The 50 Best Albums of 2022: Staff List

The Elvis soundtrack arguably did more to breathe life into The King’s career and legacy than the actual film. Rather than risking stuffiness in service of doggedly preserving Elvis Presley’s iconic catalog to a T, the project instead showcases dazzling reimaginings of his greatest hits, mixing archival and updated versions of classic Elvis material with brand new spins on it from modern artists, representing genres and cultures which long ago inspired the rock legend in the first place. The crown jewel of this effort is Doja Cat’s top 10 Billboard Hot 100 hit “Vegas,” the inventive lead single that repurposes the catchiness of Big Mama Thornton’s original version of “Hound Dog” (via samples from Shonka Dukureh’s portrayal of Thornton), while turning its lyrical content on its head. — HANNAH DAILEY

Only a handful of albums in music history have a wide-enough sonic palette and artistic worldview to support 34 tracks and two hours, and if you’re expecting Americana breakout star Zach Bryan’s chart-crashing American Heartbreak to be one of them, you’ll come away disappointed. But while even its biggest fans might need to take a couple coffee breaks to get through the whole thing, the album boasts a single-LP’s worth of highlights — from the rip-roaring almost-nostalgia of “Heavy Eyes” to the self-aware self-destruction of “Sober Side of Sorry” — to make it one 2022’s most staggering listens. Like its impossibly broad and definitive title, American Heartbreak doesn’t capture everything it aims to, but you love it for trying, and respect the hell out of it for getting anywhere close. — ANDREW UNTERBERGER

More than 50 years into her recording career, Bonnie Raitt is still notching firsts. Just Like That… is her first entirely self-produced studio album, and its title track brought the longtime Grammy favorite her first song of the year nomination. (She wrote the rootsy ballad, and two other songs on the album, by herself.) Raitt’s singing and guitar playing across the set are both first-rate. At various points over the course of her long career, Raitt has been red-hot and not-so-hot, but she has always stood for integrity and good taste. – PAUL GREIN 

Although Shamir did choose a dirty word like Heterosexuality for the title of his eighth album, and the first three songs are called “Gay Agenda,” “Cisgender” and “Abomination,” it’s almost beside the point to call this eclectic collection of musings and personal statements confrontational. As his piquant countertenor rolls through songs that touch on industrial electronic (the aforementioned “Abomination”), disaffected indie rock (“Marriage”) and even jazz cabaret (“Nuclear”), the Nevada singer-songwriter seems more concerned with expression than argumentation — and more fully realized as an uncompromising, empathetic artist than ever before. — JOE LYNCH

In Preacher’s Daughter, the debut album from Alabama-based singer-songwriter Ethel Cain, she introduces her past, growing up amidst the restriction and piety of the Bible Belt South. It’s reminiscent of the same aesthetics Lana Del Rey played with in her early work, but while Del Rey was able to co-opt working-class, Americana imagery to appear singularly glamorous, Cain’s Preacher’s Daughter holds a candle up to the darker, more desperate side of the middle America that raised her. Though there are poppier respites, like “American Teenager,” Cain’s recollection of her past is one that smolders slowly, like the gorgeous nine-minute, 30-second midpoint “Thoroughfare.” However weighty it may seem, there’s still an undeniable glow of nostalgia running throughout Preacher’s Daughter — revealing the dynamic nature of memory. — KRISTIN ROBINSON

After scripting a soundtrack for toxic relationships in 2020 with his breakthrough EP F–k The World, Brent Faiyaz upped the ante two years later with his long-anticipated debut album Wasteland, and was rewarded with a No. 2 debut on the Billboard 200. His 19-track masterclass of f–kboy chronicles highlights how he swerves in and out of relationships, with the cherry on top being the anxiety-inducing dialogue interludes. Though he has a starry supporting cast with Drake, Tyler The Creator, and Alicia Keys along for the ride, Faiyaz shines better in the driver’s seat on standout tracks “All Mine” and “Price of Fame.” — CARL LAMARRE

