Staff List: The 20 Best Rap Albums of 2024

The Detroit spitter dropped three albums this year, each with a different producer. While some may’ve preferred his tape Penalties of Leadership with Montreal-based producer Nicholas Craven, this tape has the most replay value. He and Conductor crafted a masterpiece, as Boldy put words together better than almost anybody not named Future, Kendrick, and Drake this year over soul samples plucked perfectly by the Kansas City producer. – ANGEL DIAZ

“Treat every song like it’s people’s first time hearing you,” Lil Wayne told Cordae earlier this year before they connected again for “Saturday Mornings.” That wise advice became the DMV rapper’s whiteboard mantra for pushing his pen to new heights while piecing together The Crossroads. The YBN alum balances braggadocious verses with moments of humility that further endear his fans to him. Seriously, how many rappers are secure enough with themselves to admit they took the cheaper route buying a home in the senior citizen-favoring Boca Raton instead of South Beach? Cordae even checked off another bucket list collaboration in connecting with one of his rap heroes, Kanye West, on the buoyant “No Bad News.” The laborious creative process paid off for the 27-year-old. – MICHAEL SAPONARA 

Vince is one of the smartest rappers doing it, and his genius was on full display for this short, yet emotionally heavy project. He wasted no time getting to the album’s thesis in “Black&Blue” where he raps, “My people product of poverty, I don’t know why they would play with us/ Choppers and luxury vehicles, livin’ like Saudi Arabians/ Learned Reaganomics and ran it up/ We don’t got nothin’ to show for, infatuated with folklore/And we still on some n–a shit.” Then there’s the other standout “Étouffée” where the Long Beach rapper pays homage to his grandmother’s home state Louisiana, as he references 1992’s “Get the Gat” by Lil Elt and seems to be dealing with his worlds seeping into each other the more famous he gets. – A.D.

After scoring a Hot 100 No. 1 alongside Drake on the gargantuan “First Person Shooter,” J. Cole’s 2024 seemed like it was going to be as big and as important as 2014 was for the trajectory of his career. And, putting aside the obvious elephant in the room, it absolutely has been: As part of the ramp up for his much-anticipated seventh full-length The Fall Off, Cole dropped his surprise fourth mixtape, Might Delete Later,  named after the BTS YouTube series he produced earlier this year. 

Featuring a few Dreamvillains alongside some rap legends like Cam’ron and Trae the Truth, Might Delete Later finds Cole in the same braggadocious but ever-reflective bag he was in on The Off-Season. Standouts like the Diplomats remix “Ready ’24,” the T-Minus-produced “Crocodile Tearz,” and “Pi” show that Cole’s pen hasn’t diminished, and that his place within the fabled “Big” 3 is still secure. And though some may find his talk of the throne and being the GOAT a bit bemusing after he decided to remove the project’s final track, “7 Minute Drill,” the quality of the ‘tape more than makes up for any misgivings fans may have about Cole’s decision-making this year. – DAMIEN SCOTT

Gunna is quickly emerging as one of rap’s most prolific names after notching an indelible three-peat, beginning with 2022’s DS4Ever. After landing a top-five Hot 100 hit with “Fukumean” the following year, Gunna is a man without a tribe, as he and Young Thug’s YSL brotherhood remains uncertain, muddied by legal woes and hood politics. Ensnared by drama, Gunna plowed through the noise and found solace with One of Wun. The 20-piece set finds Gunna no longer playing defense, taking a more brazen approach reminiscent of his Drip or Drown days. While “On One Tonight” and “One of Wun” flaunt his bulletproof swagger, Gunna’s ruminative ways are quickly becoming his new hallmark, as proven on the Leon Bridges-assisted “Clear My Rain” and “Today I Did Good.” – CARL LAMARRE

