, down, down.” Grammy-winning superstar Beyoncé, originally from Texas, The Longhorn State, unveiled the spirited, country/western-pop single, “Texas Hold ‘Em”. “Texas Hold ‘Em” is one of many triumphs from her country-infused album, Cowboy Carter. She penned the record alongside Lowell, bülow, Raphael Saadiq, Nathan Ferraro, and Killah B.  She produced it alongside Killah B and Ferraro. The country flavor is apparent from the onset. Beyoncé’s voice is top-notch. She exhibits ample personality referencing the poker game in the memorable chorus.  Besides her fabulous lead vocals, the background vocals are sweet too! Oh, the harmonies! Less explicit than some of her recent songs, she still musters up profanity, whether it’s “There’s a tornado / In my city / Hit the basement / That shit ain’t pretty” (verse one) or “Don’t be a bitch, come take it to the floor now / And I’ll be damned if I cannot dance with you (chorus).” “Texas Hold ‘Em” is a pleasure to listen to. It reminds us of her versatility and that black artists can sing and excel at country music. 

Appears in 🔻:

~ Table of Contents ~

6. Beyoncé, “YA YA”

Cowboy Carter // Parkwood Entertainment LLC / Columbia // 2024

“Texas Hold ‘Em” garnered the most attention during the pre-Cowboy Carter album cycle. It far overshadowed the companion single, “16 CARRIAGES”. After Cowboy Carter arrived, “YA YA” earned plenty of love, and reached no. 39 on the Billboard Hot 100. TikTok was flooded with energetic, hip and booty shaking to “YA YA”. In the ‘chorus,’ varied throughout, Bey asserts: “Ladies? / Fuck it, we shakin’ (Ya-ya-ya-ya…) / We swimmin’… / We jerkin’… / We twerkin’…” This seems nonsensical but dig deeper and Beyoncé makes numerous cultural references. Early on, she mentions the Chitlin’ Circuit, where black performers earned opportunities that eluded them in white venues and helped them become stars. Politically charged, one of the most memorable lines Beyoncé sings occurs in the first verse: “Whole lotta red in that white and blue, huh / History can’t be erased.” Not only is “YA YA” one of the best songs from Cowboy Carter, but it is also a history lesson and decadent food for thought. Also, shout out the producers (Beyoncé, Cadenza, Harry Edwards, Khirye Tyler, and The-Dream) for the sickening instrumental and awesome samples: “Good Vibrations” by The Beach Boys and “These Boots Are Made for Walkin’” by Nancy Sinatra.

Honorable Mention(s): “AMERIICAN REQUIEM” & “16 CARRIAGES”

~ Table of Contents ~

7. Billie Eilish, “LUNCH”

HIT ME HARD AND SOFT // Darkroom / Interscope // 2024

“I could eat that girl for lunch / Yeah, she dances on my tongue / Taste like she might be the one.” Academy and Grammy Award-winning singer/songwriter Billie Eilish is honest regarding attraction and sexuality in her song, “LUNCH”. “I’m interested in more than just bein’ your friend,” she adds in the bridge. “LUNCH” is the second track from her critically acclaimed, third studio album, HIT ME HARD AND SOFT. An authentic, honest, and personal track, Eilish embraces her queerness. In 2023, she came out unintentionally, stating she didn’t know people were unaware of her attraction to women. Early on “LUNCH,” Eilish is transparent about having a relationship with a woman. She adds in the centerpiece, the chorus, “It’s a craving, not a crush.” The lyric legitimizes her desire – it’s no fluke.

In the verses, Eilish ‘opens up’ about her feelings about this girl. All the while, she maintains the lunch metaphor. “Baby, I think you were made for me / Somebody write down the recipe,” she sings in the first verse, adding, “Been tryin’ hard not to overeat / You’re just so sweet.” Things progress, with Eilish offering to help this girl ‘take off her clothes,’ desiring to “get her off.” In the second verse, she’s impressed with her beautiful looks, complimenting her skin. She cleverly concludes the verse by singing, “She’s the headlights, I’m the deer.” What makes “LUNCH” impressive is how vulnerable Eilish allows herself to be. Navigating sexuality is difficult. That is an understatement! Here, with her amazing, distinct voice, and the stellar production of her right-hand man, FINNEAS, Eilish conveys her truth, masking nothing. This “LUNCH” is delicious and makes us beam ear to ear with Pride 🏳️‍🌈.

Appears in 🔻:

~ Table of Contents ~

8. Blessing Offor & Dolly Parton, “Somebody’s Child”

“Somebody’s Child” // Capitol CMG, Inc. // 2024

“Do you remember dreaming? / Do you remember home? / Do you remember feelin’ / Like you were not alone?” Nigerian singer/songwriter Blessing Offor reminisces in the first verse of his sincere, touching pop, gospel-infused song, “Somebody’s Child”. The memories are beautiful and unforgettable. Also unforgettable are the tuneful melodies performed by Offor. He, Joy Williams, and producer Josh Ronen penned it. Additionally, he collaborates with a musical icon, the one-and-only Dolly Parton.

“We’re all somebody’s baby

We’re all somebody’s child

We’re all some kinda crazy

We’re all some kinda wise

We’re all full of amazing

We’re all flirting with lies

We’re all somebody’s heartache

Somebody’s can’t wait, somebody’s why

We’re all somebody’s baby

We’re all somebody’s child.”

The chorus is the crème de la crème of “Somebody’s Child.” Offor sublimely performs it following his verse. Parton takes the reins in the second verse, penned like the first. “They join forces in the second chorus, with the help of choral vocals. A bridge precedes the final chorus, which is incredibly heartfelt and stirring. Gospel music cues are firmly in play, from the warmth and prevalence of the piano to the choral vocals, but, this is more of an inspirational pop record. Ultimately, “Somebody’s Child” is feel-good and uplifting, a musical blessing.

Appears in 🔻:

Bops That Pop: May 2024

~ Table of Contents ~

9. Chappell Roan, “Good Luck, Babe!”

“Good Luck, Babe!” // KRA International, Inc. / Island // 2024

“I don’t wanna call it off / But you don’t wanna call it love / You only wanna be the one that I call baby.” Chappell Roan is comfortable with her sexuality in her thrilling, breakout hit, “Good Luck, Babe!”. Her girlfriend, however, is struggling with accepting her sexuality, complicating their relationship. “You can say that we are nothing, but you know the truth,” Roan asserts in the first verse, adding, “And I guess I’m the fool.” Being queer in a heteronormative world can be tough, and Roan’s girlfriend didn’t reach a level of comfort. Roan paints the picture of the end of this relationship because of these unfair, unfortunate circumstances (“Think I’m gonna call it off / Even if you call it love / I just wanna love someone who calls me baby”). The damage has been done. In the chorus, she wishes her luck suppressing her sexuality to fit the heterosexual narrative of the word:

“You can kiss a hundred boys in bars

Shoot another shot, try to stop the feeling

… Make another excuse, another stupid reason

Good luck, babe (Well, good luck).”

