Staff List: The 100 Best Songs of 2024

Eminem, “Houdini”

Guess who’s back? Eminem’s new album might be called The Death of Slim Shady, but his alter ego was alive and well on this tongue-in-cheek lead single, which prominently interpolates Steve Miller’s “Abracadabra” to drive home its magical motif. “Houdini” is a nostalgic throwback to the Slim Shady hits of yore (“The Real Slim Shady,” “Without Me,” etc.), and it was the perfect final trick for the bleach-blonde icon. – KATIE ATKINSON

MICHELLE, “Oontz”

MICHELLE, the predominantly queer collective out of New York, is at it again with another world-class pop track. Following the February release of their GLOW EP that showcased their ever-expanding capabilities, the sextet released “Oontz,” one of their most infectious earworms to date. From Sofia D’Angelo then Jamee Lockard followed by Emma Lee and Layla Ku, the quartet of vocalists seamlessly switch out singing about a deceitful partner and their inability to stay away over a seductive bassline. It’s the perfect song for moving past heartbreak by belting out “You’re deceptive, girl/ You’re nothing like the person that I thought you were” on a crowded dance floor.  — TAYLOR MIMS

KATSEYE, “Touch”

In 2024, only one musical act can say they gave a universal hand gesture new meaning: the recently debuted global girl group, KATSEYE. Formed in front of the world on HYBE x Geffen Records’ Dream Academy competition in 2023, their earworm of a pop song, “Touch,” undoubtedly became their breakthrough this year — and its viral double-shaka, alternating pinky-to-thumb dance move, recreated by thousands of fans (affectionately known as EYEKONS), fellow idols and casual TikTok users alike, made the smash all the more addictive. — DANIELLE PASCUAL

Ayra Starr, “Orun”

In between the star-studded collaborations (“Woman Commando”) and buzzy singles (“Last Heartbreak Song”) housed on Ayra Starr’s stunning sophomore album, The Year I Turned 21, lies “Orun.” A plaintive midtempo winner that juxtaposes the jovial notes of highlife against Ayra’s heart-wrenching breakdown of her mental health journey, “Orun” perfectly captures the constantly contradictory cyclone of emotions that come with early adulthood. — KYLE DENIS

Central Cee & Lil Baby, “BAND4BAND”

They said Lil Baby fell off, but I’m not sure if they heard this song. Thanks to Central Cee, we got a very rare U.K. and Atlanta collab that connected the trenches in America’s South to the ends across the pond. Produced by Ghana Beats & geenaro, this beat bangs in the whip and bangs on your gym playlist as you walk around your local Planet Fitness throwing plates around. Don’t let the hook gas you into going band for band with your favorite rapper, though: It’s the holidays and your family deserve gifts. — ANGEL DIAZ 

Joy Oladokun, “I’d Miss the Birds”

Oladokun describes herself as a proud queer Black woman and daughter of Nigerian immigrants, while her music defines her as a songwriter of singular talent. “I’d Miss The Birds” is a gentle, electro-acoustic, heartbreaking declaration of frustration with the constraints of Nashville. Yet even as she sharply describes the city’s traffic, overdevelopment and “the Proud Boys and their women,” Oladokun reaches a beautiful place of acceptance and action. “I’d miss the birds and the music that they make,” she sings. “But even they know when to fly away/ I think it’s time to fly.” — THOM DUFFY

Bizarrap & Young Miko, “BZRP Music Sessions, Vol. 58”

If Spanish-language music had a singular heartbeat, it would be produced by hitmaker Bizarrap, who has been churning out his BZRP Music Sessions since 2019. His seemingly endless list of star-studded collaborators got even cooler with the addition of “Vol. 58” – Miko effortlessly switches between melodic rap and straight spitting bars on the release, which marked the first BZRP Music Session of 2024. Miko explores her evolving relationship with fame, delivering her vocal with her usual confidence and effortless swag as she promises to stay true to herself. — MEGHAN MAHAR

Jamie xx & Honey Dijon, “Baddy on the Floor”

There had been signs of life from Jamie xx over the last few years, with a smattering of characteristically overachieving singles from the English producer released in 2020 and 2022. But it was still unclear if we’d ever get a follow-up to xx’s 2015 classic In Colour, a mouth-watering prospect that after nine years had started to feel like dance world mirage. Then in April, xx released “Baddy on the Floor,” a punchy, brass-laced, disco/house ass-shaker made alongside genre pillar Honey Dijon. And there was reason to party indeed, as it was later announced that the giddy single was the first from xx’s long-awaited second LP In Waves. — KATIE BAIN

Gigi Perez, “Sailor Song”

Somewhere amidst the bombastic moments of 2024’s Sapphic Pop Summer, the quietly excellent “Sailor Song” found its way into the zeitgeist. Equipped with just an acoustic guitar and her haunting voice, breakout star Gigi Perez painted a vivid portrait of desperate yearning and mythical romance, immediately capturing the attention of listeners on TikTok. It’s easy to see why — Perez’s poetic lyrics manage to conjure up a feeling of longing that everyone can relate to, while remaining specific enough to mean that much more to the community she sang directly to. — STEPHEN DAW

FKA Twigs, “Eusexa”

Although FKA Twigs coined the word “eusexua” to capture a specific type of unobstructed euphoria, the song “Eusexua” does not unveil its pleasures immediately — instead building up from a gentle thump and skittering synth line, allowing Twigs’ crystalline voice to guide the listener toward a back-half dance payoff. As always, Twigs is constructing a singular art-pop oeuvre — but rarely has movement been prioritized so squarely in her music, and delivered so effectively. — JASON LIPSHUTZ

Hanumankind, “Big Dawgs”

“I am just the tip of the iceberg of what can come from this side of the world,” Indian rapper Hanumankind told Billboard in September. And much like the commercial appeal of “Big Dawgs,” its Kalmi-produced rattling bass and bristling synths reverberate around the globe with each listen. For his part, Hanumankind nimbly bobs and weaves through beat drops and sonic shifts with brash bravado. It’s a breakthrough hit, to be sure, with a raucous enough aura to feel like a physical embodiment of the term, too. — JOSH GLICKSMAN

Benny the Butcher, “Jermanie’s Graduation”

“Ask these rappers / S–t I did for Upstate just helped make ’em hot,” Benny raps on the opening track of his latest Def Jam effort Everybody Can’t Go, lacing an opus that is as good of an introduction to his story as he’s ever delivered. Part drug story, part come up lesson, part victory lap, part cautionary tale — “Me, teary-eyed and gullible/ I lived it with a mother/ Who strugglеd through addiction / I know every side to drug abusе” — it’s a clear-eyed distillation of what makes the Buffalo-bred Griselda captain such a vital voice in street rap today. — DAN RYS

horsegiirL, “Take It Off”

HorsegiirL hasn’t yet broken her equine character or even appeared in public without her horse mask since rising to to prominence in the artsy realm of the dance world underground, but the Berlin-based producer’s music is anything but schtick. Her work since 2022 has typically fallen on either hard-edged, kickdrum heavy, Brat-if-Brat-were-a-horse side of dance music, or has been softer and more melodic, like a kiss on the forehead after having your head pressed to a bass bin all night. “Take It Offff” is of this latter style, with the vocals (reminiscent of Robyn) weaving like ribbon through a warm electro production — where a classic Jersey Club bed squeak nods to both the genre, and where the lovestruck lyrics of this one are inevitably ending up. — KATIE BAIN

