MJ Lenderman wears his classic rock references proudly on Manning Fireworks. The first line on twangy album highlight “Wristwatch” is a misquote of Quiet Riot’s cover of “Cum On Feel The Noize.” But Lenderman is no tribute band: “Wristwatch” is a satirical good hang about empty consumerism with a killer outro guitar solo that would make Neil Young (and maybe even Randy Rhoads) proud. – Josh Kurp

In recent years, post-punk has come to feel like a restrictive box. Bands with names Cold Soup or Wine Snob get lumped into the category for their Dadaist deadpan, jagged-edge guitars, and their nonchalant observations on the absurdities of modern life. Although Fontaines D.C. have invariably been one of the best post-punk bands since their 2019 debut, Dogrel, the Dubliners briefly toy with the notion of no longer being a post-punk band. On “Starburster,” an immediate highlight from their latest album, Romance, frontman Grian Chatten adopts a rhythmic cadence that borders on rapping, and Tom Coll’s punchy boom-bap drums allow Chatten to lock himself in like a rollercoaster on rails. Even though the rest of Romance skillfully abides by their well-worn modus operandi, “Starburster” is the type of song that makes you wonder what else Fontaines have up their sleeves. – Grant Sharples

Before Adrianne Lenker released “Sadness As A Gift,” it was a Big Thief live staple. Her band performed the song frequently, and it had quickly developed a special reputation as a fan favorite. For the proper studio version, which now has a home on Lenker’s latest solo LP, Bright Future, the indie-folk songwriter instills it with the lonely atmosphere of its lyrical focus. Whereas her bandmates typically support her during its live rendition, Lenker’s words and melodies ring across a relatively bare expanse of guitar, violin, and piano. “Chance has shut her shining eyes / And turned her face away,” she sings at the end of the first verse. “Sadness As A Gift” is a rumination on good times that have come to pass, a breakup with a loving partner who made you appreciate life in a new way only to drift apart in the end. – Grant Sharples

It’s a tale as old as time: a pop group is huge in the U.K. but doesn’t break big in the United States. But “Angel Of My Dreams,” the ambitious first single from former Little Mix member Jade, proves she should be a household name on both sides of the Atlantic. With a bold bubblegum pop hook and thumping, early Lady Gaga-like verses, it could have been a hit in the early 2010s; it should be a hit now. – Josh Kurp

Like Julia, brat was everywhere this past summer. From political campaigns to legacy publications’ cooking recipes, “brat summer” was so ubiquitous that even your cousin in finance had established some level of familiarity with the term and, consequently, the album that begot it. One of its standout moments, the opening track “360,” encapsulates so much of what makes brat work on a macro level: A.G. Cook’s and Cirkut’s hyperpop production; Charli’s insouciant delivery; the rallying cry that is “bumpin’ that.” It’s the perfect introduction to the clubby, messy, and effortlessly fun world of brat. “360” is both its entry point and its thesis statement. – Grant Sharples

Beyoncé’s Cowboy Carter was a stunning reminder that the legendary and extremely-decorated singer can do anything she sets her mind to. Additionally, and perhaps more importantly, the album reminded us that Beyoncé is indeed a child of country, as much as the genre’s gatekeepers would like to say otherwise. “16 Carriages” was the first reminder of that in Cowboy Carter era. The moving country ballad is beautifully constructed with anecdotes of Beyoncé’s childhood as she went innocent and free to mature and famous. It was the perfect move to follow Beyoncé’s first official foray into country — 2016’s “Daddy Lessons” — and it’s a record that joined that seemingly infinite examples of Beyoncé being one of the most talented and gifted artists that music has ever seen. – Wongo Okon

Everyone knows who this song is about. There’s no way to be discreet about it. It’s like publishing an anonymous Glassdoor review rife with identifiable qualities and anecdotal details only you could possibly recount. Regardless, “Sympathy Is A Knife” transcends its omnipresent subject. Amid Finn Keane’s (né Easyfun) sawtooth synth stabs, FM bass, and sixteenth-note handclaps, Charli scrapes the highest ends of her register, cloaked in layers upon layers of digital processing. It’s the kind of sugar-rushed sensory overload she deployed on 2017’s Pop 2 and 2020’s how i’m feeling now. Here, however, Charli’s voice cuts through the onslaught of noise; she refuses to go unheard. After all, it’s a knife when you’re misunderstood. – Grant Sharples

Aubrey’s finest moments in hip-hop’s greatest battle. The final salvo remains and rings true: “Kendrick just opened his mouth, someone go hand him a Grammy right now.” In due time, Mr. Graham. In due time. — Elliott Wilson

Tinashe’s hard work finally paid off in 2024, as the success of “Nasty” gave the singer her first gold plaque in a decade. Calls to “match my freak” became the theme of Tinashe’s latest era ahead of the release of her album, Quantum Baby. The song’s minimal, futuristic production creates the perfect backdrop for Tinashe to play with the tones of her voice and deliver something far from the status quo, breathing new life into her career at the same time. — Wongo Okon

I cheated earlier this year when I paired “Yeah Glo!” with Rapsody’s “3:AM” as my twin picks for Best Songs of 2024 (So Far). While “Yeah Glo!” is a relentlessly catchy singalong, “TGIF” contains what may be the most quotable rap line of the entire year. Funnily enough, Glo herself couldn’t choose just one for her MTV VMAs performance either, opting to do both. — Aaron Williams