After some synth flirtations on 2018’s Be the Cowboy, Mitski fully embraces the pensive romance of atmospheric ‘80s pop with Laurel Hell. The reflective “Everyone” might have been a lo-fi dirge for her six years ago, but here it’s given a harrowing minimalism worthy of early Ultravox. “The Only Heartbreaker” plays like a pessimistic a-ha single, while the album’s bittersweet, bubbly finale “That’s Our Lamp” recalls Magnetic Fields’ fractured electro-pop confections. But even when you’re drawing connections between Mitski’s Hellscape and various sounds of the past, her distinct phrasing, succinct lyrics and haunted-but-resilient voice ensure that every track feels like hers alone.  — J. Lynch

Even with two albums of pop hits under his belt, Charlie Puth’s third, self-titled album could be considered a proper introduction into the mind of his musical genius. The singer-songwriter crafted the album in relative isolation due to the coronavirus pandemic, but also invited his fans into the creative process via his gleefully inventive and manically enthusiastic presence on TikTok, teasing each of the studio set’s dozen tracks. The resulting collection brims with equal parts musicality and vulnerable lyricism as Puth geeks out on highlights like the raucous “Charlie Be Quiet!” and the withering “That’s Hilarious.” — GLENN ROWLEY

With the accolades BLACKPINK received for the release of 2020’s The Album, the pressure was on when it came time for the world biggest girl group to drop its sophomore album. But with powerhouse record label YG and trusted producer Teddy Park by Jennie, Jisoo, Lisa and Rosé’s side, success was always in the cards for Born Pink. The Billboard 200-topping set sees the K-pop stars fully stepping into superstardom, rapping with classic braggadocio (“Shut Down,” “Typa Girl”), highlighting their vocal skills (“Hard to Love,” “The Happiest Girl”) and providing timeless dance hits for the genre (“Pink Venom”). The album soars not just because of its impeccable balance between English and Korean, or its general infectiousness – Born Pink shows the idols marrying the excitement of the old BLACKPINK with and a more mature, grown-up version of the group, emboldened by a fanbase which endlessly supports them. — STARR BOWENBANK

By the time it was released in early November, Actual Life 3 was already hot to the touch with hype following the U.K. producer’s rocket-launch rise amidst the reopening of live events. This year the entire electronic scene — including collaborators as seemingly disparate as Four Tet and Swedish House Mafia — united behind Fred and the tender, celebratory productions laced with digital ephemera that he showcases on Actual Life 3. Emotional without being cheesy, anthemic without being pop-centric and hard-hitting without being overtly aggressive, the album both pushed genre boundaries while pulling Fred’s heart-on-its-sleeve, thoughtful dance music further into the mainstream. — KATIE BAIN

Any project that opens with a song called “Brenda Put Your Bra On” signals the listener is in for some wild tales — and the good news is this 13-track, Grammy-nominated concept album never lets up. Lindeville unspools like a fully formed, immersive musical as McBryde is joined by a supporting cast of fellow country travelers including Brothers Osborne, Brandy Clark and Pillbox Patti. Together, they reveal the exploits — good, bad and unforgettable — of the denizens of Lindeville, a fictional world that represents countless real small towns across America, though this is the only one whose name pays homage to colorful Nashville songwriter Dennis Linde. — MELINDA NEWMAN

If you dance with the devil enough times, the devil won’t change — but you will. Demi Lovato has performed around the theme of rebirth and going to hell and back for much of her career; their unexpectedly thrashing, chaotic LP Holy Fvck spins the very concept of a redemption album into something much darker and more honest. Whether they’re rallying against industry standards for femme-presenting musicians (“Eat Me”) or delivering heartbreaking tales via storybook narrative devices (“Happy Ending”), Lovato succeeds on her mission of exorcising her demons, with thrilling results. — STEPHEN DAW