Ariana Grande, “The Boy Is Mine”

Inspired by her leaked song, “Fantasize,” Ariana Grande’s “The Boy Is Mine” takes a leap to reimagine the Brandy and Monica classic, while potentially quipping a response to her own romance headlines. As the latest single from Eternal Sunshine, the midtempo R&B cut sees Ari add another bad girl anthem to her arsenal. Best part of all is the full circle moment where Brandy and Monica appear in its accompanying music video, as well as the subsequent remix. — JAMES DINH

Ella Langley feat. Riley Green, “You Look Like You Love Me”

This story song tells the tale of a couple meeting in a saloon, told first from her perspective and then from his. While the song has an old-school country sound, it has modern lyrical touches — namely, that the woman makes the first advance (“it’d been a while, so it was on my mind”). This was a giant-slayer at the CMA Awards, winning musical event of the year over a pair of No. 1 Hot 100 hits: “I Had Some Help” by Post Malone feat. Morgan Wallen and “I Remember Everything” by Zach Bryan feat. Kacey Musgraves.– PAUL GREIN 

Koe Wetzel, “Sweet Dreams”

Koe Wetzel built a fanbase across Texas with a sound that borrowed as much from grunge as it did from country. But “Sweet Dreams” — co-written with Amy Allen, pop radio’s favorite songsmith this year — is bruised rather than bruising, soft rock designed for hushed singalongs. Wetzel isn’t above wallowing (“I ain’t doing good and you can tell”), and he’s happy to shoulder his share of the blame for a romantic trainwreck (“I’ve been getting no sleep, and I probably deserve that”). Still, he seems to savor the darkness, giving the song a self-destructive appeal. “When I find a good thing,” he sings, “I burn it down slow.” — ELIAS LEIGHT

Rema, “Ozeba”

Rema riles up his fans, known as the Ravers, on “Ozeba,” another party-starting banger from his Grammy-nominated sophomore album HEIS. Stemming from the Edo word for “trouble,” and an old Benin horror film that Rema admitted scares him, “Ozeba” is Rema’s confirmation that he’s always looking to stir s—t up. The 23-year-old Afrorave hitmaker growls, barks and pronounces he’s “H-I-M” in a mischievous baritone similar to that of Playboi Carti, while the militant snares and frenetic thumping of the drums from Rema and Thisizlondon’s production will have anyone marching or moshing in his honor. — HERAN MAMO

Grupo Frontera, “Hecha Pa’ Mi”

In the midst of dropping star-studded collabs this year, including with Shakira, Romeo Santos, and Christian Nodal, Grupo Frontera also delivered its single “Hecha Pa’ Mi” (made for me). Staying true to the group’s signature sound, the track is backed by a feel-good tex-mex, norteño rhythm and lyrics about puppy love. “I want to thank your mom and dad/ For giving life to the love of my life/ I’m obviously talking about you/the one who makes me happy,” the tune begins — a verse that also went viral on social media. “Hecha Pa’ Mi” reached No. 2 on the Billboard Regional Mexican Airplay chart in October. — JESSICA ROIZ

A.G. Cook, “Britpop”

Even before Charli XCX kicked off her massive brat cycle in late February, she’d defined one of the year’s best electro-pop songs: “Britpop,” the title track from PC Music founder and hyperpop visionary A.G. Cook’s triple album. “Brit, Brit, Brit, Brit, Brit, like Britpop,” Charli sings in a sunny, eight-syllable vocal sample – the only words she says on the song – that kicks off the track a cappella. Cook handles the rest, nestling Charli’s voice among busy synths and thumping drums, before chopping up the vocal sample several different ways. Cook long ago mastered such studio wizardry, but that doesn’t make it any less impressive. — ERIC RENNER BROWN

This Is Lorelei, “I’m All Fucked Up”

Nate Amos directs the best song on Box for Buddy, Box for Star, his excellent solo debut as This Is Lorelei, to the second person — “You’re all f–ked up and you wanna stay here with me” — but the title reveals the more likely truth about who’s actually finding themselves a mess. So does the song’s wobbly melody, for that matter — teetering on edge and lurching unexpectedly throughout the verses and chorus — and Amos’ increasingly unhinged lyrics (“I got a nosebleed and my blood tastes like God”). Nonetheless, regardless of who’s speaker and who’s subject here, the warmth and steadiness of the groove gives the song a certain tender, sympathetic quality: aren’t we all a little f–ked up these days, anyway? — ANDREW UNTERBERGER

The Marias, “No One Noticed”

One of the year’s surprise viral hits — and now a real surprising Hot 100 top 40 hit — daydreamy indie-pop favorites The Marias’ unlikely pop breakout came following a co-sign in July from Billie Eilish, whose arena tour they are currently opening. It makes sense as an Eilish fav: “No One Noticed” vibes on the same kind of quiet, pretty and low-key despair that populated the majority of her Happier Than Ever, though with a gentler, lower-intensity delivery that never quite bursts into outright anguish, but rather recedes into sublime summer-bummeriness. It’s a California thing, no doubt. — A.U.

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

Country music is not well-known for its inclusion of queer voices, but Orville Peck (with a little help from friend and Billboard’s No. 2 Greatest Country Artist of All Time, Willie Nelson) is out to change that. In the first single off his collabs album Stampede, Orville and Nelson (who also covered the track in 2009) brought back this whimsical 1981 song by country musician Ned Sublette and cemented it as a gay anthem. The playful duet sets the tone for an album full of surprises, from country ballads to electro-pop and mariachi trumpets. — T.M.

Kanye West & Ty Dolla $ign feat. Playboi Carti & Rich the Kid, “Carnival”

Some will say Ye’s at his best as a producer, while at other times in his career his rapping has been able to match — but it’s as a collaborator where Yeezy’s star shines brightest. The embattled Chicago mogul directed an amusement park ride of a lifetime with “Carnival” from his Billboard 200-topping Vultures 1  joint album with Ty Dolla $ign. It started out as a Rich the Kid solo track, until Ye stirred RTK’s slippery chorus with an ominous Playboi Carti verse and tied up the loose ends of the track mixing in himself and the malleable Ty Dolla. But it was the shrewd addition of the roaring stadium chants from the Hooligans that made “Carnival” a smash. — MICHAEL SAPONARA

Kesha, “Joyride”

“You want kids? Well, I am Mother!” Kesha declares over a crisp beat, elastic synths and an…accordion riff. Yes, “Joyride” is the party-pop polka no one realized they needed (=if Weird Al ever goes hyperpop, it might sound like this). This banger finds the newly free singer in her sweet spot, dropping so-dumb-they’re-brilliant lyrical couplets (“You say you love me? Well, so do I”) and — as she did on “Timber” in 2013 — making the case that seemingly disparate genres help kick a tune into high gear. – JOE LYNCH

Tate McRae, “It’s OK I’m OK”