Roan, Justin Tranter, and producer, Dan Nigro composed this colorful, dynamic, meaningful, and thoughtful song. The sound is alternative pop with a standard rhythm section, programming, and strings. Chappell is an awesome singer who shows off the versatility of her instrument. Most importantly, the epic “Good Luck, Babe!” addresses a prevalent issue within the LGBTQ+ 🏳️‍🌈 community and how complicated same-sex relationships can be and dispels the myopic view/myth that queer relationships as merely sexual.

Appears in 🔻:

Chappell Roan, Good Luck, Babe!: Beaming with Pride 🏳️‍🌈 32 (2024)

~ Table of Contents ~

10. Charli XCX, “Von dutch”

BRAT // Atlantic // 2024

According to Charli XCX, “I’m just living that life / Von Dutch, cult classic, but I still pop.” “Von dutch” is the promo single and sixth track from tour de force, BRAT. It references the clothing brand, yet it’s not really about the brand. This electro- / hyperpop banger was written by Charli and produced by EASYFUN, who puts his foot into this one. From the jump, it’s groovy, the synths picturesque, and the overall vibe giving #DANCEFLOOR. Besides the banging instrumental, the biggest reason for the success of this banger is Charli. She has no shortage of personality, pointing fingers at the haters early on. Before “living that life / Von Dutch,” she asserts in the verse, “It’s okay just to admit that you’re jealous of me / Yeah, I heard you talk about me, that’s the word on the street.” Essentially, she reads this person something fierce, adding, “You’re obsessing, just confess it, put your hands up / It’s obvious I’m your number one.” Woo! Continuing with the chorus, excerpted earlier, XCX keeps the Von Dutch vibes going: “Von Dutch, cult classic in your eardrums / Why you lying? You won’t fuck unless he’s famous / Do that little dance, without it, you’d be nameless / It’s so obvious I’m your number one.” What more is there to say? Charli XCX sounds fierce on this infectious, attitude-laden pop single.

Honorable Mention: “360”

Appears in 🔻:

Bops That Pop: March 2024

~ Table of Contents ~

11. Chris Housman, “Guilty As Sin”

Blueneck // Chris Housman // 2024

“Tried to fight it / To deny it / But every single night it’s the same desire, same damn fire.” Chris Housman understands it simply CAN’T be prayed away. “Knew it was you the moment I felt this, baby, I’m helpless.” Housman is talking about resisting a guy. The gay country musician shouldn’t have to resist. In the marvelous ballad, “Guilty As Sin”, the fifth track from Blueneck, he is living his truth. “I’m done pretending / Cut the tension / Ain’t no use in us acting like, this ain’t right.” Agreed, Chris. He’s on fire from start to finish. His vocals are stunning. He sounds honest and sincere regarding his sexuality, adding in the second verse, “I need your body / Heavy on me / I’m always falling back to your gravity, it’s pulling me.” Aww! The accompaniment is country to the nth degree, and it sounds natural and fitting. Country music isn’t known as the most inclusive genre but more and more, artists are expanding and pushing the boundaries. The centerpiece of this thoughtful song that EVERYBODY needs to hear is the chorus:

“I gave it my best

But this halo don’t fit

If I had to spend forever in heaven without you might as well be in hell

My verdict is in

Cause baby if loving you is wrong

Then I’m guilty as sin.”

Love is love 🏳️‍🌈, baby! “Guilty As Sin” is a heavenly and moving, must-hear country ballad from Chris Housman.

Appears in 🔻:

~ Table of Contents ~

12. Cole Redding, Gay Americana

“Gay Americana” // Cole Redding // 2024

“Shy boy with too many secrets / I know what it’s like to be him.” The handsome and talented pop musician Cole Redding released an authentic and moving anthem with “Gay Americana”. He penned “Gay Americana” with Stephan Santa Teresa and Rachel Kennedy. It thrives for many reasons with songwriting and inclusivity topping the list. Redding advises this gay young man, “Promise it won’t make the world end / If you say you don’t want a girlfriend.” He encourages him not to box himself into the heteronormative world – be who you want to be and live true. After all, in “Gay Americana,” “You can be anything you wanna.” Redding offers up so many meaningful, inclusive thoughts including:

“Put the stars and stripes

On a rainbow flag 🏳️‍🌈

And we’ll fight for love

Cause it’s all we have

We were born this way

And they can’t change that

No, we won’t go back.”

Beyond the songwriting and theme, the musicianship is turned up. Redding sings beautifully and easily on this uplifting pop joint. He’s authentic, selling the text superbly. The melodies are tuneful, particularly when he celebrates gay Americana in all its liberating glory. The instrumental is fire, incorporating the sheen of modern pop with some classic music cues. “Gay Americana” is an inclusive pop song that everybody needs to hear.

Appears in 🔻:

Bops That Pop: June 2024

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13. Conan Gray, “Lonely Dancers”

Found Heaven // Republic // 2024

“Tonight, you’re mine.” “Lonely Dancers” is one of the best moments from Found Heaven, the third studio album by the handsome, ultra-talented Conan Gray. Gray wrote this ear candy alongside Ilya Salmanzadeh (ILYA), Max Martin, and Oscar Holter. ILYA, Martin, and Holter handle production duties, responsible for a decadent, picturesque backdrop, including some epic, rhythmic synths. The instrumental is potent, but the star of the show is Gray. He serves up commanding, marvelous lead vocals. The first section of “Lonely Dancers” heard is the epic chorus:

“We’re lonely dancers

Join me for the night

We’re lonely dancers, baby

Dance with me so we don’t cry

We’re lonely dancers

There’s no need to hide

I know the answer, baby

Dance we me so we don’t cray

La-la, la-la, la, cry

La-la, la-la, la.”

While it’s self-explanatory, there’s further clarification in the verse, where Gray spills the tea: “Your lover left you, broke up tonight / My lover’s busy kissin’ other guys, oh.” What else should they do but join each other in their misery and dance it out! “Lonely Dancers” thrives off its tuneful melodies, which recall the 1980s. Conan ever misses. “Lonely Dancers” is terrific.

