Filth, Romance and Grace: Here are the Best Albums of 2024

It’s been a busy year in music. 

Espresso wasn’t just a drink anymore but an earworm to be reckoned with; Queen Bey staked her claim on the country genre; Taylor Swift released a 31-part song cycle while touring the most profitable tour ever; we all lived our best Brat Summer; Drake tried to strike a chord and it’s probably A-minor; Kendrick Lamar redefined his victim’s initials to ‘Don’t Rap Against Kendrick Ever’, before surprise dropping his new victory lap album; Oasis announced their return, alongside some hefty ticketing nonsense; Shaboozey dominated the airwaves; Chappell Roan conquered hearts and minds; Billie Eilish hit us hard and soft while staying green; and The Cure came back after a 16 year long wait. 

All in all, an exhausting if exhilarating 2024. Now comes the time for our Best Of. 

Adhering to our strict set of rules (no EPs, no live albums, no reeditions and no OSTs) and undergoing much deliberating, the Euronews Culture team has come to a ranked consensus. Below are the 20 albums that made everything 2024 threw our way seem bearable – the ones that will most likely help us face whatever hullabaloo and horrors that await us in 2025. 

Before we start, our honourable mentions go to the following albums: Kneecap – ‘Fine Art‘; Doechii – ‘Allegator Bites Never Heal’; Jamie xx – ‘In Waves‘; The Black Keys – ‘Ohio Players‘; Rachel Chinouriri – ‘What A Devastating Turn Of Events’; The Last Dinner Party – ‘Prelude to Ecstasy‘; Los Bitchos – ‘Talkie Talkie’; Ezra Collective – ‘Dance, No One’s Watching‘; Kelly Moran – ‘Moves In The Field’; Public Service Broadcasting – ‘The Final Flight‘. 

Considering how strong those releases were, it’s safe to say that our Top 20 picks are absolute must-haves.

Now, without further ado, here’s our countdown to our favourite album of the year, starting with…

20) Clairo – ‘Charm’

Once known for her wistful Garage Band-produced lofi anthems, Clairo (Claire Cottrill) stepsped into the sunlight this year with her lush, breezy third album. A departure from her early sound, ‘Charm’ offers a nostalgic journey through love, longing, and self-discovery, built on the timeless grooves of 60s and 70s soft rock and folk. Produced by Leon Michels, the album exudes a rich, analogue feel, with layered instrumentation that perfectly complements Cottrill’s dreamy, intimate vocals. From the early track ‘Sexy to Someone’, which captures the universal desire to feel desired and seen, to the smooth and sensual allure of ‘Juna’, Clairo’s songwriting reveals a newfound maturity. True to its title, ‘Charm’ radiates with heartfelt warmth. It’s a cozy embrace of a record – a palette cleanser for anyone winding down from a “brat summer”. TF

19) Adrianne Lenker – ‘Bright Future’

A soft sigh between naked piano notes, creaks of movement and a gentle laugh as a violin mewls. This is music that traps an atmosphere, the fleeting intimacy of a moment in time, like dipping a hand inside the memory of another. Following her 2020 doubletap ‘Songs’ and ‘Instrumentals’, Lenker’s ‘Bright Future’ is a similarly stripped, acoustic-focused confessional collection, recorded with a small group of musicians in a woodland studio. From recalling seeing her mother cry for the first time in ‘Real House’ to letting go of a relationship in ‘Sadness As A Gift’, the subject matter murmurs with a tender honesty, passing thoughts cradled in a fever of folk. Lenker’s power resides in her seemingly simple but tricksy lyricism, like the beautiful ‘Evol’, where wordplay unravels the pain of miscommunication: “Love spells evol backwards people / Words, back words, backwards are lethal”. Throughout, there’s an in-progress feel, captured well by her light and loose version of ‘Vampire Empire’ (a popular track from Lenker’s band Big Thief). It’s an album of momentary glances, and a soundtrack to letting go, acknowledging the things that have hurt us but allowing them to quiver out. AB 

18) L’Imperatrice – ‘Pulsar’

