The best albums of 2024 as voted by The Forty-Five’s music critics

From ‘GUTS’-adjacent bangers to glitchy menace (‘Villain’) to a Paramore sort of pop-punk, for her second act Mia Berrin looked in the ‘Mirror…’ and found a host of characters looking back at her. Pretty much all of them, as it turned out, were winners. Lisa Wright

Full of buoyant queer joy, Arxx’s second LP upped their own ante entirely. Sparkling with unashamed, MUNA-adjacent pop hooks and shining a light on the personal growth of its authors, vocalist Hanni Pidduck and drummer Clara Townsend, it made backing yourself sound like a damn good time. Lisa Wright.

At its core, Maya Hawke’s third album ‘Chaos Angel’ is a record about relationships, with Hawke studying her connections to her personal connections and the world around her. The songs are linked by a mantra that only makes itself clear at the album’s end in the title track when she sings, “I want you / I love you / I promise / I’m sorry”. A welcome return from a multi-talented creative. Rhian Daly

On ‘Playing Favorites’ Tina Halladay’s band of rock n’ rollers doubled down, unabashed in their unironic love of killer riffs and throaty choruses. Fans of the band were thrilled. And while it may not have propelled Sheer Mag into a new realm, if it ain’t broke… Charlotte Gunn

A report from the frontline of the on-the-cusp buzz band, the Brighton quartet’s debut was filled with career-based angst (‘Popstar’, ‘Fears’) and relatable neuroses. Wrapping them in twitchy, indie dancefloor hooks, however, it made ‘One More Thing’ a hugely enjoyable contradiction. Lisa Wright

Kali Uchis’ ‘Orquídeas’ was released as a companion piece to 2023’s ‘Red Moon in Venus’, becoming the Colombian American singer’s fourth studio album and second Spanish-language album. A seductive and tender release, ‘Orquídeas’ fused Latin-American styles with dancefloor-ready rhythms, featuring guest spots from Peso Pluma, El Alfa, JT, Karol G, and Rauw Alejandro. Arusa Qureshi

Dora Jar took her time with her debut album and it was worth the wait. Inventive production, killer riffs and a wrestling with the existential – on a record influenced by Mary Poppins and David Lynch in equal measure – made for a unique and wonderful trip into the world of a wonderfully-weird up-and-comer. Charlotte Gunn

‘Nasty’ may have been one of the songs of the summer but Tinashe’s seventh studio album ‘Quantum Baby’ was a suitably joy-filled follow-up. Across eight tracks, Tinashe offered a mix of slinky R&B numbers and Jersey-club influenced bangers, all tied up with her trademark playful and seductive style. Arusa Qureshi

Sleater-Kinney’s eleventh album, ‘Little Rope’, was raw and alive and turned their potent energy inwards to a complex, difficult grief. A joint writing effort between the pair, it was a testament to the bond between them, one helping the other through loss, using music as catharsis. Charlotte Gunn

On her second album ‘Bird’s Eye’, Ravyn Lenae pushed her gentle yet self-assured brand of R&B to new heights, experimenting with forms and styles courtesy of executive producer Dahi. From reggae to indie-rock, ‘Bird’s Eye’ was a release that proved to be both refreshing and ambitious. Arusa Qureshi

After some hard graft, 2024 was the year that Sabrina Carpenter finally broke through to the upper echelons of pop. ‘Short N Sweet’ leant into the horny-girl persona the pint-sized popstar had so excellently cultivated, pairing a dollop of sauce with quick-wit and killer choruses. Small but mighty. Charlotte Gunn

On Wallice’s debut album, the classically trained musician wrestles with the ups and downs of being a musician in the modern age, expected to perform, not just on stage, but near constantly, across multiple platforms. Written following a slot supporting The 1975 on tour, the LA artist created 14 songs of indie pop magic that keeps listeners on their toes with inventive instrumentation. Charlotte Gunn