As they say: “El Ferxxo no se le dedicación a cualquiera MOR” (“You don’t dedicate [songs from] El Ferxxo to just anyone, love.”) The 15-track set, featuring Feid’s signature Medellín flow and hard-hitting reggaetón beats fused with guitar melodies (and an EDM beat for “Nieve”), brings together all the love-gone-wrong stories and deep breakups everyone has experienced at least once in their lifetime. True to form and to his Colombian “paisa” slang, Feid’s songwriting prowess and crisp lyricism give this album a different and unique magic; the earworm singles also connected with Gen Z through social media, resulting in many of 2022’s most powerful anthems. — INGRID FAJARDO

On God Save the Animals, Alex G is searching for his great awakening. Gone is the plucky Bandcamp savant of his early years — the older, evolved Alex G is still sonically playful, but this time, notably more mature, seeking out faith as he prepares for the birth of his first child. His state of mind could all be summarized in the refrain to “Headroom Piano”: “I just want to be free.” Amidst the tangle of Auto-Tuned harmonies, folk guitar, and jarring synth, Alex G’s God Save the Animals asks if freedom can be found in submission and if God can save us after all. — KRISTIN ROBINSON

Combs takes his third studio album’s title literally, as the superstar leans into his 30s and examines what it means to hit adult milestones such as marriage, with his 14th Country Airplay chart-topper, “The Kind of Love We Make.” He also delivers his musical mission statement on “Doin’ This,” a look at pursuing your passion regardless of the result. His classic country vocals have never sounded so confident on the triple-Grammy-nominated set, especially on album highlight, “Outrunnin’ Your Memory,” a spirited duet with labelmate Miranda Lambert. — M.N.

“I don’t go to funerals,” sings Willie Nelson; “I won’t be at mine.” This gem of an album is rich with such moments of reflection, sweetness and humor from a beloved singer whose longevity — he released “A Beautiful Time” in April on his 89th birthday — is only exceeded by his unstoppable creativity. Nelson’s voice has never sounded better, amid waltzing tempos, plaintive harmonica (from longtime band member Mickey Raphael) and his own dexterous guitar picking. Even if he plans to skip his own future memorial service, Nelson muses on the life he’s lived in the album’s lovely Shawn Carter-penned title track: “When the last song’s been played/ I’ll look back and say/ I sure had a beautiful time.” — THOM DUFFY

One of indie hip-hop’s favorite sons, San Francisco’s Larry June continues his pursuit of health, wealth and living your best life on this 20-track offering. Weaving together lyrical gems and chilled beats that complement the rapper’s laid-back flow, Spaceship takes listeners on a melodic flight that voyages from ‘70s soul to ‘90s house and points in between. When the streetwise June isn’t contemplating his past and present on “Appreciate it All” (“Learned a lot from the streets, got ill, had to eat… Now we cop real estate, pass it down to the seed”), he’s cheerleading on “In My Pockets” (“Get off your ass/ It’s a life to live”), or even romancing guest Syd on “For Tonight”— all in his own inimitable way. — GAIL MITCHELL

For several years, listeners have lauded prolific indie rockers Big Thief, and the quartet’s eclectic 2022 opus cements them as one of today’s most creative – and ambitious – bands. The inventive group recorded their 20-song double album across four sessions in different U.S. locales, each their own sonic world, for a sprawling set that masterfully mixes their folk, country, and rock inclinations. But as in the past, it’s the band’s superhuman chemistry – from the pin-drop restraint of “Sparrow” to hoedown bonhomie of “Spud Infinity,” jaw harp and all – along with’s singer-songwriter Adrianne Lenker’s sharply intimate lyrical pen that unify Big Thief’s myriad musical impulses. — ERIC RENNER BROWN

Even the most accomplished Radiohead side projects, from Thom Yorke’s 2006 solo debut The Eraser to Jonny Greenwood’s Oscar-nominated scores, don’t contain the urgency of A Light for Attracting Attention, the beautiful yet muscular first full-length from Yorke and Greenwood with Sons of Kemet drummer Tom Skinner as The Smile. From the jittery post-punk rocker “You Will Never Work in Television Again” to the Bends-esque sway-along “Free in the Knowledge,” the album gleams with the polish of expert craftsmen, and the energy of a power trio emboldened to tinker with long-established aesthetics outside of their mothership bands. — JASON LIPSHUTZ