‘Pulsar’, the third album from French pop and nu-disco band L’Imperatice, might just be the grooviest and most danceable album of the year. Brimming with lush production and catchy hooks, the record tips its hat to Daft Punk while joyfully forging its own path. Across 10 irresistible tracks, the Parisian sextet enlists collaborators like Maggie Rogers (the breezy ‘Any Way’), Erick the Architect (the effortlessly cool ‘Sweet & Sublime’), and Fabiana Martone, whose electric presence lights up the album standout ‘Danza Marilú’. While ‘Pulsar’ doesn’t stray far from the formula the band has honed since their 2018 debut album ‘Matahari’, it feels sharper and more dynamic. A perfect companion for late-night dance floors or solo bedroom boogies. TF

17) Beyoncé – ‘Cowboy Carter’

The follow-up to her 2022 dynamite dancehall record ‘RENAISSANCE‘, and second act of what will be a musical triptych, Beyoncé’s ‘Cowboy Carter’ lassos American country music’s stale stereotypes in a powerful reclamation of the genre’s Black roots. The Houston-born singer shared that the album was “born out of an experience that I had years ago where I did not feel welcomed”, referring to her 2016 appearance at the Country Music Awards where she was dismissed as a “pop artist”. It’s a topic that’s addressed from the outset: ‘AMERIICAN REQUIEM’ is a slow-burning choral rebellion against outdated, racist ideologies that seek to pigeonhole artists and erase those that contributed to a genre purely because they don’t fit its heavily politicised image. The rest of the 27-track album is a tour de force of tearing it all apart, melding genres and utilising the familiar (on tracks like Beatles’ cover ‘BLACKBIIRD’) to remind listeners of the ways in which Black peoples’ stories have been claimed by white people. But for all the heaviness at its core, this is also an incredibly fun album, tracks like ‘TEXAS HOLD ‘EM’ and ‘YA YA’ – with its sampling of Country classics like ‘These Boots Are Made for Walkin’’- creating a strong desire to strut through some saloon doors and scuff your boots up beside the bar. While looser in feel compared to her previous album and at times more overwhelming, it’s an undeniably bold and visionary project that once again proves Queen Bey has more than earned her crown. AB

16) Hinds – ‘Viva Hinds’

Spanish garage rockers Hinds haven’t had the easiest time of it. The rocky road leading to the release of their fourth album saw the band get dumped by both their management and label. As if that wasn’t enough hardship, their drummer and bassist both quit – on the same day, no less. Instead of admitting defeat, the band – now reduced to joint frontwomen Carlotta Cosials and Ana García Perrote – accepted the inevitability of chaos and embraced it. The result is their best album to date, topping even the highs of their sophomore effort ‘I Don’t Run’. The taut and explosive 10 tracks may deal with loss and heartache, but the duo explores these themes in a swaggering, sexy and fun way, which melds melodic garage pop with catchy indie stylings, shoegaze influences and even stellar assists from Beck and Fontaines D.C. frontman Grian Chatten. (More on him later.) Lead single ‘Boom Boom Back’ and the wistful ‘The Bed, the Room, the Rain and You’ stand out, as does the reckless ‘Superstar’ and ‘Coffee’, which proudly flies the DGAF flag with lyrics like “I love black coffee and cigarettes / And flowers from boys I’m not sleeping with / And pulling you strong from that chain that’s on your neck.” As if that wasn’t enough, ‘Viva Hinds’ boasts the first songs they’ve ever recorded in their native tongue – the moody ‘Mala Vista’ and the punkier ‘En Forma’, which are further highlights. So, for anyone trying to avoid wallowing in heartache and looking to move forward, this is the vibrant and wonderfully playful soundtrack to emerging from hard times. Hind’s spirit can’t be broken; neither should yours. Viva Hinds, indeed. DM

15) Nick Cave & the Bad Seeds – ‘Wild God’

If Ethel Cain believes there’s a “lack of sincerity in the world these days”, then she’d be pleased to listen to the 18th album by Nick Cave & the Bad Seeds. As frontman Cave continues to publicly delve into the depths of grief following losses, starting with the death of son Arthur in 2015, ‘Wild God’ is the first to find a sliver of solace from the abyss. Where his previous albums embraced darkness to a biblical degree, Cave brings along a gospel choir to find joy in life again. For any fans concerned by this, Cave and his Bad Seeds cohort still know how to rock out, but on ‘Wild God’ they’ve found a new register, one of bold and sincere euphoria in the face of despair. Even Bob Dylan is a fan. JW

14) Laura Marling – ‘Patterns In Repeat’