Appears in 🔻:

Bops That Pop: February 2024

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14. David Archuleta, “Hell Together”

“Hell Together” // Archie Music // 2024

“Bow your head, don’t be bold / You’ll survive by doin’ what you’re told.” Thought-provoking lyrics that David Archuleta sings in the first verse of “Hell Together”. Archuleta experienced big life changes: coming out and leaving the Mormon church. The opening lyrics are troubling signaling the infamous notion of praying the gay away. The lyrics convey the attitude that some religions, religious institutions, and people of faith have toward non-heterosexuals. Archie continues singing beautifully and sincerely, “Said love is earned and we can’t choose / But the more you grow, you know the truth.” He penned this stirring, vulnerable ballad with Sam DeRosa, Ryan Nealon, and producer, Jordan Sherman. After David realizes how the myopic views of the church are, and the effect they’ve had on him, he’s concerned about disappointing his mom. That is where the most touching moment of occurs – the chorus:

“‘If I have to live without you

I don’t wanna live forever in someone else’s heaven

So let ‘em close the gates

Oh, if they don’t like the way you’re made, then they’re not any better

If Paradise is pressure, oh

We’ll go to hell together.”

🥹 The ultimate allyship – blood! The second verse expands on it: “You and me, that’s all we need / Blood is thicker than the pages that they read.” On the bridge, Archuleta regrets not breaking from the church before now. “Hell Together” brilliantly captures the struggles faced by many in the LGBTQ+ 🏳️‍🌈 community.

Appears in 🔻:

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15. Fred again.., Anderson .Paak & CHIKA, “places to be”

“places to be” // Atlantic UK // 2024

“When I get home I want you.” Noted, CHIKA. The Grammy-nominated rapper adds, “Hello, I got places to be / Places to be.” Fred again.., Anderson .Paak, and CHIKA join forces for the ill dance/electronic/pop single, “places to be”. Grammy-winning producer Fred again.. produced “places to be” with Boo and Skrillex. The sounds ‘kick ass and take names.’ It begins with the sick percussive groove. Also, there are awesome, creative, and picturesque synths. A vibe, a vibe, a vibe!

“Places to be” thrives off repetition, at least initially. There are few lyrics in the first verse, or the chorus performed by CHIKA. Still, she brings the heat. This heat continues in the drop in all its glory. Grammy winner Anderson .Paak enters the mix in the second verse, bringing more lyrics and lyrical variance. He rides the production like a champ. “Baby girl, there’s nothin’ that could keep me from you (And you know I love you),” he sings in the second verse, continuing, “Haters always wanna keep me from you (Wanna keep me from you) / Got me pickin’ out my speed now for ya / Please be loyal.” Woo! He collaborates with CHIKA in the subsequent chorus and performs a bridge that leads to another drop. CHIKA gets the last word in: “I be adjustin’ my speed.” No extensive analysis is necessary for “places to be”, a fun collaboration between three incredibly talented individuals.

Honorable Mention: “BerwynGesaffNeighbours”

Appears in 🔻:

Bops That Pop: June 2024

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16. Future, Metro Boomin & Kendrick Lamar, “Like That”

WE DON’T TRUST YOU // Wilburn Holding Co. / Boominati Worldwide / Epic // 2024

One of the big catalysts in the Kendrick Lamar and Drake rap beef of 2024 is the Billboard Hot 100 no. 1 hit, “Like That.” “Like That” appears on WE DON’T TRUST YOU, the first of two collaborative albums by Grammy-winning rapper Future and ‘it’ hip-hop producer, Metro Boomin. Young Metro and Prince 85 produced, incorporating a trio of samples. Kendrick is the featured guest where he memorably asserts in the second verse, “Motherfuck the big three, nigga, it’s just big me / Nigga, bum What? I’m really like that / And your best work is a light pack.” WOO 😮‍💨! That alone is enough to earn “Like That” a spot on the 40 Best Songs of 2024 (So Far). Of course, Future does ‘Future’ things in the first verse (“I know she gon’ swallow, she a G.O.A.T.” and “Bring a friend, bitch, we fucked ‘em at the same time”). His bread is buttered in the chorus where he takes a shot at his former collaborator: “Niggas from the bottom really like that (If you like that).” “Like That” is one of the biggest rap songs of 2024 from one of the biggest albums.

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17. Future, Metro Boomin & The Weeknd, “We Still Don’t Trust You”

WE STILL DON’T TRUST YOU // Wilburn Holding Co. / Boominati Worldwide / Epic // 2024

“She’s such a freak / Bad and freaky, yeah / We still don’t trust you.” 2024 has been a prolific year with Future following up his first collaboration with producer Metro Boomin, WE DON’T TRUST YOU, with WE STILL DON’T TRUST YOU. Leading the charge on their second album of 2024 is the titular track. Joining the duo on “We Still Don’t Trust You” is Grammy-winning R&B standout, The Weeknd. The result is a vibe, a vibe, and a vibe! “We Still Don’t Trust You” is NOT your standard rap song. It sounds more like an alternative R&B record, which is part of the charm. The production is fabulous. It is hard not to move your body to the beat, while the synths and keys catch the ears. Furthermore, The Weeknd’s ‘less lyrical’ singing on the track (“oh, whoa,” and such) is as important as his lyrical singing (“And the Paris girls, they sing my song with love…). Another big contributor to the aesthetic is the repetition of the titular line. If nothing else is clear, Future establishes the fact that we still don’t trust you. He performs the intro and outro, as well as the final two lines of the verse: “Electricity, transparency, higher than we will ever be / I am loving our chemistry”). A different type of record, “We Still Don’t Trust You” is hypnotic.

Appears in 🔻:

Bops That Pop: April 2024

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18. Halsey, “The End”

“The End” // Columbia // 2024

“If you knew it was the end of the world / Could you love me like a child?” Halsey (she/they) asks in the chorus of “The End”. “Could you hold me in the dark? / If you knew it was the end of the world,” she continues singing, showcasing authenticity and vulnerability. “The End” comes after trials and tribulations for the singer/songwriter, who has experienced a host of health-related issues including endometriosis, Lupus, and T-cell lymphoproliferative disorder. They share their journey on the self-penned, emotional single. Halsey produced “The End” alongside Alex G and Michael Uzowuru. Vocally, they sing marvelously. Their tone and the personality they bring to the table make them compelling. Lived experiences ‘up the ante’ on “The End.” The accompaniment, guitar (Alex G), and keys (Sir Dylan), is perfectly suited for their voice. The main attraction is the songwriting. Halsey addresses their medical issues. “Every couple of years now, a doctor says I’m sick,” they sing in the first verse, adding, “Pulls out a brand-new bag of tricks, and then they lay it on me / And at first, it was my brain, then a skeleton in pain.” Heavy. In the second, it is clear they have an arduous relationship with medicine: “So I ran into the clinic, and I asked to see the man / With his white coat and his stethoscope like a snake around his hand.” Biblical allusions appear throughout, with references to the snake and the Great Flood. In the outro, they address their treatment for Lupus and the rare T-cell disorder. “The End” is stunning – a song that leaves you speechless. Halsey put their heart and soul into this one.