Tate McRae is free from her past relationship and thrilled to tell the next girl in his life that she can have him. With the line, “It’s okay, you can have him anyway,” Tate signals that she’s cleansed herself of that relationship and is letting both her ex and the other woman know she’s over it, leaving him behind for bigger and better things.Taking a deeper dive into the lyrics, McRae sings, “He’s so perfect, I be like, ‘Oh, what version?’” hinting that the honeymoon phase won’t last as long as the next girl thinks it will. With her humor and sarcasm shining through, Tate delivers the raw but harsh truth about her past relationship and its imperfections, making the song incredibly relatable and personal. — KRISTEN WISNESKI

Kehlani, “After Hours”

In addition to inspiring a viral hit from a singer-songwriter in Belfast — more on that one later — Kehlani earned one of her own in 2024 with the sultry, gently rhythmic “After Hours.” Over a spectral tweak on Cordel Burrell’s “Coolie Dance Rhythm,” Kehlani offers up her place for a sweaty after party with only one person on the guest list. With a voice that’s firm and silky one moment, sweet and shy the next, few do R&B quite like Kehlani, and “After Hours” finds her making time and a half. – J. Lynch

Bossman Dlow, “Get in With Me”

“Get In With Me” is a natural dose of motivation for even the laziest individuals looking to get to the bag. Bossman Dlow’s sub-two-minute breakout hit cracked the Hot 100’s top 50 for his first entry into the club. Filled with witty one-liners, the song’s momentum carried onto the baseball diamond, when Philadelphia Phillies outfielder Brandon Marsh quoted the Florida native’s anthem during a Sunday Night Baseball in-game interview in May. “Bae, these Off-Whites, these ain’t no Huaraches,” he rapped with a laugh while shouting out Bossman Dlow. Take some advice from the rhymer himself, “You wanna boss up your life? All you gotta do is get in with me.” — M.S.

Artemas, “I Like the Way You Kiss Me”

With pulsating synths and a brooding ‘80s bassline, Artemas’ “I Like the Way You Kiss Me” takes listeners on a thrilling ride of attraction. While some of the more provocative lyrics may raise eyebrows, the darkwave track allows the English singer/producer to shape-shift through the two-minute cut — courtesy of pitch control and a menacing agenda — letting listeners know this is solely an ode to passion. — J.D.

MJ Lenderman, “She’s Leaving You”

Like a Steely Dan for the internet-bred indie set, MJ Lenderman sings of — really, advocates for — a post-breakup midlife crisis bender, involving a rented Ferrari, a trip to Vegas and a whole lot of Eric Clapton. But whereas a Dan song on such topics would sound like a party but read more like a condemnation, Lenderman’s anthem sounds like a lament but hits more like an I Know That Feel Bro. “It falls apart, we all got work to do.” Too true, and who could disagree with those guitars? — A.U.

Leon Thomas, “Mutt”

Songwriter Thomas (SZA’s “Snooze”) firmly plants his flag as a solo artist with this whimsical romp and title track from his sophomore album. It’s inspired by a fight Thomas witnessed between his dog and cat that left the former dejected. As Thomas told Billboard, “I saw the similarities between us two … [in this song] I’m talking about being vulnerable and actually wanting to love.” It’s this left-of-center metaphor — coupled with artful lyrics laid against a track glistening with tempo and funk — that Thomas tosses out as a relatable bone to chew on for others digging through the same relationship rabbit hole. — GAIL MITCHELL

Halsey, “Ego”

Ego death has never sounded quite as exciting as it does on this delightfully manic Halsey single. “Ego” merges the singer’s often-diametric pop and rock sounds into an early-’00s, Third Eye Blind-esque romp through Halsey’s psyche. Retaining the somber, honest songwriting that defined her latest LP The Great Impersonator, Halsey rampages against her own self-perception and declares that she’s “really not that happy being me” on this musically rollicking new addition to her discography. — S.D.

Griff, “Last Night’s Mascara”

The titular smudged or worn off mascara of Griff’s November single symbolizes the emotional mess left behind after a night of raw feelings and anxieties. The song resonates by capturing the universal experience of questioning self-worth, moving past mistakes, and feeling exposed, with Griff singing, “I’m rubbing it off like it’s a memory of you, oh, would you look at me now?” It serves as a reminder that it’s okay not to be perfect, and that we’re all navigating our emotions in real-time. Through unanswered questions, Griff acknowledges the emotional baggage we carry, offering comfort and solidarity, particularly for young women who may find strength in knowing they’re not alone. — K.W.

Tyla, Gunna & Skillebeng, “Jump”

Following the success of her Grammy-winning, Hot 100 top 10 smash “Water,” Tyla delivers another sweltering club banger: “Jump,” from her eponymous debut album. Skillibeng tees up Tyla by affirming she’s the “original gyal, you are no replica” before she struts onto the scene with her opening lines: “They never had a pretty girl from Joburg/ See me now, and that’s what they prefer.” The popiano star knows she’s too hot to handle, but Gunna matches her freak on his guest verse. From the chanting of “haibo,” a Zulu expression of shock or disbelief, in the chorus to the throbbing log drums, Tyla continues her international takeover while staying true to her South African roots. — H.M.

ScHoolboy Q, “THank God 4 Me”

The kid from Hoover delivered one of the better full-lengths this year in Blue Lips, and this might’ve been the best song on the set. Produced by Kal Banx, J.LBS, and Fu, “THank God 4 Me” takes you on a rollercoaster ride as the mellow Julius Brockinton “Forty-Nine Reasons” sample turns on its head right into a Project Pat “Chickenhead” sample, when the bassline hits you in the face and turns the middle of the song into a triumphant anthem. Look in the mirror when you wake up in the morning and tell yourself, “THank God 4 Me.” — A.D.

Justice & Tame Impala, “Neverender”

Before Justice released their fourth album Hyperdrama in April, Gaspard Auge told us that the French duo had taken influence from the ferocious hardcore and gabber strains of dance, and then bathed all the tracks in “disco sauce.” That flavor exists maybe nowhere as heavily on the album as on “Neverender,” for which Tame Impala’s Kevin Parker offers a smooth-as-silk vocal performance that the pair place on a foundation of warmly pulsing synths and futuristic strings, giving this one the feel of Studio 54, but in space. — K.B.

BigXthaPlug, “Mmhmm”

Life is good when you’ve got a sample from “And the Beat Goes On” — the 1980 Whispers classic previously reinvigorated by Will Smith’s late-’90s smash “Miami” — and Texas MC BigXthaPlug certainly gets the most out of it here on his breakthrough hit. “Mmhmm” definitely also has the Magic City feel to it, as BigX spits about living that Boss life: “So much chicken on me, coulda went bought a Williams, a Rudy’s, a big-ass Popeye’s.” Another proud addition to the Lone Star State’s burgeoning poultry-rap tradition. — A.U.

Nicki Minaj feat. Lil Uzi Vert, “Everybody”

“Everybody” was released off Nicki Minaj’s Pink Friday 2 album late in 2023, but the song’s manic energy maintained enough through the holidays for the song hit a new Hot 100 peak in early 2024. Built around a sample of a Jerseyfied remix of Junior Senior’s ’00s disco-pop classic “Move Your Feet,” the song gets Minaj back in her classic Roman Reloaded bag for the first time in a minute, as she brilliantly twists her flow around the repeat “EVERY-BOOOOO-DY!” samples, even transforming it to fit the end of her “Another year, another Vince Lombardi” trophy boasts. Uzi shows up late and sounding a little unsure of where they even are, but that just adds to the song’s gleeful delirium. – A.U.