Fans of Laura Marling have grown up side by side, from her ecstatic lyrical debut (2008’s ‘Alas, I Cannot Swim’, released when she was still a teen) to her eighth album, this year’s ‘Patterns in Repeat’. Marling is now a mother, and ‘Patterns in Repeat’ is her first attempt penning an album imbued with all the excitement, anxieties and nascent life lessons that currently consume her. Recorded in whispered tones over Marling’s softly plucked guitar, the album somnambulates along, glowing with maternal wisdom. As Marling finds her feet in this new stage of life, she brings the listener along for a quiet album that still features an impressive range, including everything from Leonard Cohen-esque character pieces to lullabies written directly to her daughter. JW

13) Nadine Shah – ‘Filthy Underneath’

For her fifth album, Nadine Shah released her strongest and most layered LP to date. From start to finish, ‘Filthy Underneath’ is a dark, bewitching and often wryly humorous collection of songs that channel some bleak times in Shah’s personal life. Whether it’s PTSD, heartbreak or addiction, the British singer-songwriter manages to transform these hardships into melodically epic and rhythmically impressive stunners. There’s the gothic sounds of ‘Greatest Dancer’; the heteroclite collection of items in ‘Topless Mother’’s frantically joyful chorus; the laceratingly honest storytelling at the heart ‘Twenty Things’ and ‘French Exit’… Each contribute to making this album one of the best of the year. Both visceral and life-affirming, the purging of emotions has rarely sounded so good. DM

12) Beth Gibbons – ‘Lives Outgrown’

Over 20 years after her last solo album and 30 since Portishead debut ‘Dummy’, Beth Gibbons has created a definitive statement for the value of maturity in a musician. The 59-year-old singer imbues ‘Lives Outgrown’ with lyrics that ponder life with an existentialism that could only come from someone who’s already lived life at full force. Sung in Gibbons’ ceaselessly seductive contralto voice, she isn’t merely looking back. For all the pondering of grief, there’s a richness in gathering experience that feels momentous across the album’s high points like lead single ‘Floating on a Moment’. Backed by an orchestral production that brings Portishead’s trip-hop sound into a new vibrant dimension, ‘Lives Outgrown’ is one of the most subtly vivacious albums of the year. JW

11) Father John Misty – ‘Mahashmashana’

Love, religion, self-identity – it’s all absurd. No artist has captured this feeling so well as Father John Misty, an artist that’s spent more than a decade wrangling with life’s contrarianisms through sonic satire and a mood-evolving theatricality. While his last album, ‘Chloë and the Next 20th Century’ gave us retro Hollywood hopefulness, ‘Mahashmashana’ – named after the Sanskrit word meaning ‘great cremation ground’ – leans towards hallucinogenic-hazed acceptance. Blended with mixed emotions that span the yearny-explosiveness of ‘Screamland’ and woozy revelations of the disco-daubed ‘I Guess Time Just Makes Fools of Us All’, there’s a sense of Josh Tillman stepping out of character, swilling a more authentic and sincere flavour of enlightenment. Moving through the swollen orchestrations of 9-minute-long opener ‘Mahashmashana’ to the jittery glam-rock sass of ‘She Cleans Up’ and the melodic rebuke of social platitudes in ‘Mental Health’, Tillman shakes loose faith, humanity, relationships – and himself. It comes at an appropriate time, when many of us will have held most tightly to what we know as the world’s hot flames lick ever-more fervently. But ultimately, this is an album of meditative revelation and recognition; self-growth seeped in a smokey psychedelia that whispers: bury the bullshit. AB

10) Jazz double-bill: Shabaka – ‘Perceive Its Beauty, Acknowledge Its Grace’ & Nala Sinephro – ‘Endlessness’

It’s no news flash that the UK jazz music scene is thriving with some of the most electrifying talent in the world right now. Nubya Garcia, Yussef Dayes, Alfa Mist, Ezra Collective – the list is endless. But this year, two breathtaking releases from Shabaka Hutchings and Nala Sinephro have raised the bar even higher. 

Shabaka Hutchings’ ‘Perceive Its Beauty, Acknowledge Its Grace’ (his second full length project) offers a gorgeous journey through jazz’s spiritual and transcendent dimensions. The stunning 11-track release sees Hutchings step away from his trusted saxophone and instead embrace the delicate tones of wooden and bamboo flutes. His virtuosic playing is layered with harps, percussion, strings, piano and spoken word, and welcomes guest appearances from Floating Points, Lianna La Havas, André 3000, and Moses Sumney. It’s lush on the ears, unhurried and profoundly moving. 