When the COVID-19 pandemic dashed Lambert’s touring plans, the consistently superb songcrafter drafted a range of soundscapes intent on chronicling a nomadic journey from California to Maine. “Nowhere feels like home/ So I roam from town to town,” she sings on her eighth studio album, sketching out the allure and stories of scattered map dots, and a wealth of Texas towns from Amarillo to Nacogdoches. She revisits a trio of songs from 2021’s campfire acoustic collection The Marfa Tapes, including chiding a wannabe Jolene in “Geraldene,” as well as newer tracks including the riverboat romp “Music City Queen” (with an extra surge of southern-fried pop-funk courtesy of the B-52s). — JESSICA NICHOLSON

MUNA’s self-titled album opens with one of the best songs of 2021, the breezy crush anthem “Silk Chiffon,” with an assist from the band’s Saddest Factory label leader, Phoebe Bridgers. From there, the alt-pop trio explores and celebrates various forms of desire — whether frontwoman Katie Gavin is singing about the wish to be longed for or needing something more for herself — while saving room for self-reflection. “There’s nothing wrong with what I want,” Gavin defiantly insists from the middle of the dance floor on the electro-pop, club-friendly “What I Want.” And to the detractors who think she’s demanding too much from atop her high horse, Gavin is undaunted: “I think that my horse is regular-sized.”  — CHRISTINE WERTHMAN

Future confirmed his status as hip-hop’s apex predator when he unleashed I Never Liked You in May. His purple-hued explosiveness remains his calling card, as he barrels through fire and brimstone on “Keep It Burnin” with Ye, while causing mischief alongside Kodak Black on “Voodoo.” And though Future’s street swagger dominates this trap-heavy set, at his core, he’s still a besotted lover, eying a second chance at romance on “Love You Better” and the Hot 100-topping “Wait for U.” — C.L.

For two years in a row, teenage quartet Eslabon Armado has delivered back-to-back sets that have not only topped Billboard’s Regional Mexican albums chart, but have helped usher in a new era for the genre overall. A quintessential Eslabon album — meaning that it’s a heartbreak album through and through — Nostalgia not only cements the Mexican-American group as a leader in the acoustic guitar-powered sad sierreño subgenre, it breathes fresh air into the group’s core sound, as they subtly fold in instruments like the piano and ukulele for the first time. Notably, their experimental efforts made for chart history, as the 14-track set became the first top 10-charting regional Mexican album ever on the Billboard 200. — GRISELDA FLORES

While many Drake stans didn’t know what to make of the rap icon’s seventh studio album, the electronic scene embraced his sonic detour, steeped in sounds of the global house music underground. Made in collaboration with of-the-moment producers including &Me and Rampa, Alex Lustig, Black Coffee and Gordo, Honestly, Nevermind represents a stopover in the dance world rather than a permanent venture into it, as evidenced by Drake’s return to his comfort zone with November’s Her Loss. But hand-wringing about musical tourism aside, the album remains a sophisticated, stylistically bold venture that delivers as smoothly during home listening as it does on the dancefloor — and which just might grow in stature among fans over time. — K.B.

Orville Peck cuts an imposing figure on the cover of Bronco, staring down the camera from behind his mask as a giant black steed kicks up dust behind him. The songs on the cult favorite’s sophomore album further cement his status as country’s resident queer outlaw, whether he’s growling over what could’ve been with a long-haired, slow-eyed paramour on opener “Daytona Sand,” spinning a tale of self-inflicted woe on “The Curse of the Blackened Eye,” or tenderly coaxing out tears on “C’mon Baby, Cry” — at turns intimidating, alluring and completely spellbinding. — G.R.