Laila!, “Not My Problem”

Summer ‘24 was about being outside and unbothered – twin mentalities perfectly captured by Laila!, one of the most exciting new faces in R&B. Laila!’s vocals here take on a dreamlike quality as she floats over an ‘80s-inspired instrumental, paired with a stuttering beat that helped the song become an even bigger moment when it was reimagined on a remix by “sexy drill” pioneer Cash Cobain and 14 additional artists including Big Sean, Fabolous and Rob49. — M.M.

Zach Bryan, “Pink Skies”

Bryan is a multifaceted lyricist, but he always seems to shine brightest when singing about grief, and “Pink Skies” sits squarely in that section of his oeuvre. It’s a nostalgic paean to family, growing up and the shared memories that always bubble up when family comes together to say goodbye to a loved one — evocative in a simple way, beautifully and delicately devastating. — D.R.

Fontaines D.C., “Starbuster”

On the hook to “Starburster,” Fontaines D.C.’s well-deserved breakthrough single, band leader Grian Chatten confidently spits, “I’m gon’ hit your business, if it’s momentary blissness” — then gasps for air, sucking in just enough to repeat the phrase. A wobbly rock anthem about a panic attack, “Starburster” helped the Irish group reach a larger international audience through the tension inherent in its songwriting details: Chatten barrels forward before doubling over, the push and pull of the moment too much to take but captivating to hear. — J. Lipshutz

21 Savage, “Redrum”

Rapping around a haunting vocal sample of mid-21st-century Brazilian singer Elza Laranjeira, 21 Savage isn’t forgiving or forgetting on this lead single from his American Dream album, one of the year’s first big hip-hop successes. “You get in the jam and go to pointin’ and blame/ I ain’t let it slide, I was sharpenin’ aim,” he spits with typical cold-bloodedness. And when Savage says on the hook that he “won’t leave a breadcrumb,” that extends to his titular reference to The Shining here — which he gets the most out of by also closing the song with a sample of a huffing and puffing Jack Nicholson. — A.U.

GloRilla, “Yeah Glo!”

As Fat Joe says, yesterday’s price ain’t today’s price. Not many artists squeezed more out of 2024’s 366 days than GloRilla, and the Memphis resident set the tone for her MVP season with the boisterous “Yeah Glo!” in February, which peaked at No. 28 on the Hot 100 and earned the CMG rapper a pair of Grammy nominations. Big Glo sneers at her detractors throughout the party-starting hit, with her unbridled confidence carrying “Yeah Glo!” to radio glory, including a No. 1 peak on the Mainstream R&B/Hip-Hop Airplay Chart. — M.S.

Rachel Chinouriri, “Never Need Me”

When you think about 2024 as the year of pop girls, don’t count out Rachel Chinouriri and her angsty single “Never Need Me.” In just under three and a half minutes, the English singer-songwriter evokes a whirlwind of emotions — making listeners want to dance, cry, text an ex and egg their house simultaneously — thanks to a dreamy synth-rock melody and all-too-relatable lyrics. It’d actually make the perfect theme song to a coming-of-age flick, and the casting department wouldn’t have to look far: Florence Pugh has the supportive best friend role covered in the music video. — D.P.

Dua Lipa, “Illusion”

Dua Lipa sees right through your bulls–t, but she’ll put up with it for the amusement. “Illusion” served as the pop star’s final single heading into Radical Optimism earlier this year where she flips the facades of her burned relationships into a glossy tune. Thumping live drums and shimmering synths guide the 29-year-old queen of Instagram photo-dumps through the most potent chorus from her third studio album, which powered “Illusion” to reach No. 41 on the Hot 100 and top the Hot Dance/Electronic Songs chart. — M.S.

ROSÉ & Bruno Mars, “Apt.”

Every so often, a debut album’s lead single arrives as a bonafide global smash – and “Apt.” did exactly that. Serving as the introduction for the forthcoming debut solo album from Blackpink’s ROSÉ, “Apt.” – which has topped the Billboard Global 200 for six weeks and counting – smartly tapped one of her biggest new labelmates in Bruno Mars. The fun-loving song, based on a popular Korean drinking game, balances sillier verses with a chorus that spotlights the duo’s vocal talent, all while its driving pop-rock production packs the best kind of punch. – LYNDSEY HAVENS

Jelly Roll, “I Am Not Okay”

The default answer to the question “How are you doing?” is “I’m fine.” In this important song, Jelly Roll challenges us to be more candid on those occasions when we’re not fine. Jelly Roll has said he co-wrote this song “for everyone going through something,” which is pretty much everyone, period. That universality explains why he was invited to perform the song on venues as varied as The Voice and the Primetime Emmys, where it soundtracked the In Memoriam segment. – P.G.

Willow, “Big Feelings”

Controlled chaos is the name of the game on “Big Feelings,” and the track’s 4:24 runtime is a masterclass in pulling off such a tricky feat. Steeped in the well-researched influences of free jazz and new age, “Big Feelings” finds Willow perusing the entire expanse of her vocal range in her efforts to musically transpose the kaleidoscopic firestorm that is queer emotion. Now her first individual song to earn a Grammy nomination (best arrangement, instrumental, and vocals), “Big Feelings” is yet another career highlight for the multihyphenate. — K.D.

Chris Stapleton, “Think I’m in Love With You”

This standout single off Chris Stapleton’s fifth album, Higher, is a sonic snapshot of all his best qualities. From the husky opening “baby!” into the question of “do you ever wonder?,” Stapleton quickly and perfectly sets the stage for his story to unfold. And, as so many of his songs are, it’s a relatable tale told over plucky and warm guitars, this time about wondering whether or not he’s in love with someone – knowing full well he is, and has been for some time. — L.H.

Linkin Park, “The Emptiness Machine”

When Linkin Park began teasing their return in early September, the phrase “be part of something” was used as a message to fans, before being elongated to the line “I always wanted to be part of something” in the roaring comeback single “The Emptiness Machine.” Mike Shinoda, who spent the years following the death of band mate Chester Bennington working on solo material and producing for others, sings the line first, reinvigorated to be back within the group he calls home; Emily Armstrong, the singer of Dead Sara and now Linkin Park co-vocalist, echos him before slamming down on the final chorus, a new voice part of something special here. — J. Lipshutz

Mk.gee, “Alesis”

Mk.gee is not a new artist by any means, but 2024 is certainly the year in which his talents were finally spotlighted. With “Alesis,” the standout track from his latest album Two Star and the Dream Police, the mysterious singer, producer and instrumentalist showcases what makes him so special, and why he’s already so beloved by stars including Justin Bieber and Frank Ocean. His reverbed vocals over an atmospheric, guitar-driven melody is the exact formula for an indie hit that will hopefully skyrocket Mk.gee’s career in the coming years. — R.A.