Meanwhile, Nala Sinephro’s ‘Endlessness’ exists in an entirely different but equally mesmerising realm. Her harp takes center stage, guiding listeners through ten tracks where acoustic and electronic elements blend to create vast and evolving, otherworldly soundscapes. Each instrument is deliberate, given space to breathe, resulting in compositions that feel boundless and unpredictable. Featuring contributions from some of today’s most exciting jazz talents, including Nubya Garcia and former Black Midi drummer Morgan Simpson, the album builds and builds toward an explosive, cathartic final track that feels like a journey through time and space reaching its apex. These two albums are both essential listening. TF

9) Tyler, The Creator – ‘Chromakopia’

“You are the light. It’s not on you, it’s in you,” the voice of Tyler’s mother says in opener ‘St. Chroma’. Her advice is a guiding force throughout the 33-year-old rapper’s eighth album, a genre-bending, high-concept collection that explores ego and identity amidst the swerves of Okonma’s psyche. In ‘Noid’, gospel choruses give way to itchy beats, erratic percussives and Zamrock sampling to capture the artist’s fears around fame, while tracks like ‘Tomorrow’ slow to a more reflective state on growing older and settling down with a family. Time is a pervasive element; past, present and future morphing through every braggadocious beat or prickly lyrical lick. Okonma’s raps are as razor-sharp as ever, with the infectious, nostalgia-tinged sound of ‘Rah Tah Tah’ boiling with bluster as he spits, “the biggest out the city after Kenny, that’s a fact now” in reference to fellow LA rapper Kendrick Lamar. (More on him in a bit.) It’s an ego that warps and wanes, meeting a crux at ‘Like Him’ where Okonma confronts his fears of being like his absentee father, with situations throughout – like the unplanned pregnancy scare in ‘Hey Jane’, forcing him to reflect on his own flaws and anxieties around fatherhood. This is an album in which the artist repeatedly takes their mask off, replacing it in moments of antsy overconfidence while recognising what lurks underneath. To return to his mother’s words at the beginning, it’s an album that’s filled with light, sometimes burning white hot, other times wavering to a flicker that flushes with the exhilaration of ego-death. AB

8) Michael Kiwanuka – ‘Small Changes’

A lot has happened since 2019 – take your pick, as this Best Of list can’t take a point-by-point unfurling of the disillusionment-triggering developments the world has been through. English-Ugandan musician Michael Kiwanuka has felt the blows just as much as everyone else; but not everyone can channel them in a record as exquisite as ‘Small Changes’. Five years since his stunning self-titled Mercury Prize winner, he has become a father and moved from London, and these shifts can be heard. He returns with a collection of unhurried and thoughtful songs which, compared to those on ‘KIWANUKA’, sound more meditative and subdued. “Do small changes / Ever last now / Or bemoan in my head?” Kiwanuka sings on the title track, which resumes the tone of the album. This is the sound of Kiwanuka diving head first into an emotional space and expressing is inner findings through whispered verses, choir-bolstered ballads and some gorgeous musical arrangements – all brilliantly produced by Danger Mouse and Inflo, who give the vintage soul a lush and dreamy feel. Those looking for a single like ‘Cold Little Heart’ or a ‘Piano Joint (This Kind of Love)’ may be disappointed, as Kiwanuka’s new songs are far more understated. But mellower doesn’t mean less impactful. This album is very much about seeking refuge away from the constant noise of modern life, and tenderly clasping the seemingly small but actually titanic truths that the racket of stressful existence leads you to shun. DM 

7) The Cure – ‘Songs Of A Lost World’

Sometimes you just need to wallow in the beautiful bleakness of it all with king of gothic rock, Robert Smith. This is The Cure’s first new album in 16 years, and while the band members may be older, they still manage to authentically capture that searing adolescence-swollen intensity of yearning and existential turmoil with a tormented tactility. The lengthy instrumental opening of ‘Alone’, restless with longing and a pulsating vigour, builds into pure catharsis that conjures ghosts and contemplates the passing of time. It sets the tone for a tracklist immersed in misery, but comfortingly so, tapping into universal fears of mortality and letting go of our youth. From the aggressive percussion of ‘Endsong’ to the straining guitar strings of ‘Warsong’, the band’s angst is at its most explosive, occasionally giving way to mesmerising melodies on tracks like ‘And Nothing Is Forever’, where Smith cries: “I know, I know / That my world has grown old.” Listening feels like walking through abandoned memories, the shiver of nostalgia sparking life before it all fades away again in a synthy dirge. It’s a longing for the way things were, and an acceptance of change – the wrestling of emotions between. In this sense, it’s a perfect Cure album, an embrace of their core sound that’s sombre and cacophonic yet calm and caressing, like a phantom breath on the back of your neck. AB 