Appears in 🔻:

Bops That Pop: June 2024

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19. Hozier, “Too Sweet”

Unreal Unearth: Unheard // Rubyworks Ltd. // 2024

“It can’t be said I’m an early bird / It’s 10 o’clock before I say a word.” Grammy-nominated, Irish singer/songwriter Hozier (Andrew John Hozier-Byrne) is a straight-up vibe. He earned his first no.1 hit on the Billboard Hot 100 with the sugary sweet “Too Sweet” (Unreal Unearth: Unheard). Hozier penned this earworm with Stuart Johnson, Tyler Mehlenbacher, and producers Bēkon, Peter Gonzales, and Sergiu Gherman (Chakra also produces). “Too Sweet” features smart, often poetic lyricism from Hozier. That said, the song isn’t difficult to decipher or decode. Hozier has been in a relationship with her, but he knows that she is “too sweet” for him – they’re incompatible. “You keep tellin’ me to live right / To go to bed before the daylight,” he sings in the first verse, adding, “But when you wake up for the sunrise / You know you don’t gotta pretend. He paints the picture of a more polished person – “Pretty as a vine / As sweet as a grape / If you can sit in a barrel / Maybe I’ll wait / Until that day” – which is not who he is or desires to be with. Hence, that’s why he asserts in the centerpiece, the chorus, “I think I’ll take my whiskey neat / My coffee black and my bed at three / You’re too sweet for me / You’re too sweet for me.” In addition to a masterful pen, Hozier sings delightfully, while the instrumental backdrop is – wait for it – “Too Sweet”!

Appears in 🔻:

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20. Kacey Musgraves, “Deeper Well”

Deeper Well // Interscope / MCA Nashville // 2024

“My Saturn has returned / When I turned twenty-seven / Everything started to change.” Grammy-winning country artist Kacey Musgraves serves up hypnotic vibes on “Deeper Well”, the second track from her sixth studio album, Deeper Well. Musgraves wrote and produced the song alongside Daniel Tashian and Ian Fitchuk. It feels and sounds like a K.M. song from the jump. She’s accompanied by a simple backdrop, led by rhythmic acoustic guitars, bass, and light drums. During the chorus, there are some additional, colorful music cues, but they’re presented with subtlety. Musgraves delivers her typical calm, cool, and collected vocal performance, sounding as if she never breaks a sweat. While she’s a reserved vocalist, her tone is beautiful. Furthermore, when her vocals are harmonized, the radiance is even more pronounced. Also, Kacey works with tuneful melodies, both in the verses and the chorus. Additionally, the songwriting is reflective, signaled by the excerpted first verse. There are even more interesting lyrics: “I used to wake and bake / Roll out of bed, hit the gravity bong that I made /… Everything that I did seemed better when I was high / I don’t know why.” Word… Of course, the chorus is the crown jewel:

“So, I’m getting’ rid of the habits that I feel

Are real good at wastin’ my time

No regrets, baby, I just think that maybe

It’s natural when things lose their shine

…I found a deeper well.”

A mature song from a maturing, evolving artist feels right.

Appears in 🔻:

Bops That Pop: February 2024

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21. Kehlani, “After Hours”

Crash // TSNMI / Atlantic // 2024

“After Hours” appears on Crash, the fourth studio album by Grammy-nominated R&B artist Kehlani. A terrific groove is established at the onset. Notably, “After Hours” samples “Coolie Dance Rhythm” by Cordel “Scatta” Burrell. Fun fact: “Coolie Dance Rhythm” was also sampled in the 2004 Nina Sky hit, “Move Ya Body”. With an electrifying instrumental supporting them, Kehlani brings the heat. Kehlani serves up clear, sexy vocals. They never over sing, maintaining a cool, calm, and collected approach. Lyrically, “the song isn’t deep but enjoyable – a vibe. “We don’t gotta take it slow / I’ma hit the gas if you’re ready to go,” they sing in the first verse, adding in the second, “We ain’t even know they turned on the lights / We missed the last call ridin’ on a high.” Ooh, we! The section to beat is the tuneful chorus:

“Why don’t you stay?

Stay here after hours

I know you don’t wanna leave

Stay here for after hours.”

All told, “After Hours” is a pleasant, well-rounded, and sexy, pop-oriented R&B cut.

Honorable Mention: “Next 2 U”

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22. Kendrick Lamar, “Not Like Us”

“Not Like Us” // Kendrick Lamar / Interscope // 2024

“I see dead people.” And so, begins the Kendrick Lamar diss directed toward Drake, “Not Like Us”. The sound is intentionally clubby and commercial. Atypical of him artistically, Kendrick clowned Drizzy post-“Family Matters”. “Not Like Us” was produced by Mustard, Sounwave, and Sean Momberger. “They not like us, they not like us, they not like us.” The sleekness of the instrumental is a selling point, but the bars ‘take the cake.’ Early on, K-Dot spits, “What’s up with these jabroni-ass niggas tryna see Compton?” He adds, “Beat your ass and hide the Bible if God watchin’.” He’s willing to compromise his Christianity to F him up. There’s more, in the first verse: “Certified Lover Boy? Certified pedophiles,” and, “Why you trollin’ like a bitch? Ain’t you tired? Tryna strike a chord and it’s probably A minor.” Gah-day-um! Verse two finds Lamar continuing to eat Drake TF up, bringing up skeletons in the closet: “Fucked on Wayne girl while he was in jail, that’s connivin’…” He clowns his moniker as the 6 God: “Devil is a lie, he a 69 God, ayy / Freaky-ass niggas need to stay they ass inside, ayy.” In the third verse, he criticizes his artistry, accusing him of using others for clout. One of the best jabs by K-Dot: “Let me hear you say, ‘OV-ho.’” “Not Like Us” is the third of three red-hot joints where Kendrick destroys his adversary.