JADE, “Angel of My Dreams”

Little Mix’s third studio album was titled Get Weird — advice that Jade Thirlwall, a member of the British girl group, thoroughly heeded when crafting her blissfully bonkers debut single. “Angel of My Dreams” is a meta commentary on modern pop stardom, with a wind-swept chorus that finds JADE soaring to meet the heights of the spotlight, and throbbing verses that dissect music industry muck. As the warring factions of the song start to bleed into one another, she leans into the distortion instead of confining herself to an ideal. It’s a bold, cracklingly smart pop single, and hopefully a sign of big things to come. — J. Lipshutz

Jordan Adetunji, “Kehlani”

Even with a long tradition of celebrity shoutouts in hip-hop songs, something about Jordan Adetunji’s “Kehlani” just hits different. Over an expertly placed sample of Summer Walker’s “Potential,” Adetunji spends his hit single gassing up the R&B star by proxy, detailing the various ways his love interest is “bad just like Kehlani is.” Glitched-out vocals and a killer beat help lift this track from being just a novelty one-off to a bonafide bop — one that Kehlani was more than happy to join in on via a viral remix. — S.D.

Taylor Swift, “I Can Do It With a Broken Heart”

“The show must go on?” No, “I Can Do It With a Broken Heart.” Sure, very, very few of us have achieved Taylor Swift’s global pop superstar status, but the theme behind her driving The Tortured Poets Department track is universal. Its twinkling production reinforces the feeling of picking yourself back up after heartbreak — and how we use humor as a coping mechanism (“I’m so depressed I act like it’s my birthday/ every day”). Plus, the backing vocals simulating a performers’ in-ear monitor right before the hook was a nice touch (“1, 2, 3, 4”) — especially considering she wrote, recorded, announced and dropped TTPD all amidst her record-smashing Eras Tour. — D.P.

St. Vincent, “Broken Man”

On “Broken Man,” St. Vincent is an “earthquake-shaking,” a “king-size killer” and a thunderous guitarist. The track is pure rock’n’roll sleaze, as she demands to know why you’re looking at her like that, like you’ve never seen a broken man. The song – tinged with dark imagery (“Lover, nail yourself right to me”) – builds tension all the way through with screaming guitars and quickening bass until there is nothing left but Annie Clark’s scream to close out one the best rock songs of the year. — T.M.

Teddy Swims, “Lose Control”

Is it rock? Is it pop? Is it R&B? Whatever the genre-defying song is, it’s a success – and a big one. Swims’ heartbroken hit – featuring universally felt lyrics such as “I’m falling apart in front of you/ Can’t you see” — has topped myriad Billboard charts, including of course the Hot 100. And as proof of its ubiquity, the powerhouse singer has performed it on everything from the VMAs to the CMAs and even The Voice. Yeah, we all want this song like a fiend. — A.C.

Megan Thee Stallion, “Hiss”

Back in February, Megan Thee Stallion became the first and still only female rapper to top the Hot 100 in 2024. “Hiss,” a blazing no-holds-barred takedown of Thee Stallion’s most notorious foes, remains one of the year’s most impressive mainstream rap records. Over menacing production courtesy of LilJuMadeDaBeat, Bankroll Got It & Shawn “Source” Jarrett, Megan takes aim at the whole rap game with cutting bars that smartly balance humor with catharsis – because that’s ultimately what “Hiss” is. Like her Prime documentary later in the year, “Hiss” is Megan seizing the opportunity to tell her story on her own terms; the song’s visceral honesty and unmistakable emotional heft sound like a genuine, and necessary, release for everyone’s favorite H-Town Hottie. — K.D.

Xavi, “La Diabla”

Xavi kicked off 2024 with a big bang: Earning his first No. 1 on a Billboard chart with “La Diabla,” he ended up crowning Hot Latin Songs for 14 consecutive weeks. Driven by a spellbinding requinto riff and his enchanting vocals, “La Diabla” (the devil) is a song about a perilous romance that melds the raw spirit of corridos tumbados with tender romanticism. “We’ve been doing everything with love, giving it our all to keep pushing our music and culture to new heights,” Xavi told Billboard in January. — J.R.

Muni Long, “Made for Me”

“Hrs and Hrs” hitmaker Long staged an impactful return with this compassionate ballad — also a TikTok viral hit through a challenge tied to the lyric: “Twin, where have you been?” In actuality, the “twin” being referenced is Long’s baby son, her inspiration for the song. With additional secret sauce provided by producers Jermaine Dupri and Bryan-Michael Cox — plus a remix with idol Mariah Carey — “Made for Me” gave Long another major R&B and pop hit. More significant than her crossover success, however, are her astute songwriting skills, her emotive vocals and her innate ability to zero in on the heart of the matter when it comes to love. — G.M.

Djo, “End of Beginning”

Bless the TikTok-driven era that can allow a twinkling indie-psych power ballad like this — sounding like Mac DeMarco and MGMT having a drunken moment to Motley Crüe’s “Home Sweet Home” — to go viral enough to be knocking on the door of the Hot 100’s top 10. “End of Beginning” was released on Djo’s (Joe Keery, actor on a show whose return folks are gonna very excited about next year) excellent Decide album in 2022, but hits its new word-of-streaming peak in early 2024 — and like its abruptly ending bridge scream-along, we would’ve been fine if it had just kept going. — A.U.

Dasha, “Austin”

“Before He Cheats,” “Picture to Burn,” “Hell on Heels” — nothing hits quite like a good scumbag-dragging country song (just ask Carrie, Taylor and the Pistol Annies). Add to that list Dasha’s “Austin,” a boot-stompin’, hand-clappin’, leave-him-in-the-dust romp from a 24-year-old California native who, admittedly, hadn’t been to “Austin” when she and her collaborators wrote the song, but put the fire of real-life relationship experience into her performance. “Austin” came out in November 2023, but blew up on TikTok in early 2024 thanks to a line dance Dasha created, solidifying itself as a welcome addition to the country canon of takedown songs. — C.W.

Waxahatchee feat. MJ Lenderman, “Right Back to It”

Such viscerally aching songwriting paired with heartbroken harmonies is a potent combination – and yet, there’s a comfort to “Right Back to It” that keeps listeners, well, coming back to it. Both Waxahatchee and MJ Lenderman released stellar albums this year (Tigers Blood and Manning Fireworks, both among our staff’s top 50 albums of the year), but this early single from the former’s full-length captured a moment in time – much like the one Waxahatchee’s Katie Crutchfield sings of here – when each artist’s separate sorrows had yet to be untangled. – L.H.

Billie Eilish, “Lunch”

“It’s a craving not a crush,” Billie Eilish testifies on this tribute to newly discovered culinary infatuations that served as lead single from her Hit Me Hard and Soft album. The song could’ve easily come off as overly decadent if not for the obvious winking quality of Eilish’s vocal — she can barely get through her “trying hard not to overeat” lyric without chuckling — and the sheer merriment of the music, a skanking groove with an impossibly frisky bass line. You can only imagine the faces that Billie and Finneas were making while recording “Lunch,” just one of the many reasons it’s among the most fun songs of the year. — A.U.

Gracie Abrams, “That’s So True”

Gracie Abrams might have suggested that she barely “made it out alive” on The Secret of Us deluxe cut “That’s So True,” already her biggest hit to date — building on a year of slowly growing commercial and cultural momentum — but the fast success of the song proves otherwise. Marking her first Hot 100 top 10 hit, the song checks all the boxes on what makes the 25-year-old star so popular: clever yet scathing lyrics, raw honesty and a viral bridge that currently soundtracks more than 250,000 TikTok videos. — R.A.