If there’s one thing you can count on a new MICHELLE album to do, it’s subvert everything you thought you knew about their sound. Always one step ahead, the NYC band’s third record continued to evade genre conventions as they mined their collective musings, desires and regrets from the California desert, producing some of their most danceable hooks so far. Hollie Geraghty

Ferocious in its feral, human emotion, Marisa Dabice’s ability to flit between punk snarl and tender melody is just part of Mannequin Pussy’s magic. On their fourth album, the Philly punks borrowed from synth-pop, grunge and shoegaze, hooked together with Dabice’s wicked lyricism. 100 points for “What if Jesus himself ate my fucking snatch?”. Charlotte Gunn

For her fourth full length, Marika ditched the all-out lust of its predecessor ‘Any Human Friend’ for an album that dwelled in the recesses of a pandemic-bruised mind as much as a – let’s be honest – still horny body. Reflective and bold, it revealed yet another facet of the Londoner. Lisa Wright.

Recorded direct to tape, the Big Thief singer’s sixth solo record crackled with intimacy and the fleeting nature of experience, taking this intricate collection of psych and country-tinged folk stories and imbuing them with pure magic. Lisa Wright

On her fourth album, Kelly Lee Owens presented listeners with something simultaneously club-heavy and dreamlike in its blissful production. With credits from the likes of Bicep and The Chemical Brothers, ‘Dreamstate’ was a formidable step forward for the Welsh producer. Arusa Qureshi

Tyla’s never been quiet about her mission to become Africa’s first global popstar and her debut album doubled down on that intent, proving that ‘Water”s success was far from a one-off. Charlotte Gunn

On ‘What A Relief’ the MUNA-frontwoman showed a different side to her songwriting. Calling the record, ‘Lilith Fair Core’ it drew inspiration from the likes of Ani DiFranco and Sarah McLachlan. The highlight was a heartbreakingly-perfect duet with Mitski. Charlotte Gunn

The California singer’s vibrant second album documented the rollercoaster of touring life and the moments of melancholy amongst the technicolour. That transient nature of the road gave unfiltered a whole new meaning, charging up her funky soul sound and pushing that belting voice up a few octaves, reaffirming that this 28-year-old doesn’t do things by halves. Hollie Geraghty

Never anything less than her full self, Megan Pete’s eponymous effort brought her love of Japanese culture to the fore, skillfully executed on viral bangers ‘Mamushi’ and ‘Otaku Hot Girl’. Jenessa Williams

Adding new layers of melodic sophistication to her style, ‘My Method Actor’ marked a big step up for Nilufer Yanya, flitting seamlessly between 80s daydreams, cowboy motifs and fizzing odes to anxiety. Jenessa Williams

When Rosalía recreates the album cover as her Halloween outfit, you know it’s a contender for record of the year. LA pop duo Magdalena Bay’s transportive concept album felt like hitting play on a sci-fi film in the control room of a spaceship. As Mica Tenenbaum’s protagonist learned what it meant to be human through the consciousness of the titular disc, these hypnotizing songs found a truly original way to examine the human condition. Hollie Geraghty

After much anticipation, Rachel Chinouriri’s debut album solidified her as an indie girl through and through. ‘All I Wanted’, ‘Never Need Me’ and ‘Dumb Bitch Juice’ (complete with a cameo from Clara Amfo), went out to anyone struggling in the romantic trenches, whilst The Hills became a nuanced anthem for all non-white Brits. Jenessa Williams

The follow-up to Kim Gordon’s 2019 debut solo record offered a soundtrack to modern-day anxiety and chaos, providing listeners with an unexpected turn towards trap and alternative hip-hop. ‘The Collective’ saw Gordon take on politics, misinformation and more, accompanied by her trademark hypnotic drawl. Arusa Qureshi

Designed to be listened to on a loop, ‘Endlessness’ ebbed and flowed in gorgeous waves, making no bones about why this multi-instrumentalist is one of the most celebrated names in contemporary jazz. Jenessa Williams