Don Toliver invites listeners to join his leather-jacketed biker gang on his fourth studio album Hardstone Psycho. Divided into five sections – Thunder Road, Dead Man’s Canyon, Twin Peaks, Promise Land and Stonehenge (from the deluxe edition) – Toliver traverses through familiar woozy trap and nocturnal R&B territories while exploring new guitar-powered rock terrain. He hazily croons “ride me like a motherf—kin’ Harley” in “5 to 10,” taps fellow rap-rock star and frequent collaborator Teezo Touchdown on the laidback “Backstreets” and flips Tame Impala’s “One More Hour” and Snoop Dogg’s “Beautiful” on the singles “Bandit” and “Attitude,” featuring Charlie Wilson and Cash Cobain, respectively, with finesse. Hardstone Psycho became Toliver’s first No. 1 on Top R&B/Hip-Hop Albums, while “Bandit” became his first top 10 hit as a lead artist on Hot Rap Songs. – HERAN MAMO

Forget Brat Summer. For New York – and hip-hop circles across the country – this was undoubtedly a Slizzy Summer. This year, Bronx rapper and producer Cash Cobain had his mainstream breakthrough with the Bay Swag-assisted “Fisherrr,” which served as the defining song of the sexy drill movement. With raunchy lyrics painted across a canvas that replaces the grittiness of New York drill with the sensual melodies of R&B, Play Cash Cobain is a strikingly comprehensive overview of sexy drill. Cash invites several guests to explore his wavy soundscape, but it’s the mega posse cut “Problem” — a rework of Laila’s original “Not My Problem,” featuring everyone from Anycia to Fabolous – that shines as the most interesting preview of where sexy drill can go next. – KYLE DENIS

On her first album in five years, an introspective Rapsody is at her most vulnerable, raw, defiant and persevering as she bares her truths about life, sexuality and career. Addressing the latter on “Asteroids” with Hit-Boy, Rapsody declares, “I went Roc boy to hot boy, to Hit-Boy, them big boys / Y’all threw some rocks at me, I threw back asteroids.” Other notables on the 22-track set, aided by a potent mix of R&B, gospel, reggae and trap, include “3:AM” with Erykah Badu, “Raw” with Lil Wayne, “Back in My Bag” and “DND (It’s Not Personal).” As the recently minted Grammy-nominee Rapsody deftly illustrates, hip-hop isn’t  one style fits all — and shouldn’t be. – G.M.

Two years after winning the Mercury Prize, Little Simz is still dropping heat. At the top of the year, the multihyphenate put out Drop 7, her first installment in the series since 2020’s Drop 6. A completely solo project, Drop 7 is perhaps the most thrilling 14 minutes of the year: Simz somersaults between Brazilian funk on “Fever,” bits of starkly morose Jersey club on “Far Away,” and a markedly freeing approach to experimenting with electronic music that offers a reprieve from her headier full-length projects. Heavy on brevity and levity, Drop 7 is a must-listen. – K.D.

The pairing of legendary producer Pete Rock (Nas, Public Enemy, Madonna) with legendary rapper Common (“The Light,” “I Used to Love H.E.R.,” Oscar winner “Glory”) for their first full-length collaborative album made The Auditorium one of this year’s anticipated releases. The duo’s shared admiration for rap and for one another itself shines throughout the project’s 15 tracks. The vibrant “Dreamin’,” sampling the 1972 Aretha Franklin hit “Day Dreaming,” opens the door to a finely crafted album, which is elevated by a select handful of guests:  Bilal (“So Many People”), Posdnuos (“When the Sun Shines Again”), PJ (“Everything’s So Grand”) and Jennifer Hudson (“A God [There Is]”). All told, the Grammy-nominated Auditorium finds these two icons still in prime form. – G.M.

Even though he’s Grammy-nominated, Gangsta Gibbs’ murderous streak and bloodthirsty raps continue to strike fear in today’s MCs. In under 35 minutes, Gibbs’ imposing will remains uncontested, most notably on “Cosmo Freestyle,” where he taunts his sideline haters in hopes of securing the crown. (“N—as don’t want guest verses, I’m the real king of these 16’s).” But when he isn’t boasting about his lyrical greatness, he cracks the door about his internal struggles on “Origami” (“Got millions in the bank but still feel like a slave.”) Though Gibbs will always be known for his masterworks alongside Madlib and Alchemist, the Gary, Ind. rapper shows why he thrives just fine as a one-man band on this Halloween-released project. – C.L.