Avant-pop artist FKA twigs expands her kaleidoscopic sound on her first mixtape, Caprisongs. A cassette player’s click and twigs’ come-hither whispers on “ride the dragon” open the project before slithering into the stirring pop-trap of her Weeknd collaboration “tears in the club,” the LaCroix-crisp hyper-pop heard on “pamplemousse,” and the buoyant Afrobeats of the Rema-featuring “jealousy.” Released one month after twigs filed a lawsuit accusing ex Shia LaBeouf of abuse, Caprisongs soundtracks the English singer-songwriter’s “journey back to myself,” as she learns to create her own destiny, regardless of how astrology spells out her fate. — HERAN MAMO

With a background in jazz and folk, Silvana Estrada filled her sophomore album, Marchita (Withered) with evocative songs about solitude, nostalgia and love in all its iterations. Boasting poetic lyrics and an ethereal, yet powerful voice backed by traditional instruments like the Venezuelan cuatro (and nothing else), the set harks back to the venerable Latin American singer/songwriter tradition of great artists like Mercedes Sosa and Silvio Rodríguez, but with fresh new attitude. It enabled Estrada to win the Latin Grammy for best new artist in November, a victory that (happily) points to an appetite for greater variety in the Latin pop landscape. — LEILA COBO

After the inspired lunar musings of 2018’s Tranquility Base Hotel & Casino, Arctic Monkeys frontman Alex Turner is back on earth and struggling with gravity. The sci-fi soul of that last album has evolved into posh piano bar music dominated by keys, strings and gentle jazzy rimshots. Like Bryan Ferry interpreting the Great American Songbook, Turner opts for crooning over rocking, playing the world-weary romantic who’s unlucky in love and ambivalent about his art. How the Monkeys will work these songs into a setlist alongside harder-edged early hits and TikTok-resurrected fan favorites when they tour next year will be interesting, but on record, The Car’s languid pacing and Turner’s oblique lyrics are as enticing as an extra dry martini. Three olives, please. — FRANK DIGIACOMO

Gunna made rapping look “too easy” with his DS4Ever albums, which dropped in January as the New Year’s first major chart-topping release. The Atlanta MC spits vivid lyrics via clever wordplay about the life of a rap star on songs like the Lil Baby-featuring “25k Jacket” (“AP on my wrist, ain’t accepting apologies/ So much Prada, you ain’t gotta be proud of me”), while the album’s woozy lead single “Pushin P” reached the No. 7 spot on the Billboard Hot 100 and had its title trending on Black Twitter for weeks. Gunna’s ability to match creative rhymes with the perfect beat makes DS4Ever one of the year’s most memorable projects. — SIERRA PORTER

Blue Water Road captures 27-year-old Kehlani at a time in their career when they’re more self-confident and comfortable in their artistic prowess than ever before. Boasting breezy yet air-tight production laced with the rose-scented smoke of the Oakland native’s sultry voice, this triumphant third full-length effort reaches an equilibrium that’s as rare as it is difficult to achieve: instrumental and stylistic variety that remains magically cohesive throughout. — H.D.

On his third studio album, Camilo expands his light-hearted, tropical-infused pop into more daring musical material. He veers from the sparsely arranged “Nasa,” a heartache duet with Alejandro Sanz laced with electronic loops, to the raucous “Alaska,” an all-acoustic norteño cumbia with Grupo Firme. The essence remains Camilo’s endearing, highly hummable songs and clever, colloquial lyrics (most co-written with Edgar Barrera), which still connect with multiple generations of fans. And while the tunes may sound simple, they are anything but facile (check out “Indigo,” his lilting, poppy homage to his daughter, performed with wife Evlauna Montaner). This is a singer-songwriter with a long future of stories to tell. — L.C.