Back from the brink of serious turmoil, ‘Filthy Underneath’ saw Sunderland’s finest wordsmith come back fighting, wrangling with themes of grief, addiction and survival over luscious art-pop. Jenessa Williams

A tender portrait of mothers and daughters, written in the raw moments of new parenthood and delivered acoustically in the most intimate of ways, ‘Patterns…’ was Marling at her simplest and best. An emotional juggernaut in the sweetest of packages. Lisa Wright

On her stunning solo debut proper, the lesser-spotted Portishead singer swapped breakbeats for lush acoustic instrumentation, using haunted folk as a palette for ruminations on mortality, menopause and the climate crisis. Gemma Samways

Coming good on the hype and then some, ‘Prelude to Ecstasy’ was an entirely fully-formed statement of a debut. Fusing radio-baiting choruses with literary smarts and audacious, theatrical bombast, it placed TLDP in a league – and world – of their own. Lisa Wright

After a period of loss, St. Vincent returned with an album which – for the first time in her career – didn’t see the chameleonic artist become someone new. Instead, we found the real Annie Clark, making a record about love and death and everything in between. The result was a cathartic, thrashing rock record. Charlotte Gunn

Never one to shy away from the not-so-flattering sides of herself, ‘The Secret Of Us’ blew the lid off the tender, acoustic sound that had become Gracie Abrams’ comfort zone. Charged with the thrill of infatuation, the risk of heartbreak and the petty resentment of it all falling apart, her second album unleashed a tidal wave of feelings that displayed the full spectrum of having your life turned upside down by a crush. Hollie Geraghty

Bbymutha’s second official LP was inspired by the sounds she was introduced to during her UK tour post-lockdown. On ‘Sleep Paralysis’, hints of UK garage and dance are blended with the Chattanooga-born rapper’s playful Southern rap, producing something bold and effervescent. Arusa Qureshi

Channelling the spirit of ‘Rid Of Me’, ‘Surfer Rosa’ and ‘Live Through This’, Sprints delivered one of the most visceral debuts of 2024 in ‘Letter To Self’. Think: searing garage-punk, anchored by the cathartic power of Karla Chubb’s serrated howl. Gemma Samways

With her debut studio album, Nia Archives succeeded in cementing her position as one of the most exciting voices in British dance music. On ‘Silence is Loud’, Nia Archives gave a nod to genres including indie, pop and R&B, but at its heart is introspective jungle and drum & bass, tied together by cathartic beats and understated production. Arusa Qureshi

A beam of self-empowering light amongst the societal bleakness of its title, the Aussie punks’ third honed Amy Taylor’s message of self-belief and shutting out the haters into a direct hit of joyous, vulnerable, sweary, important brilliance. Lisa Wright

Delivering on the promise of 2018’s brilliantly cartoonish mixtape, ‘World Wide Whack’ found the Philly rapper digging deeper. The result was a surprisingly vulnerable collection that further expanded Tierra Whack’s kaleidoscopic sonic universe. Gemma Samways

Five years on from the critically acclaimed ‘sober album’, Saint Cloud, Waxahatchee’s Katie Crutchfield returned with a collection of songs that, after 10 years in the biz, would earn the Kansas artist a first (and well deserved) Grammy nomination. Charlotte Gunn

Fans fell so hard for Claire Cottrill’s new album that the mere idea of entertaining any other music (or, well, anything for that matter) around the release was branded ‘Clairo Shade’. We get it; ‘Charm’ was the indie darling at her most intoxicating, a collection of balmy, golden hour-lit songs imbued with a gentle sensuality and shaped with the physicality of desire, immersing us deeper in the haze of summer daydreaming. Hollie Geraghty

Technically a mixtape but too good not to mention, Doechii‘s first full-length project cemented her longevity in hip-hop. From the braggadocious, perfect flow on ‘Nissan Altima’ (“I’m the new hip-hop Madonna / I’m the trap Grace Jones“) to more vulnerable moments where she tackles intrusive thoughts and losing friends, Doechii’s chameleonic style has us gassed for her album proper. Charlotte Gunn

Didn’t think BRAT could get any bigger? Putting pay to the idea of the remix album as nothing more than a record label cash-in, Charli XCX gathered a thoughtfully-curated bunch of pals to re-tool her work in expansive ways.