It’s been a banner year for Future. After making waves alongside Metro Boomin on their chart-topping collaborative albums We Don’t Trust You and We Still Don’t Trust You, the prolific and still formidable rap force popped back up in September with his solo Mixtape Pluto. Debuting at No. 1 as well on the Billboard 200, Future’s first solo project since 2022’s Grammy-nominated I Never Liked You drew praise for his solid and more deliberate, fresher approach to his verses and flow, aided by beat-savvy producers Southside and Wheezy. Among the notables of the project’s 17 tracks are “Ski,” “Teflon Don” and “South of France” (later remixed with Travis Scott). – G.M.

Latto showcases her Southern charm and familiar yet fresh sonics on her third album Sugar Honey Iced Tea. She whips up delicious odes to Southern dishes and delicacies, from the opener “Georgia Peach” (“They know that I’m droppin’ a classic,” she boasts.) to “Shrimp and Grits” with fellow ATL MC Young Nudy. And she links up with local icon Ciara and samples OutKast’s 2003 Hot 100 No. 1 “Hey Ya!” on the slinky roller rink jam “Good 2 U” for the ultimate homage to her hometown. Latto bagged her first No. 1 on Top Rap Albums and matched her previous album 777’s No. 15 peak on the Billboard 200. And “Big Mama,” a seductive R&B-forward track spotlighting Latto’s rap-sung cadence that transforms into a hard-hitting trap banger halfway through, scored Big Mama her second best melodic rap performance Grammy nomination. – H.M.

As we continue to enjoy a golden age of female rappers, Megan Thee Stallion is undoubtedly the face of it all, leading the charge. On her third studio album, Megan, the Houston Hottie doesn’t mince words, pouncing on rap royalty Nicki Minaj on the searing “HISS.” Meg’s unflinching approach doesn’t end there, as she goes on a lyrical crusade, standing defiant on “Figueroa” and “BOA.” Meg’s affinity for anime and Japanese culture also bleeds through, crossing over to songs like “Otaku Hot Girl” and her Hot 100 top 40 hit “Mamushi.” And even when Meg is flirting with new sounds, she returns home for some southern comfort by linking up with her tour bestie GloRilla on “Accent” and UGK on “Paper Together.” – C.L.

The Grammy committee needs to write ScHoolboy Q a formal apology. Released earlier this year in March, Blue Lips stayed in heavy rotation for many, even as the second half of the year in rap closed out in spectacular fashion. Q showed growth and maturity not only in his subject matter, but also in his songwriting. Tracks like “Blueslides” and “Germany 88’” displayed that evolution, and songs like “THank god 4 me” and “Love Birds” gave fans a glimpse of what he’s truly capable of as a songwriter. – A.D.

The Grammy-nominated Memphis rapper, who was named Billboard’s hottest female rapper of 2024, set herself up for a glorious (*wink wink*) comeback year with three Hot 100 top 40 hits: “Yeah Glo!” (No. 28), “Wanna Be” with her Hot Girl Summer tourmate Megan Thee Stallion (No. 11) and “TGIF” (No. 22). While Rihanna, Taylor Swift and more superstars gassed up Big Glo, she kept her foot on the pedal by releasing her debut album, GLORIOUS. She supplies the turn-up playlist additions like “Hollon” and the Boosie-sampling, Sexyy Redd-featuring “Whatchu Kno About Me.”