Honorable Mention(s): “euphoria” and “meet the grahams”

Appears in 🔻:

Bops That Pop: May 2024

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23. Kim Gordon, “BYE BYE”

The Collective // Kim Gordon / Matador // 2024

“Buy a suitcase, pants to the cleaner / Cigarettes for Keller / Call the vet call the groomer / Call the dog sitter.” “BYE BYE” commences The Collective, the second solo album by the legendary Kim Gordon. Gordon penned “BYE BYE” alongside producer SADPONY (Justin Raisen). Ear-catching from the onset, the record sounds distorted, noisy, and malicious. The beat that anchors ‘goes hard’ – NO CAP! Kim Gordon and trap? Who would’ve ever thought? “Milk thistle, calcium, high-rise, boot cut / Advil, black jeans, blue jeans…” Throughout, Gordon delivers a chanted, spoken-word performance. No, she’s not a rapper, but that’s the effect she has on “BYE BYE”, particularly given that nasty trap beat. After wowing with her ‘bars,’ following the third verse (“YSL, Eckhaus Latta / Eyelash curler, vibrator, teaser / Bye-Bye / Bye-Bye”), the remainder of the song focuses on the instrumental, which grows noisier and more chaotic. That is a win! An odd, experimental track, that is the charm of “BYE BYE”, a surefire, certified vibe.

Appears in 🔻:

~ Table of Contents ~

24. Megan Thee Stallion, “HISS”

“HISS” // Hot Girl Productions LLC // 2024

“I feel like Mariah Carey (Mariah Carey), got these niggas so obsessed (Damn).” Damn, indeed, Megan Thee Stallion. The Grammy-winning rapper came out ‘hissing’ on her single, “HISS”. “HISS” was produced by LilJuMadeDaBeat, Bankroll Got It, and Shawn “Source” Jarrett. They gave her a hard backdrop to rap on. Notably, the record is comprised of two verses with no chorus. Thee Stallion gives us an intro at the beginning (“I just wanna kick this shit off by sayin’ fuck y’all”), and an interlude between the verses. Most importantly, as to be expected, there is no shortage of ear-catching bars. “My pussy so famous might get managed by Kris Jenner next,” she asserts in the first verse, following that epic, Mariah Carey / “Obsessed” lyric. She doesn’t stop there, in the same verse, spitting, “These hoes don’t be mad at Megan, these hoes mad at Megan’s Law,” and “Bitches swear they G, but the G must stand for goofy.” Shots fired at Nicki Minaj. The second verse is also fierce, with the likes of “Don’t speak on my body count if the dick ain’t worth comin’ back for seconds.” Ooh-wee! Her ex, Pardison Fontaine receives her wrath: “I’m way too fuckin’ cocky to take him back if he been cheatin’ / I can’t let none of you raggedy bitches think that y’all my equal.” On “HISS”, Thee Stallion confidently and unapologetic goes TF off. Fire!

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25. Orville Peck & Willie Nelson, “Cowboys Are Frequently Secretly Fond of Each Other”

Stampede: Vol. 1 // Orville Peck, LLC / Warner // 2024

In 2024, beloved, gay country artist, Orville Peck, duetted with Willie Nelson on a brand-new cover of the queer, Ned Sublette-penned country gem “Cowboys Are Frequently Secretly Fond of Each Other”. This 2024 rendition from Peck’s album, Stampede, was produced by Beau Bedford. The instrumental is subtle, which is perfect for allowing Peck and Nelson’s voices to shine. Peck starts things off with his expressive, masculine baritone. His tone is EVERYTHING. Gay men are often pigeonholed and stereotyped as being effeminate. Just hearing a ‘manly’ voice, from an openly gay musician, singing lyrics about male/male relationships is intriguing (“No, a small town don’t like it when a cowboy has feelings for men”). Following Peck’s verse, Nelson performs the second, delivering one of the best lyrics of the song: “But the ones [cowboys] who brag loudest are the ones that are most likely queer.” There is truth to the lyrics too, and it doesn’t simply limit itself to cowboys. Peck and Nelson join forces in the choruses, bringing out the cowboy love in, well, all its queerness. Following an instrumental break, Peck takes over the reins in the third verse, once more wowing with his awesome pipes. He manages to drop in the most colorful verse: “So, when you talk to a cowboy, don’t treat him like he was a sister / You can’t fuck with a lady that’s sleepin’ in each cowboy’s head.” Peck and Nelson join forces together on the queer country classic that is “Cowboys Are Frequently Secretly Fond of Each Other”, it’s nothing short of magic!

Appears in 🔻:

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26. Orville Peck, Kylie Minogue & Diplo, “Midnight Ride”

Stampede // Orville Peck, LLC / Warner // 2024

Did you ever expect Orville Peck, Kylie Minogue, and Diplo to collaborate? The answer is NO. However, those three talented musicians joined forces for “Midnight Ride” from Peck’s 2024 album, Stampede. “Midnight Ride” was written by Peck, Minogue, Marci, and Chris Stracey. Diplo, Stracey, and Picard Brothers produced. “Midnight Ride” is set in a minor key – dark, but not too dark. The production is fantastic. It incorporates cues from pop, country, and dance. Country music fans may cry foul that it’s nontraditional, but non-country music fans will embrace the eclectic vibes. The smoking hot Peck is the first voice heard, singing with a beautiful tone. The warmth, depth, and masculine timbre of his voice are impressive. Following his verse and the pre-chorus, the listener gets the first taste of the irresistible chorus:

“Let me take you on a midnight ride

Baby, you and I

Ooh, so much we could explore

Pull me closer under moonlit skies

Fire in your eyes

Ooh, you got me burnin’.”

Minogue enters the mix in the second verse. She contrasts Peck’s singing with subtlety in an undertone. She rises to the occasion duetting with him in the second chorus, showing more commanding, dynamic vocals. Besides the chorus, one of the most fun moments of the song is the bridge where both singers show off their personalities. Orville, Kylie, and Diplo kill it on “Midnight Ride”.

Appears in 🔻:

Bops That Pop: June 2024

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27. Post Malone, “I Had Some Help” (Ft. Morgan Wallen)

“I Had Some Help” // Mercury / Republic // 2024

“They say, ‘Teamwork makes the dream work’ / Hell, I had some help.” Post Malone officially entered his country era with “I Had Some Help”. He collaborates with Morgan Wallen, country music’s ‘it’ boy. The production and sound fully embrace the country aesthetic – GUITARS. It was produced by Charlie Handsome, Hoskins, and Louis Bell. “I Had Some Help” debuted at no. 1 on the Billboard Hot 100 beginning a dominate run. Post Malone sings the first verse and the first chorus, the centerpiece filled with that teamwork makes the dream work mentality. “You got a lotta nerve, don’t you, baby? / I only hit the curb ‘cause you made me,” he sings, adding, “Why’d you throw them stones if you / Had a wild hair of your own or two?” His signature vocal cues are in play, namely that distinct vibrato. Wallen amps up the twang in the second verse. “You think that you’re so innocent / After all the shit you did,” he sings, continuing, “I ain’t an angel, you ain’t heaven-sent / Can’t wash our hands of this.” The melodies are tuneful in the verses, with the chorus taking the cake:

“I had some help

It ain’t like I can make this kinda mess all by myself

Don’t act like you ain’t help me pull that bottle off the shelf

Been deep in every weekend if you couldn’t tell

They say, ‘Teamwork makes the dream work’

Hell, I had some help.”