Luke Combs, “Ain’t No Love in Oklahoma”

“Ain’t No Love in Oklahoma” could’ve easily come off self-parodic in its embrace of clichéd country imagery — Red Rivers and long black trains and all that. But Luke Combs howls them with such conviction, and his backing band responds with such accompanying thunder, that — like the ’90s action blockbuster remake it hails from — it feels far more like a reinvigoration of the genre in its most classic form than an excavation of its detritus. You need a song like this to lead the year’s biggest soundtrack, and half a year later, we still get the same rush chasing that same old devil down that same old dead-end highway. — A.U.

Remi Wolf, “Cinderella”

As Chappell Roan and Sabrina Carpenter dominated the charts, another Island artist reaffirmed the quality of the label’s current roster extends well beyond those two divas. “Cinderella,” the bold, brassy opening track from cult-favorite alt-popper Remi Wolf’s second album, is irresistibly funky – and, as whistles back Remi’s swaggering vocals, tons of fun. — E.R.B.

Tems, “Love Me JeJe”

A breezy, beautiful ode to an easy kind of love, “Love Me JeJe” — which lifts its refrain from trailblazing Nigerian singer Seyi Sodimu’s 1997 song of the same name — is the kind of hit that brings out the best in Tems: not quite any genre in particular, but a blend of several, with traditional Afrobeats drums, a soulful feel and her strong, confident vocals tying it all together. Appropriately nominated for the best African music performance Grammy, the song is a great addition to an ever-evolving catalog. — D.R.

4batz, “Act II: Date @ 8”

It takes a true earworm for a 21-year-old newcomer to receive a co-sign from Drake, Kanye West and millions on TikTok. Released independently off his debut mixtape, U Made Me a St4r, the two-minute cut takes a page from 4batz’s Texas origins with its pitched-up vocals and late-night minimalism. The brooding result caught virality, saw Drizzy jump on the remix and set the scene for the R&B singer to carry a torch led by the likes of Brent Faiyaz and PARTYNEXTDOOR. Not too shabby for an act who had less than a year of recording under his belt. — J.D.

Maggie Rogers, “Don’t Forget Me”

Maggie Rogers continues to grow as an artist and a person with each album and, on songs like “Don’t Forget Me,” she gives listeners a glimpse into her deepest thoughts. With a touch of country and the tenderest of melodies, Rogers explores how she feels about the relationships she sees blooming around her and laments how none of them look like love to her. Despite not wanting the kind of love her friends have, Rogers still isn’t clear what love is for her and is happy to take the time to figure that out with “a good lover or someone that’s nice to me.” “Don’t Forget Me” is a beautifully sentimental song that only someone with Rogers’ lyrical talent could tackle without coming off cheesy or jaded. — T.M.

Chappell Roan, “Pink Pony Club”

Released as a single in April 2022, “Pink Pony Club” has become more impactful with each increasing stage: from opening on Olivia Rodrigo’s GUTS tour to conquering major festival slots to, more recently, turning her Saturday Night Live performance into a singalong. From its opening piano, the song’s production is light on its feet — with a hell of a guitar solo in the bridge to boot. Its lyrical content is even more layered, defiant and heart-wrenching, poignant and beautiful. It’s the type of song that makes you want to smile and scream and dance and cry all at once. And it doesn’t get much better than that. — J.G.

Cash Cobain & Bay Swag, “Fisherrr”

“I don’t want to do anything the conventional way,” Cash Cobain told interviewers. That’s most apparent on the scrawny, barely-there beat for his breakout hit, which involves just four notes on a synthesizer, the lightest of rat-a-tat drums, and a distorted bass line doesn’t even arrive until the 98 second mark. Everything is understated except for the rapping — Cobain and Bay Swag volley boastful, bawdy lines back and forth like tennis players trying to one-up each other with trick shots. “It don’t sound mainstream,” the rapper said cheerfully. It cracked the top 10 on Billboard‘s R&B/Hip-Hop Airplay chart anyway. — E.L.

Kacey Musgraves, “Deeper Well”

The country singer-songwriter kicked off the title track of her sixth album in the most astrological fashion possible, by pronouncing: “My Saturn has returned.” Kacey returned in full force as well — with a belated sequel of sorts to her album of the year Grammy-winner Golden Hour — and this opening track perfectly sets the scene for the serene, introspective project. She’s saying “hello” again to her listeners and “goodbye” to the people that she feels “are real good at wasting my time.” – K.A.

Karol G, “Si Antes te Hubiera Conocido”

It’s been 20 weeks now that Karol G’s merengue smash has topped the Latin Airplay chart — the longest-reigning hit on the chart since friggin’ “Bailando” — and it’s not hard to see why. “Si Antes te Hubiera Conocido” (in English, “If I had met you before”) is impossibly delightful, with its playful groove and melancholy lyrics combining for one of the year’s most sublime hits — while the refrain is so catchy that you can actually hear the crowds singing along to it by song’s end. Besides, how many other songs could’ve gotten both Post Malone and Taylor Swift out of their seats and dancing at this year’s VMAs? — A.U.

Clairo, “Sexy to Someone”

“How many times can I say ‘sexy’ in the song before it gets kind of weird?” Clairo asked this summer in an interview with the singer Remi Wolf. The answer is at least a dozen, which is how many times the word pops up in this single: a cozy pop-soul cut with a snappy breakbeat and chubby bassline. Clairo toggles easily between modes, sometimes casual — “Sexy to somebody, it would help me out/ Oh, I need a reason to get out of the house” — and sometimes all-consuming: “It’s just a little thing I can’t live without.” As she told Wolf: “I can find sexy in anything.” — E.L.

Benson Boone, “Beautiful Things”

Anxious attachment becomes a beautiful thing on Boone’s global smash – it was one of the biggest songs in the world, notching seven weeks at No. 1 on the Global 200, and one of the biggest sonically. Multiple swings between tender moments and amps-up pop-rock belting make the song feel, as love often does, larger than life. Boone made the moment even bigger: as his song took over, he brought epic performances to some of the buzziest stages from Lollapalooza to the VMAs, accented by his signature backflips. — M.M.

Sexyy Red, “Get It Sexyy”

As Ye once said, every superhero needs their theme music — and few rappers of recent vintage called out for their own entrance soundtrack quite like Sexyy Red. She certainly got it this year with the clap-along anthem “Get It Sexyy”: From the backing ba-ba-ba vocals to her own call-and-response hooks on the verses to that single-minded chorus — and the drums building in intensity underneath her — “Sexyy” made its titular protagonist sound like the biggest and baddest MC on the planet. Which, y’know, fair. — A.U.

Olivia Rodrigo, “Obsessed”

If you’re gonna title a song about your romantic infatuation — especially when said infatuation and said romance aren’t even both with the same person — you better have a twisted guitar riff to match. Check and check for Olivia Rodrigo’s “Obsessed,” her sharpest-edged, hardest-rocking single to date, which became a fan favorite on her globe-conquering Guts World Tour before becoming a top 20 Hot 100 hit as the most exciting song on her Guts (Spilled) deluxe reissue this March. Gonna be so awesome watching the now-21-year-old pop-rock great just getting weirder and wilder from here. — A.U.