But the rapper named Glorious Hallelujah Woods doubles down on her faith by beseeching God to help her break the cycle of trifling men on “Glo’s Prayer,” and expressing gratitude for all the blessings on “Rain Down On Me” with Kirk Franklin, Maverick City Music, Kierra Sheard and Chandler Moore. Glorious became her highest-charting project on the Billboard 200 (No. 5), where she had the highest opening week in 2024 for a female rapper with the set’s 69,000 equivalent album units. Yeah, Glo!  – H.M.

Tyler is a bit too young for a midlife crisis, so let’s call Chromakopia the soundtrack to his third-life crisis. But Chromakopia isn’t merely a musical accompaniment to the Inglewood MC’s maturation journey: it’s a 1:1 reflection of the emotional intricacies of that odyssey. A soulful Zambian sample underscores the frenetic energy of lead single “Noid”; wistful gospel chords cradle the Earth-quaking truths unveiled across “Take Your Mask Off” and notes of country beautifully complement the storytelling of “Judge Judy.” Troubled by the state of celebrity in late-stage capitalism and explicitly informed by his complicated relationships with potential parenthood and sexuality, Chromakopia is a riveting album – one that is unafraid to blend marquee pop moments (“Sticky”) with moving explorations of its creator’s psyche (“Tomorrow”). – K.D.

In the back half of 2024, Doechii has ascended to the precipice of a mainstream breakthrough that more accurately captures her artistic ethos than the Billboard Hot 100 top 40 hit she scored with her Kodak Black-assisted “What It Is (Block Boy)” last year. Across Alligator Bites Never Heal, Doechii claims dominion over styles as disparate as house and boom-bap while speaking in tongues for a brief minute. The artist’s first TDE mixtape – as she outlines in the standout cut “Denial Is A River” – came following label frustrations and a switch to sobriety, and is simply exhilarating in its honesty. What goes into breaking into the mainstream as a dark-skinned bisexual female rapper from Tampa, Fla.? According to Alligator Bites, a whole lot of understanding the sanctity of every last one of your idiosyncrasies – be it rapid-fire flows on dancefloor-ready beats (“Nissan Altima),” going back to hip-hop roots to satirically call out its hypocrisy (“Boom Bap”), or her now-trademark face tape.  – K.D.

This past spring, hip-hop tag-team champs Future and Metro Boomin dropped two No. 1 albums back to back and helped set off a rap Royal Rumble for the ages, which somewhat overshadowed the brilliance of both projects. On We Don’t Trust You, the duo takes you on a cinematic ride from beginning to end, while subbing Drake and deploying a laundry list of his enemies to the ring to help strip him of rap’s heavyweight title. However, the project is more than the Kendrick and Drake feud: album opener “Type Shit”, “Cinderella”, and, of course, “Like That” all bang, and we’ll look back at this album as the one that helped usher in a new era as the old guard begins its transition into the hands of younger stars. To quote the great RZA, “Yo Shorty, you don’t even gotta go to summer school. Pick up the We Don’t Trust You double CD and you’ll get all the education you need this year.” – A.D.

Kendrick Lamar stamped his 2024 rap MVP campaign with the surprise release of his chart-topping GNX album in November. Dot ditched the lyrical density and heaviness of 2022’s Mr. Morale & The Big Steppers for his most direct album to date. Not wasting any time throughout the 12-track set, the album doesn’t even feel as long as its 44-minute runtime. 

After watching “Not Like Us” evolve into a cultural behemoth, Lamar maintained his momentum and served up more of the glossy hits fans were looking for, including the Mustard-produced “TV Off” and his Hot 100 No. 1 “Squabble Up,” proving he’s more than willing to step outside and have fun when necessary. Perhaps K. Dot also heard the critiques of his not embracing younger artists from his city, as he shared the spotlight with emerging Cali natives like AzChike, Dody6, and Lefty Gunplay to ensure GNX was etched into Los Angeles rap lore for good. With three Hot 100 No. 1 singles, a 2025 Super Bowl Halftime Show invitation and another future classic LP on his résumé for the year, it’ll be hard for anyone in hip-hop to top Kendrick’s 2024 going forward. – M.S.