6) Floating Points – ‘Cascade’

Floating Points’ ‘Cascade’ marks a stunning return to the dancefloor for DJ, producer, and neuro-epigenetics PhD student Sam Shepherd. Following his transcendent 2021 collaboration with the late Pharoah Sanders and the London Symphony Orchestra on ‘Promises’, as well as his fantastic 2019 LP ‘Crush’, Shepherd’s latest offering sends listeners into a mind-bending, alternative sonic galaxy of varying genres and experimental sounds. Acid house (as heard in ‘Birth 4000’), jungle (‘Afflecks Place’), and melancholic ambience (‘Ablaze’) collide in exhilarating ways. Modular synths stretch, distort and contort, and tempos shift unpredictably, while hard-hitting basslines ground the chaos. Demanding to be heard on a booming sound system or a good set of headphones, ‘Cascade’ reaffirms Shepherd’s status as one of electronic music’s most innovative and daring creators. TF

5) Kendrick Lamar – ‘GNX’

This year, Kendrick Lamar proved once and for all that he is the GOAT. The Compton-born rapper was at the heart of a venomous and endlessly entertaining rap battle with Drake. It didn’t go well for Canada’s rap Karen, who we discovered has a penchant for mortifyingly shit patois covers of Plain White T’s singles and reputation-tanking lawsuits. How could it go any other way? Lamar is the poet laureate of hip-hop, and what listeners got to hear in 2024 was nothing short of lyrical murder, especially with the spectacular hit ‘Not Like Us’. Then came the unannounced ‘GNX’, which built on the momentum of the rap feud in the sense K.Dot feels energized on this album. It may not be his most ambitious release, but it’s a more directly accessible and less conceptual collection of songs compared to 2022’s ‘Mr. Morale & The Big Steppers’ – more akin to ‘DAMN.’ in this sense. It’s cinematic (‘squabble up’), anthemic (‘tv off’), lacerating (‘wacced out murals’), slick (‘luther’, featuring SZA), and moving (‘gloria’). The immediacy of the album doesn’t mean that there isn’t depth behind the bops, and Lamar’s penmanship continues to be as precise and as ferocious than ever. It’s just that he’s less focused on heady narratives and more engrossed in merging West Coast club slappers with deep-dug samples and a sprinkling of hyphy and funk. As he spits on this 12-track, 44-minutes no skips record: “Fuck a double entendre, I want y’all to feel this shit.” And feel this shit, we did. DM

4) Fabiana Palladino – ‘Fabiana Palladino’

Fabiana Palladino’s self-titled debut is a revelation, crafted with the precision and depth of an artist who has spent years perfecting her sound. Much like RAYE’s ’21st Century Blues’, Palladino’s journey to this moment has been shaped by her years as a session musician for the likes Jessie Ware and Sampha. Now the 36-year-old British singer-songwriter presents a stunning collection of 10 tracks that blend the nostalgic groove of 80s R&B and pop with contemporary sophistication. From its smooth, sensual opener ‘Closer’ to ‘Stay With Me Through the Night’, a deeply emotive plea to recapture a fading connection, the record explores themes of love, self-doubt and longing. Palladino’s evocative lyrics and exquisitely harmonised vocals are elevated by the masterful basslines of her father, the legendary Pino Palladino (known for his work on D’Angelo’s ‘Voodoo’ and Erykah Badu’s ‘Mama’s Gun’). Together, they have created magic and confirmed what we said at 2024’s halfway mark: it’s the year’s best debut album. TF

3) Fontaines D.C. – ‘Romance’