Doechii, “Nissan Altima”

When Doechii was named 2023’s Rising Star at last year’s Billboard Women in Music, the Florida rapper promised us her “pop era” was incoming, and on the lead single from Alligator Bites Never Heal, she delivers. “I’m the new hip-hop Madonna, I’m the trap Grace Jones” she brags, her rapid-fire flow blasting out atop a throbbing bass line and a quirky synth riff that wouldn’t sound out of place coming from a Super Nintendo. – J. Lynch

SZA, “Saturn”

After a record-breaking 2023 thanks to the release of her sophomore album, SOS, SZA got reflective on her first solo post-LP single. On “Saturn,” she goes through an existential thought process, wondering if there’s more to life than our earthly bodies and experiences. “There’s got to be more,” she insists, before declaring that she’s “dreaming” of a potential life on Saturn, bolstered by her famously ethereal vocals. With the track hitting No. 6 on the Hot 100, she’s clearly not the only one who has felt this way one time or another. — R.A.

Hozier, “Too Sweet”

Hozier’s track record on the Hot 100 following 2014’s “Take Me to Church” was pretty thin, but the Irish singer/songwriter came roaring back with this catchy song, which shot to No. 1 in just four weeks. The record has both the instrumental precision and vocal swagger of such Eagles classics as “One of These Nights.” The backing track is so punchy and dynamic that the session musicians in the fabled Wrecking Crew might bow down and say, “Damn.” — P.G.

Bruno Mars & Lady Gaga, “Die With a Smile”

This dramatic duet really drives home what makes Bruno Mars and Lady Gaga two of the Greatest Pop Stars of the 21st Century, from its timeless sound to its theatrical vocals to its repeat listenability. But most of all, thanks to the impassioned harmonies and yearnful wails, you truly believe this pair would be happy to go down in flames in the End Times, as long as they’re going down together. – K.A.

Beyoncé, “Texas Hold ‘Em”

Who says an artist needs to stay in one genre lane? Certainly not Beyoncé, who continued to buck hard against the music industry’s conventional mindset with “Texas Hold ‘Em,” from her country album Cowboy Carter. Like Renaissance before it — which shined a deserved spotlight on the Black and LGBTQ+ trailblazers behind disco, house and dance/electronic music — Carter and its lead single traces and then integrates the Black roots that laid the foundation for country music. With its uptempo, banjo-driven and folk-vibed track, the single immediately caught fire, netting the barrier-breaking cultural ambassador an historic first No. 1 on Hot Country Songs, and her ninth No. 1 as a solo artist on the Hot 100. — G.M.

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

This was the rap assassination of Franz Ferdinand, as it kicked off a rap world war for the ages. Everything about this song was theater: the hidden feature, the old-school sample, Kendrick coming out of nowhere — like Sting during his Crow era, when he used to come down from the rafters to wreak havoc on whoever was in his path. The moment was pure hip-hop, and reminded everyone that moments like this matter more than numbers ever will. And no, I didn’t forget about Future, who sets a beautiful table for Metro to tease the West Coast boogeyman’s sneak attack with the “Eazy-Duz-It” sample. — A.D.

Charli XCX, “360”

With opening track “360,” it takes all of a nanosecond to get lost in the Brat appeal: let the A. G. Cook-produced synths wash over you, disappear into the pop culture references (“I’m everywhere, I’m so Julia”), embrace your brattiest self (“I don’t f–king care what you think”). You’re the star of the show from the very instant that the first synth echoes over the speaker, through Charli’s final “Bumpin’ that.” Enjoy the ride. — J.G.

Kali Uchis feat. Peso Pluma, “Iqual Que un Ángel”

Welcoming Peso Pluma to her musical world, Kali Uchis’ “Igual Que Un Ángel” is a groovy, disco-tinged tune infused with soulful R&B. The song, which is about an unattainable princess, flaunts the stark contrast between Kali and Peso’s vocals: hers is silky and soothing, his is nasally and gravelly. “Igual Que Un Ángel” peaked at No. 1 on the Hot Latin Songs chart in January, and became Uchis’ highest-peaking song to date on the Hot 100, reaching No. 22. The song was also nominated for record of the year at the 2024 Latin Grammys. — J.R.

GloRilla, “TGIF”

No matter what the actual time and temperature, whenever “TGIF” was playing in 2024, it was 7:00 p.m. Friday and 95 degrees. That might sound a little balmy for early sundown hours — U.S. rep Ayanna Pressley certainly seemed to think so — but GloRilla’s heat is a dry one, and an intoxicating one at that, so much so that no less a pop icon than Rihanna had to let her star hubby know about it in particularly in-your-face fashion. It was the biggest driving factor in one of the best breakout years for a rapper this decade — and before long, 60,000 fans showing up to see Big Glo do her dance may be a pretty regular thing. — A.U.

Sabrina Carpenter, “Please Please Please”

It wasn’t the caffeine-injected “Espresso” but her breezy “Please Please Please” follow-up that earned Sabrina Carpenter her first Billboard Hot 100 No. 1 hit in her superstar breakout year. Produced by pop architect Jack Antonoff, the yacht rock-tinged “Please” had everyone double-clapping and belting “motherf—ker” with a country twang as SC begged a lover not to embarrass her again. “I know you’re craving some fresh air, but the ceiling fan is so nice,” she sings, while adding to her list of cheeky innuendos. In what was a very crowded year for pop music, “Please Please Please” solidified that Sabrina was largely competing with herself for the top 40 song of the summer. — M.S.

Tinashe, “Nasty”

Tinashe’s pop prowess reached new heights with “Nasty” – and while the track gave her a grand return to the Hot 100, it did even more for the masses, as it empowered many to ask: “Is somebody gonna match my freak?” The sultry, strip-club-ready inquiry became an undeniable force in all formats, from airplay and streaming to viral dances and certainly no shortage of “match my” memes. — M.M.

Ariana Grande, “We Can’t Be Friends (Wait for Your Love)”

With heart-wrenching lyrics underscored by a pulsating beat, Ariana Grande’s “We Can’t Be Friends (Wait for Your Love)” seemingly takes notes from Robyn’s similarly poignant “Dancing on My Own.” But on her standout eternal sunshine track, Grande carves out her own lane — letting her soft tone and trademark runs take center stage, singing about the internal battle between loving someone or letting them go. And its music video, which is a loving homage to the 2004 Jim Carrey film that inspired her latest album’s title? Yup, it’s just as devastating and beautiful as the record itself. — D.P.