Would any Billie fan have predicted a song as sweet and pretty as ‘Birds of a Feather’ on Eilish ‘24 bingo? Almost certainly not. But the megastar’s third was full of surprises: some slight, some sapphic, all furthering the case for the singer being the 21st century pop star. Lisa Wright.

On her eight studio album, Beyoncé gave us all another dose of what she does best: musical anthropology delivered with impeccable poise. ‘Blackbird’, ‘Texas Hold ‘Em’ and ‘II Most Wanted’ made the Country headlines, but it was ‘II Hands To Heaven’ and ‘Ya Ya’ which highlighted her genre-melding flair. Jenessa Williams

On their Mercury-Prize-winning debut, English Teacher created a record that could only have been made in the British North. Full of hope and grit and bravery and belief, it demonstrated a commitment to the idea you can make guitar music that is odd and intimate but still packs a commercial punch. For a band that built an audience the old-fashioned way, through playing gigs and getting radio play, it gave many faith that the algorithm doesn’t rule it all. Charlotte Gunn

It was on my way to Glastonbury festival this year, with a gang of female music journalists, that Brat first became an adjective.

We had decided to colour-coordinate our nails. “It’s just really important that it’s this green”, I insisted, in a hushed tone to the nail technician who was busy trying to blend two crusty shades together. And it did feel important. We had collectively embarked on a singular mission – to have a Bratstonbury. The nails were just the beginning.

On site, we shrieked when we spotted flashes of green: on hands, bodies, flags. Turns out, our little gang wasn’t so unique. As Charli XCX’s DJ set approached on Friday night, the crowds burst the seams of the Levels stage field. As lime green dry ice engulfed the stage, the energy was palpable. “Are you having a Brat summer, Glastonbury?” came Charli’s distinctive drawl. It was the start of something big.

From time to time an album comes along that affects every facet of culture and in Brat, we found ours. Not only does Brat represent an artist being her true, authentic self, it’s also a feeling. Brat is an attitude, a vibe, an outlook (not least, Collins Dictionary’s Word of the Year). It takes the narcissism that is rife in our society and twists it into something self-aware and sexy. It celebrates hedonism while at the same time talking about love and loss and womanhood with a no-filter honesty you only get talking to your best mates (and often at 4am). It interrogates what it means to be a ‘good feminist’, to the insecurity and jealousy that comes from having other people’s success rammed down your throat every day. At its core, Brat is about being human about making the most of the precious moments we have on this earth. It acknowledges how many feelings come with that.

Musically, Charli is at her peak. After fifteen years of traversing the push/pull of the music industry, she knows what she likes and is confident in her understanding of our (largely internet-based) culture. In making a club record to ignite the underground, where she’s always thrived, she’s reached the world’s biggest stages: earning herself seven Grammy nominations and influencing everything from sales of Bic lighters to the US Presidential election. At every turn, she made it bigger, brighter, brattier. When the haters screamed “Brat summer’s over” she dropped the ‘Guess’ remix with Billie Eilish. It’s had 364 million streams and counting.

Far from a flash in the pan, I believe Brat is a record for the ages, which like a sniff of poppers, will reawaken heady memories for many summers to come. The days of Charli XCX being “famous but not quite” are well and truly over; Brat may have sent her stratospheric but as she proved while strutting around an arena stage in Manchester, Birmingham and London last week, Charli’s been ready, for quite some time. Charlotte Gunn