It may have one of the year’s ugliest cover artworks, but never judge a stellar record by its last-minute Photoshop job that distressingly captures what it must be like watching The Lawnmower Man just as the shrooms hit. That’s a saying, right? While there was the looming worry that Irish post-punkers Fontaines D.C. had peaked with their stellar third album (2022’s ‘Skinty Fia’), they’ve confidently confirmed that they are not to be underestimated. More than that, their new album cemented that they’re one of the most consistently exciting modern bands around. Every one of their releases has marked leaps and bounds in terms of songwriting and sound evolution, and ‘Romance’ feels like a consecration. Its sonic shift retains what made them so addictive in the first place (scruffy poetic stylings, skittering garage leanings) but adds an anthemic and significantly poppier sound to the mix. From the ominous titular opener to the stunning melodrama of the James Joyce-inspired ‘Horseness Is The Whatness’, via the string-swept ‘In The Modern World’, ‘Romance’ is their most arresting and expansive album to date. As for the closing track ‘Favourite’, it’s an addictive indy-90s final bow that sends the listener off on an almighty high. It’s a promising sign that the future looks very bright for Grian Chatten & Co. DM 

2) Charli XCX – ‘Brat’

As the leaves fell and turned to mulch, Brat summer also transitioned to Brat autumn… And now Brat winter. What seemed the definitive cultural moment of the summer blossomed into the epitome of 2024’s zeitgeist. On the ascendance for a few years, Charli XCX released ‘Brat’ with a carefully curated aesthetic ready-made for love in her pre-existing fanbase. What she didn’t expect was for her album of tightly wound rave-influenced pop tunes – expertly produced by hyperpop titan AG Cook – to become so ubiquitous that her tweet “kamala IS brat” became a significant moment in the US presidential elections. For anyone sick of 2024’s lime-green theme, it’s easy to forget that ‘Brat’ is also one of the most audacious albums released this year. Straddling genres from hyperpop to dance music, XCX crafted a near-perfect concept album of a night out, smoking area confessions and drug-infused toilet visits. Its sheer unapologetic messiness is an antidote to the squeaky-clean pop it rivals in the charts. ‘Brat’ is a rare example in art where the hype is entirely deserving. JW 

1) Hurray For The Riff Raff – ‘The Past Is Still Alive’

Everyone’s been going a little country this year. Whether it’s Beyoncé and Post Malone pivoting genres; Shaboozey, Dasha, Mogan Wallen and Zach Bryan dominating the airwaves; or even Gwen Stefani trying her luck with her latest album, country-pop / folk-country sounds have been all the rage. It seems fitting then that our top pick for Best Album of 2024 comes from an artist who knows the genre all too well. Following a “nature punk” detour with 2022’s ‘Life On Earth’, Hurray For The Riff Raff, led by Alynda Segarra, came back to the sounds of early works like ‘Small Town Heroes’ for this eighth studio album. Having recorded it in the wake of their father’s death, ‘The Past Is Still Alive’ taps into that feeling of mourning and observing the passing of time, featuring some of Segarra’s best writing to date. The songs tell tales of train-hopping, youthful misadventures, and how to conjure the will to go on when faced with challenging times. There’s a lot about reckoning with loss and rebirth (especially on tracks like ‘Alibi’ and ‘Vetiver’), leading to reflections on how nostalgia need not be a cripplingly sentimental yearning to seek refuge in the past but a way of preserving cherished memories as the clock seems to tick faster. It’s all distilled in the most warm-and-fuzzies-inducing song of 2024: ‘Colossus of Roads’. From the timeless lyrics “I know that it’s dangerous, but I wanna see you undress / Wrap you up in the bomb shelter of my feather bed” to the timelier lines “Say goodbye to America, I want to see it dissolve / I can be your poster boy for the great American fall,” this beautiful and intensely romantic song is completely captivating. Much like the record in its entirety. So, it may have been Charli XCX’s year when it comes to capturing the zeitgeist, but as far as the Best Album of 2024 goes, it’s Hurray all the way. “Nothing will stop me now,” Segarra sings on ‘Snake Plant (The Past Is Still Alive)’ – and nothing did this year. DM

There we have it.  

Will we be deprived of sexy warm beverages by leaving out Sabrina Carpenter, and have we angered Swifties for shunning Taylor Swift’s ‘The Tortured Poets Department‘? Is now a good time to suggest that Ariana Grande’s ‘Eternal Sunshine’ is overrated? And more importantly, did we miss your favourite album of the year?

Maybe it’s in our Best Albums of the Year… So Far list, which was published earlier this year. If not, let us know, and we’ll try to make amends by hearing you out and suggesting you purchase a copy of Hurray For The Riff Raff post haste.

Stay tuned to Euronews Culture for more 2024 Best Ofs, including our upcoming ranking of the Best Movies of 2024 and our People of the Year 2024.