The Black Keys- “Beautiful People (Stay High)” (Nonesuch)
A thrilling preview of the duo’s newly announced twelfth LP, “Beautiful People” is easily their most jubilant and celebratory release to date. It joyously combines their imposing, addictive blues-rock additives with luminous piano, brash horns, biting bass, and near-gospel vocals. It’s a bastion of passionate, crackling sound that starts the year off on a tremendous, and fittingly persistent, high note.
Cage the Elephant- “Neon Pill” (RCA)
CTE’s first taste of new music this decade finds the band remaining solidly in the same stellar form where we last found them on 2019’s Social Cues. “Neon Pill” marries their signature slick and modern psychedelic sound with a sprinkling of sun-kissed folk-rock tendencies that simmer into an utterly hypnotic euphoria that’s all their own. Matt Schultz’s evocative vocals are as hauntingly alluring as ever, a quality elevated by the track’s combination of punchy strums and synths.
Gary Clark Jr.- “Maktub” (Warner Brothers)
The bluesy guitar-slinger leans into some of the most rugged and swaggering inclinations of his career on “Maktub”. It’s a raw and eye-opening performance that retains the burning guitar spirit of his biggest moments but also makes room for bold elements of Hip Hop and African tribal music. Meanwhile, the foreboding and socially conscious tone of the lyrics leave an increasingly grim and gripping mark with each repeat listen. It’s a striking blend of stylistic and cultural influences that suggests that Clark’s latest is bound to be among the most compelling of his impressive career.
Kelly Clarkson- “Lighthouse” (Atlantic)
A classic divorce ballad from Kelly Clarkson’s Chemistry, which ultimately proved to be more than just a straight-forward divorce album, but rather an overall documentation of the varying cycles of a romantic relationship. “Lighthouse” is all heart-wrenching break-up however, and one of the powerhouse’s most balanced and tender ballads. Emotional intimacy, gorgeous vocals, and gutting lyrics all make this a beacon even in its darkest moments.
Charley Crockett- “$10 Cowboy” (Son of Davy)
This charmingly retro Americana darling just keeps churning out material at a rapid-fire pace, and to roots music lovers everywhere go all the glorious spoils. As the title implies, “$10 Cowboy” is one of those classic, down-on-your-luck, aspiring country star anthems. Per usual, Crockett loads his performance with loads of snark, camp, bluesy twang, crisp instrumental backing, and endless character.
Sheryl Crow- “Evolution” (Big Machine)
A sobering and haunting confrontation of the advent of artificial intelligence, and the artistic implications it stands to have on the music industry and our overall culture. It’s an important, overarching message to consider on the largest of scales, and Crow delivers it against an appropriately hazy cloud of grim doubt that eventually surrenders to a steadfast confidence in authenticity and human emotion.
Luke Dick- “Shirt Off My Back” (Republican Hair)
A scrappy, blue-collar rocker that lures you in with a twangy, singer-songwriter undercurrent before exploding into a roaringly snappy chorus that would make Tom Petty mighty proud. It’s the kind of catchy, rollicking anthem that we need to keep our adrenaline up during these snoozy winter months. This deserves to be a breakout moment for a dude who has been a quiet highlight in the roots scene for several years now.
Foo Fighters/H.E.R.- “The Glass” (RCA)
In an interesting move, the latest Foo single is released as a double-sided offering, with their original performance on one side, and a cover version from the R&B songstress on the other. As an emotional centerpiece from But Here We Are, it immediately ranks among the band’s most epic singles, with added potency and gravitas due to the grief under which the song was born. Therefore, there is obviously no topping Dave Grohl’s wrenching performance, but H.E.R. unsurprisingly puts her own magically graceful and reverent touch on this special track.
Ariana Grande- “Yes And?” (Republic)
One of pop’s premiere princesses doesn’t keep us waiting long for her to launch her anticipated 2024 return. And if “Yes And?” is any indication, Ariana Grande’s comeback should be one of music’s most infectious occasions of the year. This track is an insatiably bopping, endlessly hooky slice of modern house goodness, and Grande peppers it with a message that’s deliciously empowering and eviscerating all the same. A certifiable smash right out of the gate.
Norah Jones- “Running” (Blue Note)
The lead single from Norah Jones’ newly announced ninth studio album is a lush, gorgeous continuation of the esteemed and diversified standards that she has established over the course of a stunning two-decade career. She once again proves herself unafraid to color in and out of genre lines despite her unshakable status as a modern jazz darling. Jazzy piano, vintage soul vocals, and fuzzy rock bass lines all marvelously mingle throughout “Running”, but always in service of Jones’ majestic vocal presence.
Lil Nas X- “Where Do We Go Now” (Columbia)
A tender and reflective ballad depicting those pivotal and confusing life moments when a once-definitive relationship or period runs its course, leaving us staring down an imposing crossroads. Nas is equally as intriguing in these more poignant spaces as he is when he’s shaking the Internet to its proverbial core.
Jennifer Lopez- “Can’t Get Enough” (BMG)
A sizzling dose of J-Lo’s vintage pop-dance sauce that suggests she’s perhaps had more hit-making stamina left in her tank than she’s received credit for in recent years. “Can’t Get Enough” is as instantly infectious as anything she’s released since the original This Is Me era, and it wouldn’t be the first time she launched a formidable comeback after a long chart dry-spell.
Ashley McBryde- “The Devil I Know” (Warner)
Ashley McBryde is just one of those artists of the current moment operating on a level elevated above the vast majority of the field around her. Her crackling twang, unflinching authenticity, sly turn-of-phrase, and relatable POV have made her one of those classic country narrators for the common man and woman. We all unavoidably have our own vices and blind spots, and McBryde knows that her celebrity doesn’t make her any different. A sturdy and sardonic “pick your poisons” anthem that McBryde makes feel like a buzzy Saturday night convo with a close friend.