The bridge is also entertaining. Ultimately, “I Had Some Help” is catchy and enjoyable.

Appears in 🔻:

Bops That Pop: May 2024

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28. Sabrina Carpenter, “Espresso”

Short n’ Sweet // Island // 2024

“Now he’s thinkin’ ‘bout me every night, oh / Is it sweet? I guess so.” What’s most sweet for Sabrina Carpenter is the breakout year she’s had in 2024. The breakout? “Espresso.” “Espresso,” the seventh track from Short n’ Sweet, earned Carpenter her first top-5 hit on the Billboard Hot 100. It is a fun, groovy, and infectious pop song that easily gets stuck in your head. Yes, espresso is coffee but that’s not what Carpenter is getting at. This is a confident, sexy, grown-up pop record from Sabrina, who is 25 – no longer a child actress! “My give-a-fucks are on vacation,” she sings in the first verse, adding “And I got this one boy, and he won’t stop calling / When they act this way, I know I got ‘em.” Oh, snap! Another lyrical gem that Carpenter throws at the audience? “My twisted humor make him laugh so often / My honeybee, come and get this pollen.” Carpenter delivers a playful vocal performance, backed by a sleek Julian Bunetta-produced backdrop. “Espresso” is just the beginning for Sabrina Carpenter… literally!

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29. Sabrina Carpenter, “Please Please Please”

Short n’ Sweet // Island // 2024

“I beg you, don’t embarrass me, motherfucker, oh / Please, please, please.” Sabrina Carpenter followed up her surefire bop “Espresso” with the groovy, vibe-heavy song, “Please Please Please”, from her album, Short n’ Sweet (arrives August 23, 2024). “Please³” was written by Carpenter, Amy Allen, and Jack Antonoff. Besides his writing credit, Antonoff produced the bright, major-key cut featuring acoustic and electronic instruments/music cues. She drops the mf-bomb in the chorus, but otherwise keeps things clean. What is the premise of the song, and why does she call him a motherfucker? He’s sus! The ‘sus-ness’ occurs early on as Carpenter cites her belief in her judgment regarding men though others disagree. Also, she urges her boyfriend, an actor (*cough* Barry Keoghan), to “act like a stand-up guy / Whatever devil’s inside you, don’t let him out tonight.” How much of a liability is he? “Well, I have a fun idea, babe, maybe just stay inside,” she asserts in the second verse, adding, “And we could live so happily if no one knows that you’re with me.” Houston – rather, Sabrina – we have a problem! The chorus is the crème de la crème, with that ear-catching ‘mf’ line, continuing to encourage him to be on his best behavior. “Please Please Please” is pleasing to the ears because of great vocals by Carpenter, fabulous Antonoff production, tuneful melodies, and memorable songwriting.

Appears in 🔻:

Bops That Pop: June 2024

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30. Shaboozey, “A Bar Song (Tipsy)”

***Where I’ve Been, isn’t Where I’m Going* // American Dogwood / EMPIRE // 2024**

Shaboozey delivers an entertaining country record with “A Bar Song (Tipsy)”, the second track on his 2024 album, Where I’ve Been, isn’t Where I’m Going. “A Bar Song (Tipsy)” was written by Shaboozey, Nevin, Sean Cook, and Mark Williams. Nevin and Sean Cook also produced it. Fun is the modus operandi. Shaboozey doesn’t hold back on the personality. “My baby want a Birkin, she’s been tellin’ me all night long,” he sings in the first verse, later adding, “This 9 to 5 ain’t workin’, why the hell do I work so hard?” Birkins aren’t ‘country,’ but the reference to work – that’s country to the core! Also, ‘country’ is the pre-chorus and chorus, where he drowns his sorrows: “Tell ‘em, ‘bring another round,’ we need plenty more,” and “Someone pour me a double shot of whiskey / They know me, and Jack Daniel’s got a history.” Woo! The follow-up in the second verse is entertaining too – a drunk Shaboozey: “Woke up drunk at 10 a.m., we gon’ do this shit again / Tell your girl to bring a friend.” Shaboozey brings plenty of energy and fun to the table.

Appears in 🔻:

Bops That Pop: April 2024

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31. St. Vincent, “Broken Man”

All Born Screaming // Total Pleasure // 2024

“On the street, I’m a king-sized killer / I can make your come.” From the jump, “Broken Man” is an ear-catching gem from St. Vincent (Annie Clark). St. Vincent ‘brings it’ on this high-energy tour de force from her self-produced album, All Born Screaming. “Broken Man” engages from the onset. The instrumental is unique – distinct, intriguing, and minimal. This minimalist sound is hypnotic, serving as the perfect accompaniment to her. Clark delivers colorful, distinct vocals atop the backdrop. She brings ample attitude and personality to the table. “Hey, what are you looking at? / Who the hell do you think I am?” she asks in the memorable chorus, adding, “Like you’ve never seen a broken man.” Woo! After establishing the minimalism in the opening verse, “Broken Man” gets fuller instrumentation in the second, led by the lyrics, “Lover, nail yourself right to me / If you go, I won’t be well…” That’s a moment in itself. Notably, boisterous, distorted guitars (and synths) kick some serious ass… AND TAKE NAMES! By the conclusion of “Broken Man,” it has transformed into this epic, hard-rocking alternative cut bearing some industrial influence. St. Vincent is one of a kind, something she flexes hard on the must-hear “Broken Man”.