If there’s one thing to take away from Emails I Can’t Send, it’s that Disney darling-turned-pop princess Sabrina Carpenter won’t be confined to the box the public so desperately wants to put her in. Sure, she’s no girl next door, but as she testifies on “because i liked a boy,” she’s not a “homewrecker” or “slut,” either. With near-stream-of-consciousness lyrics and occasionally sung-spoken delivery (as in the hyperspecific tune “skinny dipping”), the 20-something reflects on her past — navigating love, heartbreak and self-worth amidst lush harmonies and a dreamy synth-pop production. Her emails may have never made their way out of drafts, but that didn’t stop Carpenter from going full send on reclaiming her narrative. — DANIELLE PASCUAL

Wilson followed her No. 1 Billboard Country Airplay hit “Things a Man Oughta Know” with a pair of chart-crashing collaborations with HARDY and Cole Swindell. But it’s the Louisiana native’s sophomore album, highlighting the singer-songwriter’s sturdy pen and Southern bonhomie, that cemented her status as a star-in-the-making (and a recent two-time CMA Awards winner). “Hillbilly Hippie” opens Bell Bottom Country with a freewheeling, ‘70s rock vibe, while “Grease” simmers in sultry R&B. She’s adept at traditional-leaning country too, though, as intensely personal stories like “Those Boots (Deddy’s Song)” add a sparkling veracity to a set filled with blue-collar odes to tireless grit (“Heart Like a Truck,” “Live Off”) and high-flying dreams (“Wildflowers and Wild Horses”). — J.N.

Charli XCX fittingly crashed through 2022 with her fifth studio album, solidifying her role as one of the most reliable pop artists on the Billboard charts through her masterful use of modern dance beats and 80s-infused techno pop, mixed with interpolations of classic hits like Robin S.’s “Show Me Love.” Crash is the Charli XCX we know and love, cheeky and rambunctious while remaining characteristically witty. As for wrapping up her five-album deal with Atlantic – the saga of which informed most of the LP’s pre-release narrative — the 30-year-old star said it best in the album’s title track: “I’m high voltage, self-destructive, end it all so legendary.” — RANIA ANIFTOS

Love is in the air for The 1975… and, apparently, it’s on the stage, too. It’s also etched all over the band’s fifth studio album, departing from the group’s familiar wry commentary for a more sincere brand of songwriting that occasionally “sounds like a cover,” as frontman Matty Healy acknowledges. Throughout its 11 tracks, Being Funny in a Foreign Language goes overtly gushy in its lyricism and sonic nature alike, from the jubilant “Happiness” (“She showed me what love is”); to the quaint “I’m in Love With You,” with its title-repeating chorus; to its subdued follow-up, “All I Need to Hear,” that couches itself in the comfort of those three little words. It takes a particular skill in any language to capture the emotion — the blissful highs and the somber lows wrapped into it — without it feeling forced, but The 1975 nail it like an arrow straight through the heart. — JOSH GLICKSMAN

Yahritza y Su Esencia became a phenomenon even before they released their first-ever EP. It’s safe to say that after we listened to the Mexican-American sibling trio’s first single “Soy El Único,” already a bona fide heartbreak anthem, it left us wanting more from the 16-year-old and her two older brothers. When they released the seven-track EP Obsessed, it didn’t disappoint. Like “Único,” the songs are ultra-emotional, personal and relatable. Lead singer Yahritza narrates stories of heartbreak injecting pathos into every verse she sings. In “Enamorado” and “Esta Noche” she serenades love interests, being brutally honest and raw about her feelings. The sad sierreño set debuted at No. 1 on the Regional Mexican Albums chart in May, establishing the trio as force to be reckoned with in Mexican music. — G.F.

Few artists arrive with such a fully-formed sense of who they are as alt-pop singer-songwriter Maggie Rogers did with her debut album, Heard It In a Past Life. Even fewer continue to challenge that sense as their career goes along. On Surrender, Rogers shifts from self-realization to love, both platonic and romantic, and the result is a collection of songs that are explosive, emotional and, to use her word, feral, from the visceral “Want Want” and massive “Shatter” to the more intricate, heartfelt “Horses” and the emotionally layered “I’ve Got a Friend,” And then there’s “Anywhere With You,” which showcases not just her songwriting skills, but a voice that keeps getting better, as she both screams and croons the final chorus: “You tell me you want everything, you want it fast/ But all I’ve ever wanted is to make something f–king last.” — DAN RYS