Milky Chance- “Reckless Child” (Muggelig)
The German noisemakers deliver one of the most hypnotic concoctions of their career, boasting the same unique folk-reggae-electronica trifecta that transfixed us on “Stolen Dance” more than a decade ago. “Reckless” is a fantastic reminder to circle back to the steady stream of solid music that they’ve released in between that bookend and this one. They’ve got a great knack for uniting slick pop beats and rich emotional pathos.
MGMT- “Mother Nature” (Mom+Pop)
A lovely, lilting performance that provides multiple layers of emotional sustenance. Come for the mysterious but comforting wave of bittersweet folk-rock melancholy. Stay to become lost in the complex lyrical musings that manage to capture the essence of life’s intimacy and all of its confusion in one fell swoop.
Kylie Minogue- “Hold On to Now” (BMG)
The Tension era has unquestionably found Kylie Minogue delivering the most potent material since the golden heights of Fever. This plea of romantic perseverance is a sweet pivot from the sensually-charged magnetism of the album’s first two singles. Its cascading dance production combines with Minogue’s heartfelt vocals to create a emotional jolt that is surprising and oh, so satisfying.
Mumford & Sons with Pharrell Williams- “Good People” (Glassnote)
The leaders of the 2010’s folk-rock revival return for their first full-band effort in half a decade, and when they soulfully chant “Welcome to the revelation!”, they aren’t posturing. Marcus’ gravely growl is at the peak of its powers here, and it merges with Pharrell’s collaborative, cultural pixie-dust to create a soulfully stomping battle-cry for the downtrodden. It serves as a triumphant beacon of hope, without ever overlooking the strife and strength that defined the journey to that point.
The Red Clay Strays- “Wondering Why” (Red Clay Strays)
Wow, what a breath of fresh air and soothing musical experience we have on our hands from these sudden Americana darlings. This record is a modern testament to the alluring impact that can still be achieved with a tastefully simple record that allows a singer, his band, and his song the space to put their organic magic to work. A sparse and sincere love song in every classic sense of the words. And the diverse vocal wallops that Brandon Coleman proves capable of? Wow. Keep your eyes and ears on these gentlemen.
Olivia Rodrigo- “Get Him Back!” (Geffen)
One of the most endearing qualities of Olivia Rodrigo’s brand of pop-girl melodrama is that she isn’t afraid to merely laugh at the sheer silliness of it all when the moment requires. Here she takes what could have been a flat attempt at clever wordplay and perfectly parlays into it a sensational pop-punk version of Jekyll & Hyde.
The Secret Sisters- “Same Water” (New West)
These peerlessly golden sister harmonies awaken from a slumber that lasted far too long. Hearing them unleash their vocal magic once again feels like that first taste of spring after a bitter and endless winter. The story of “Same Water” is, at surface-level, less comforting in its depiction of a wandering soul starving for a happiness and life fulfillment that continuously eludes them. But it’s the sisters’ masterful ability and willingness to unearth such a universal feeling of emptiness that makes the track all the more beautiful and, especially on the bridge, a true source of inspiration to ultimately press on.
Conner Smith featuring Hailey Whitters- “Roulette on the Heart” (Big Machine)
What a splendid neo-trad country duet this is. Their sweet and twangy voices blend marvelously and are spotlighted tremendously by the organic, acoustic backdrop, as well as the bittersweet lover’s gamble at the heart of the song’s story. I was initially a bit disappointed that we had to wait until the bridge to hear Whitters on lead, but it only magnified the reward that was her performance once we got there.
Aaron Lee Tasjan- “Horror Of It All” (New West)
The return of the thrillingly idiosyncratic Aaron Lee Tasjan finds the singer-songwriter once again upping all of his trippy, buzzworthy, genre-hopping signatures in expectedly tantalizing fashion. The sonic palette finds techno synths crashing into fuzzy rock, while he inflects both his writing and vocals with his singular, dizzying combination of sardonic wit and harrowing introspection.
Justin Timberlake- “Selfish” (RCA)
The pop titan ends another long solo drought with a wistful track that brings out a trademark soulful vocal performance that firmly establishes that his voice is maturing in rich fashion. It’s one of those records that benefits from a more restrained production, though it does teeter on the fine line between understated and bland. Overall though, “Selfish” is ultimately worthy of the smash-status it’s surely aspiring for, and it’s been more than a hot minute since Timberlake scored a hit ballad. If he can balance this simmering appetizer with a meatier–and splashier–main course as a follow-up, this comeback should rank as one of 2024’s hottest pop moments.
Morgan Wallen featuring Eric Church- “Man Made A Bar” (Big Loud)
A stellar superstar collaboration on a true-blue country bar ballad. We find Wallen and Church charmingly leaning into their honkiest leanings, when it would have stunned nobody to see them use this union to flex their rowdy rock muscles. The song is littered with the stereotypical country tropes that haters love to bash the genre for, but they strengthen the song rather than damage it, thanks to the pair’s spot-on deliveries, and Wallen’s undeniably sly writing style.
Waxahatchee featuring MJ Lenderman- “Right Back To It” (Anti)
If you do yourself the favor of exploring the Waxahatchee catalog, and you most definitely should, you’ll discover one of today’s most uniquely resonant vocal stylists in Katie Crutchfield. The syrupy yet brittle tone of her voice just grabs your attention in a riveting, indescribable way that few singers can achieve. Here, that quality is elevated by punchy guitar, delightful dobro, hilariously sharp writing, and lovely harmonies from her indie comrade in Lenderman.
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