Appears in 🔻:

Bops That Pop: March 2024

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32. SZA, “Saturn”

“Saturn” // Top Dawg Entertainment / RCA // 2024

“If there’s a point to losing love / Repeating pain (Why?) / It’s all the same (Same) / I hate this place.” Grammy-winning R&B artist SZA has outer space on her mind in her single, “Saturn”… to an extent. She needs a change of pace, one that doesn’t seem like an option on Earth or in her current trajectory. In the pre-chorus, she asserts, “Stuck in this paradigm / Don’t believe in paradise / This must be what hell is like.” She adds that she’s “Sick of this head of mine / Intrusive thoughts, they paralyze.” Getting inside of your dome can mess you up! What isn’t a mess in the least is “Saturn” from a musical perspective. The lyrics and instrumental are fabulous. The backdrop matches the introspective nature of the lyrics with a recurrent, string-like rhythmic synth, robust bass line, and soulful groove. The melodies are tuneful and rhythmic in the verses, where SZA is critical of her current status and has questions. In the second verse, she asks, “If karma’s really real / How am I still here?” As she sings, she sounds radiant, with that signature, expressive and warm tone. The section to beat is the chorus, where Saturn arrives, ‘rings’ and all: “Ooh / Life’s better on Saturn / Got to break this pattern / Of floating away / Ooh / Find something worth saving / It’s all for the taking / I always say.” Ultimately, “Saturn” is nothing short of delightful.

Appears in 🔻:

Bops That Pop: March 2024

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33. T-Pain, “On This Hill”

“On This Hill” // Nappy Boy Entertainment / EMPIRE // 2024

“I’m tellin’ you, I’ll die on this hill / You can’t talk me off the ledge.” In “On This Hill”, Grammy-winning singer/songwriter T-Pain (Faheem Najm) shows a deeper, introspective side. “Thought provokin’ all of that stops today,” he asserts in the second verse, adding, “Tonight’s the night I finally turned off the gas light.” Specifically, he describes this self-penned ballad (produced with Lil Rod) as “really about refusing to be gaslit anymore”. Vocally, the autotune remains king. Even so, T-Pain sounds radiant. He is expressive, nuanced, and powerful. The harmonized vocals are also delightful. The melody is stunning – tuneful to the nth degree. The harmonic progression is strong with some wrinkles that keep things interesting. Instrumentally, the backdrop – keys, primarily – is another selling point. As “On This Hill” progresses, a groove is added, upping the ante. His bread is buttered lyrically and thematically. Reclaiming your power and standing up for yourself, not allowing yourself to be gaslit by others, is powerful. “Admit that it’s been you / You can’t manipulate me this time,” he sings in the pre-chorus. He adds in the centerpiece, the chorus, “I am not the one who needs to be saved / So, tell ‘em come and dig my grave right here / Right here on top of this hill.” Ultimately, “On This Hill” is one of the R&B singer/songwriter’s best songs ever.

Appears in 🔻:

Bops That Pop: May 2024

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34. Tems, “Love Me JeJe”

Born in the Wild // RCA / Since 93’ // 2024

“Hold me in your arms, in your love and your light.” Ooh-wee! Grammy-winning Nigerian Afrobeats and R&B singer Tems shines on “Love Me JeJe”. “Love Me JeJe,” which samples the 1997 song, “Love Me JeJe” by Seyi Sodimu is the fifth track on her album, Born in the Wild. “Love Me JeJe” is pleasant and well-rounded. The production by GuiltyBeatz is a selling point. The repurposing of the Seyi Sodimu song bodes in Tems’ favor. The sound is chill and smooth. Furthermore, the rhythmic groove that anchors is lit. Tems delivers beautiful, easygoing vocals. Does she ever break a sweat? Nope, it doesn’t seem like it! The melodies and the verses are tuneful making the ears perk up. Matters of the heart drive the narrative – not surprising given the song title. “I need your lovin’, so fresh, so clean / Love me in and out, unfailingly,” she sings in the first verse, asserting in the pre-chorus, “Because I love, and I love, and I love, and I love you only.” That’s a lot of love! The section to beat is the chorus!

“I’m on your wave right now (wave)

I’m on your wave right now, yeah (wave)

I’m on your vibe now, you got me on your side now, yeah

I’m on your wave right now, woah, woah, woah, yeah.”

“Love Me JeJe” = V-I-B-E.

Appears in 🔻:

Intriguing Songs Fueled by LOVE, Vol. 1 (2024)

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35. Tinashe, “Nasty”

“Nasty” // Tinashe Music Inc. / Nice Life Recording Company // 2024

“Is somebody gonna match my freak?” Now that IS the question, Tinashe. She follows up with, “Is somebody gonna match my nasty?” The contemporary R&B singer has a knack for delivering sexy songs. Honestly, who doesn’t enjoy a good sex song? “Nasty” is Tinashe doing what she does best – S-E-X-Y! She says it best in the intro: “I’ve been a nasty girl, nasty.” Rick Reed and Zack Sekoff produced the record with top-notch results – a sleek, often minimalist instrumental. Besides asking who’s gonna match her freak in the first verse, she asserts, “Pillow talking got my throat raspy.” Oh, snap 🫰! She follows the verse with the refrain, where the quality of the sex is the draw. “If you keep up with me / I’ll keep on coming back,” she sings, adding, “Cause it feels like heaven / When it hurts so bad.” She keeps the same energy in verse two. “Nasty” lacks depth but thrives on sex. Tinashe sings well, brings mad energy, and titillates the hell out of the listener. Omar Apollo loved it!

Appears in 🔻:

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36. Tommy Richman, “MILLION DOLLAR BABY”

“MILLION DOLLAR BABY” // ISO Supremacy / PULSE // 2024

“Cause I wanna make it (so badly) / I’m a Million Dollar Baby (don’t at me).” WOO! “MILLION DOLLAR BABY” from Tommy Richman is a vibe from the opening tip. The moment this sugar honey iced tea comes on, it is straight fire! It was produced by Max Vossberg, Jonah Roy, Mannyvelli, Sparkheem, and Kavi. The production team kicks ass and takes names. The groove is infectious to the nth degree. Between it and the gimmicky ‘chopped and screwed’ vocals in the intro – “Do it, baby, do what I should think / Do it-do it, baby, do what I could think” – it gets you hype TF up!

Besides rad production, the melodies are infectious and tuneful. The lyrics are confident and fun. “I ain’t never rep a set baby / I ain’t do no wrong,” Richman sings (*raps melodically) in the chorus, continuing, “I could clean up good for you / Oh, I know right from wrong.” Richman’s vocal performance is intriguing. His tone is ear-catching. He oozes with soul and swagger. A prime example of this swagger: “VA next (Yeah, yeah), I’m at they neck (Yeah, yeah) / I’m running up a check (Yeah, yeah, yeah, yeah).” If you need a translation for what Richman’s saying, he’s saying his home state, Virginia, has got next. Tommy Richman ‘did the damn thang’ on “MILLION DOLLAR BABY”.