Tyler, the Creator feat. GloRilla, Sexyy Red & Lil Wayne, “Sticky”

Two of 2024’s hottest female MCs (and one hip-hop GOAT contender) join Tyler, the Creator on Chromakopia standout “Sticky.” Playground chants, clanging cowbell and chest-rattling bass give GloRilla and Sexyy ample space for a well-earned victory lap in 2024, while Weezy flexes his inimitable wordplay without breaking a sweat (“standing like ovation on business occupation”). Even so, it’s Tyler’s show, and he steals the spotlight with a braggadocious growl about “f–kin’ who I wanna” and risking his neck (literally) between the sheets. Ask the chiropractor to bring a mop. – J. Lynch

Post Malone feat. Morgan Wallen, “I Had Some Help”

We all get by with a little help from our superstar collaborators, you couldn’t have asked for a smarter pairing in 2024 than Post Malone and Morgan Wallen — the latter helping the former make his entrance to the country world, and the former helping the latter clear whatever hurdles remained to him becoming absolutely unavoidable in top 40. More importantly than doors opened, the two of them just sound awesome on record together here, and both are perfect conduits for a song about mutually assured romantic destruction that sounds like more of a blast than any real-life alcohol-fueled breakup has ever actually been. Teamwork makes the dream work, indeed. — A.U.

Taylor Swift feat. Post Malone, “Fortnight”

From the first sweet-yet-foreboding notes of the TTPD opener, Swift dips her toes into the goth-girl realm and delivers such darkness and longing that it’s impossible to not feel her ache — heightened by Posty’s tender backing croon (“I love you, it’s ruining my life”) — or to take the song off repeat. Aided by the tragic black-and-white visual featuring a nod to the Dead Poets Society via cameos from Ethan Hawke and Josh Charles as her captors alongside one Austin Post — who is also her love! Oh, the delicious heartbreak — the song reached the peak of the Hot 100 for two weeks. (Should’ve been longer.) — A.C.

Tommy Richman, “Million Dollar Baby”

Behold the beauty of modern TikTok discovery: a few delicious snippets of funked-up R&B music can make a complete unknown become the voice of one of the biggest hits of the year. “Million Dollar Baby,” Tommy Richman’s breakout smash, didn’t zoom into the top 10 of the Hot 100 and spend several weeks in that frame because of any cogent messaging or artist intrigue, but because it was a great hang: the plump bass line, clinking synths, tons of hi-hat and most importantly, Richman’s buttery falsetto, singing about repping Woodbridge, Virginia and some vaguely characterized relationship drama. It didn’t matter — anyone could warble along with “Million Dollar Baby,” that old-school bounce and his upper-register harmonies beguiling enough to jump off the For You page and onto top 40 radio. Ultimately, “Million Dollar Baby” transcended its viral-smash status, its impact anything but ephemeral. — J. Lipshutz

Addison Rae, “Diet Pepsi”

When you have 88.7 million followers on TikTok, it’s hard to imagine anything you drop not immediately catching fire. But viral dance queen Addison Rae did not break into the Hot 100 until this year’s “Diet Pepsi,” which bubbled up to No. 54 on the chart. “My boy’s a winner, he loves the game/ My lips reflect off his cross-gold chain,” Rae purrs, reaching into her ripped blue jeans and pulling out 1990s Americana images like a Gen Z Lana del Rey. The echoing synth lays the foundation for Rae’s ethereal voice, which floats above a whomping, mid-tempo rhythm and pulls no punches as she whispers, “Untouched, XO/ Young lust, let’s — (ah),” on the pre-chorus. “When we drive in your car, I’m your baby (so sweet)/ Losing all my innocence in the backseat,” she sings breathlessly. That is, until the immaculately placed key change takes the whole thing subterranean, and Rae switches from coquettish passenger to authoritative driver, like she’s handing you her empty can so she can focus on the road. — C.W.

Beyoncé, “Bodyguard”

One of a staggering seven different songs nominated in various categories for the Grammys, “Bodyguard” is maybe musically the simplest — though also the most engaging, with lyrics about the protective nature of love and what people are willing to do for it. But it’s the Beyoncé flair that makes the song come alive, her vocals at times purring (“Leave my lipstick on the cigarette”), at times delivered with a sly wink (Sometimes I take the day off just to turn you on”), but always with her entire soul in it. Produced by Raphael Saadiq, there are elements of his slinky-cool soul, building to a tightly distorted guitar solo during which Bey’s vocals really begin to soar, which elevates the song beyond what it could have been in anyone else’s hands. — D.R.

Charli XCX With Lorde, “Girl So Confusing”

Shaboozey, “A Bar Song (Tipsy)”

Billboard’s first charts, published more than a century ago, ranked sheet music sales—and made no mention of musical styles. The concept of distinct genres arose later to help market physical recordings and radio stations. Now, the streaming era has made genres all but irrelevant, as evidenced by Shaboozey’s marvelous milestone hit, “A Bar Song (Tipsy),” which has received more than 1.69 billion on-demand global streams and spent 19 weeks at No. 1 on the Hot 100, tying the record set by Lil Nas X’s ‘Old Town Road’ in 2019. With its universal lyric of struggles and release, its acoustic guitar intro, its hand-clapping rhythms and its nod to J-Kwon’s ’00s hip-pop smash “Tipsy,” Shaboozey’s country-pop-rap gem has been a genre-busting, culture-crossing phenomenon. — T.D.

Billie Eilish, “Birds of a Feather”

Throughout her career, Eilish has at times faced criticism for her whisper-toned vocals, with some haters suggesting that she doesn’t have the range to switch up her sound. She swiftly proved them wrong with “Birds of a Feather,” which features a wildly catchy post-chorus where Eilish emotionally belts the skyscraping proclamation, “I’ll love you ’til the day that I die!” The gorgeously lush pop-rock radio banger, which hit No. 2 on the Hot 100, was easily one of the go-to love songs of the year — with countless fans using it over on social media to soundtrack their happiest moments of 2024. — R.A.

Sabrina Carpenter, “Espresso”

“That’s that me espresso” is the kind of huh? chorus lyric that either prevents a song from having any chance of becoming a major pop hit, or ensures it’s going to be one of the biggest and most unforgettable pop hits in recent memory. In the case of Sabrina Carpenter’s superstar breakthrough, it was of course the latter, with the line serving as the foam on top of what was already one of the most unmistakable, invigorating and naturally addictive singles of 2024. With that perfectly titrated chorus, a sleek post-disco groove and more winking throughout than George Costanza with grapefruit juice in his eye, “Espresso” proved undeniable and ubiquitous — and the fact that it already feels years in the rearview for Carpenter by now is how you know she’s gonna be a big star for a long time. — A.U.

Chappell Roan, “Good Luck, Babe!”

Chappell Roan is not like most artists, to say the least, and that’s abundantly clear on “Good Luck, Babe!” While most vocalists scale up to a high note at the end of a lyric, the Missouri singer-songwriter begins each line of this chorus in her upper register before sliding down to deliver irony-drenched well wishes to a former lover in denial about their queerness. The verses are every bit as strong as the glistening chorus, all playful, pillowy synths and easygoing ‘80s beats as Roan coaxes and pouts, subtly flexing her vocal range and irrepressible personality. But on the spine-tingling bridge, Roan achieves a level of sublime pop perfection most singers spend years grasping at, spitting out savage disses (the institution of marriage may never recover from “you’re nothing more than his wife”) and howling “I told you sooooooo” before the song pivots to an unexpected, gorgeous bit of Paisley Park psychedelia on the outro. No wonder it wasn’t just her first Hot 100 entry – it’s also her first top 10 hit, and surely not the last. – J. Lynch  

Kendrick Lamar, “Not Like Us”