Honorable Mention: “DEVIL IS A LIE”

Appears in 🔻:

Bops That Pop: May 2024

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37. twenty one pilots, “Overcompensate”

Clancy // Fueled by Ramen LLC // 2024

The Grammy-winning, alternative band twenty one pilots returned in 2024 with Clancy, concluding a narrative spanning multiple albums. Leading the charge was single, “Overcompensate”, written and produced by Tyler Joseph and Paul Meany. As always, Joseph’s partner in crime, Josh Dun, supports his bestie and packs a punch on the drums. While the conceptual cut is complicated, the ambitious nature of the song at hand speaks volumes. “Overcompensate” commences with a warm piano. Soon enough, smoother keys transform into edgier synths – an industrial sound. So begins the lyrical intro with lines in German, French, and Spanish. The groove is electrifying, setting up “Overcompensate” as an alternative banger. Before the first verse, there’s a transitional ‘break’ section that leads to an epic beat switch. Joseph raps/sings with an epic cadence/flow and strong tone beginning in the first verse. Here, the titular lyric first appears: “Earned my stripes, three hundred track sin my Adidas track jacket / Bless your ear holes while you react, acting / Gobsmacked, don’t hesitate / To maybe overcompensate.” The second half of the first verse also closes with the line regarding overcompensating. The titular lyric reappears in the tuneful chorus:

“I said I fly by the dangerous bend symbol (Wait, what? Wait, what?)

Mm, don’t hesitate to maybe overcompensate

And then by the time I catch in my peripheral (Wait, what? Wait, what?)

Mm, don’t hesitate to maybe overcompensate.”

The second verse moves beyond explicit mention of overcompensating. Joseph mentions Clancy explicitly: “If you can’t see, I am Clancy, prodigal son / Don running, come up with Josh Dun, wanted dead or alive.” There is also a bridge, which separates itself from the rest of the song. Lots is going on with “Overcompensate” but at its most basic, it is an engaging gem.

Appears in 🔻:

Bops That Pop: March 2024

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38. Usher & Pheelz, “Ruin”

Coming Home // mega / gamma. // 2024

“Babe, you broke me and took your time with it,” Usher sings on “Ruin” from his ninth studio album, Coming Home. On “Ruin,” Usher is assisted by Nigerian singer, songwriter, and producer Pheelz, who produces and lends his vocals as well. “Ruin” sounds sweet to the ears thanks to its smooth sounds. The groove is chill and relaxed. It sounds fresh yet also fits the ‘grown and sexy vibe’ for Usher, who is in his mid-40s. His vocals are as smooth as the instrumental. He sings with incredible warmth, flaunting his radiant tone. The lyrics capture the ruin he’s experienced thanks to her. In the chorus, he asserts:

“Wake up in the mornin’

A different girl be on my line

Constantly be callin’ every day, I still decline

See? This is exactly what you did

You ruined me for everybody.”

Notably, after the second verse, the second chorus finds Usher singing more dynamically. After the centerpiece, the post-chorus shines too with its rhythmic nature and sensational vocal production (“Bye-bye, good riddance for the last time / So you can try, try, maybe get it right next time…”). Notably, Pheelz performs the first half of the second verse, contrasting and complementing Usher. “Ruin” is a winner.

Appears in 🔻:

Bops That Pop: February 2024

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39. WILLOW, “b i g f e e l i n g s”

empathogen // WILLOW / Three Six Zero / gamma. // 2024

“I have such big feelings / Can’t shut ‘em down without a sound.” On “b i g f e e l i n g s” from empathogen, WILLOW (Willow Smith) embraces jazz. What makes “b i g f e e l i n g s” such a triumph for WILLOW? EVERYTHING! If you had to pinpoint one overall thing, however, it is the innovative spirit. “b i g f e e l i n g s” is superbly written (Smith, Zach Tenorio, and Chris Greatti), the lyrics are honest (“I know I’m not fine / But yes, I say I’m fine”), and the vocal delivery is epic. WILLOW sounds awesome singing alone, as well as when her vocals are harmonized. Her performance is playful and, most impressively, highly skilled. Jazz is not an easy genre to perform, yet she seems to do so with ease. The chorus is superb as she expresses those ‘big feelings.’ Still, the bridge is the section to beat. “I know I have, I know you have problems,” she sings, against badass, dissonant piano. The descending melodic line at the end of the bridge on the word problems is genius. “b i g f e e l i n g s” is a breath of fresh air – it goes against the grain and that is part of its charm. Furthermore, the musicianship is top-notch. WILLOW taps into something special.

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40. Zach Bryan, “Pink Skies”

Great American Bar Scene // Belting Bronco / Warner // 2024

“The kids are in town for a funeral…” Thus begins “Pink Skies” (from Great American Bar Scene) by Grammy-nominated country singer/songwriter, Zach Bryan. From the beginning, “Pink Skies” is country to the core. The instrumentation includes harmonica – a stellar touch. Bryan penned this memorializing funeral tune. He continues singing in the first verse, “So, pack the car and dry your eyes / I know they got plenty of young blood left in them / And plenty nights under pink skies / You taught ‘em to enjoy.” Throughout “Pink Skies,” Bryan delivers expressive, gritty, and compelling ‘rough around the edges’ vocals. His artistry is impressive. The songwriting is intriguing. He constructs a great narrative where someone influential has passed away. The memories are vivid, including one that paints a portrait of a nonjudgmental soul: “You bailed him out, never said a thing about Jesus or the way he’s living.” That takes a special person. The most memorable lines occur in the chorus, where he concludes, “Your funeral was beautiful / I bet you heard God coming.” Bryan continues his upward trajectory with “Pink Skies”.

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Bops That Pop: June 2024

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40 Best Songs of 2024 (So Far) (2024) [📷: Brent Faulkner / The Musical Hype; American Dogwood, Archie Music, Artemas, Belting Bronco, Boominati Worldwide, Capitol, Chris Housman, CMG, Inc., Cole Redding, Columbia, Darkroom, EMPIRE, Epic, Fueled by Ramen LLC, gamma., Hot Girl Productions LLC, Interscope, Island, ISO Supremacy, Kendrick Lamar, Kim Gordon, KRA International, Inc., Matador, MCA Nashville, mega, Mercury, Nappy Boy Entertainment, Nice Life Recording Company, Night Street, Orville Peck, LLC, Parkwood Entertainment LLC, PULSE, Republic, Rubyworks Ltd., Since 93’, Slaughter Gang, LLC, Three Six Zero, Tinashe Music Inc., Top Dawg Entertainment, Total Pleasure, TSNMI, Warner, Wilburn Holding Co., WILLOW; Gerd Altmann, Michael, OpenClipart-Vectors, From Pixabay]

40 Best Songs of 2024 (So Far) | Playlist 🎧

Published by the musical hype on June 29, 2024June 29, 2024