Romeo Santos rose to unfathomable heights by globalizing bachata on his own terms, a wickedly seductive formula that introduced the masses to the originally rural, century-old Dominican style. With his Formula trilogy, the Bronx native builds an empire where bachata reigns, and Vol. 3 continues to see the salacious singer embracing the genre’s essence. The heartbroken reverie of “Bebo” harkens back to bachata’s origins — an art form that was once called amargue (bitter music) for its often lovelorn lyrics. He pairs up with Rosalía on “El Pañuleo,” bewitching listeners as their voices make sweet melodies. And on “15,500 Noches,” the King of Bachata brings unsung tropical heroes into the spotlight, like Toño Rosario, Rubby Pérez, Fernandito Villalona, and Ramón Orlando for a merengue celebration, honoring the Dominican genre’s history like only Santos would. — ISABELA RAYGOZA

“The money counter ding is so exciting,” Pusha T chirps like a 12-year-old at the beginning of his It’s Almost Dry lead single “Neck & Wrist.” It’s confirmation that after two decades of being the standard-bearer for coke rap — “selling white privilege,” as he unforgettably puts it here — he’s still not jaded when it comes to the meeting point of his two career hustles. Neither are we while listening: It’s Almost Dry finds King Push in classic form, energized by linking up with two sonic soulmates in producers Ye and Pharrell (evenly splitting knob-twiddling duties across the album) and reuniting with a third in brother Malice, a most welcome guest on closer “I Pray for You.” Just as he hasn’t lost his passion for his work, neither has his business acumen faded: He starts opener “Brambleton” mid-story and plows through the dozen tracks and 35 minutes with breathtaking efficiency, always on time like the Amazon truck. — A.U.

If anyone was looking for an immediate spark of joy in 2022, Lizzo was the artist to turn to. Launching her follow up to her Billboard 200 top 10 breakthrough album Cuz I Luv You in 2019 with the line “Hi, motherf–ker, did you miss me?” it is clear that Lizzo is setting the listener up for a euphoric and carefree 35 minutes. Special has everything you need in a good time: an ode to codependent friendship on “Grrls,” a supportive self-love anthem in the title track and even an updated “Monster Mash”-esque Halloween track in “Everybody’s Gay.” To top it all off, “About Damn Time” — with its seductive bass line and chorus that endlessly loops in your mind – was one of the biggest hits of the summer, and one of the best songs of the year.  — TAYLOR MIMS

Wet Leg’s debut album could have fallen flat on its face — after all, the British indie-rock group’s 2021 single “Chaise Longue” was the type of wonderfully quotable word-of-mouth hit that’s impossible to duplicate without coming across as a novelty act. Fortunately, Wet Leg was prepared to follow up its meme-able breakthrough with a confident assortment of deadpan pop songs, combining post-punk riffs, doo-wop harmonies and lyrical screw-you’s to both exes and internalized doubts. Wet Leg moves briskly and bursts with hooks, a full-length that the band members clearly prepared their whole lives to make; it will be a tough project to follow, but we doubted Wet Leg before, and we probably shouldn’t again. — J. Lipshutz

For one of 2022’s most perfectly diverse projects, alt-favorite Omar Apollo unveiled the pristine Ivory, his long-awaited, genre-bending debut album. Ivory strips back Apollo’s layers, shedding light on his Mexican-American heritage through Spanish-centric cuts like “En El Olvido” and the Neptunes-assisted “Tamagotchi,” while remaining true to his soulful alt-R&B roots on the heart-wrenching “Evergreen” and the Daniel Caesar-assisted “Invincible.” The Indiana-raised singer-songwriter knows exactly who he is, unapologetically centering queer love and vulnerable confessions through music that’s accessible enough for TikTok virality, yet sonically profound enough to earn the budding star one of our top 10 albums of the year. — NEENA ROUHANI

After adding the world’s biggest gig and the top Billboard Hot 100 song of all-time to his resume in 2021, Abel Tesfaye took on an even bolder assignment in 2022: getting to the bottom of this whole life-after-death, sin-and-salvation thing, culminating his decade-plus musical exploration of hedonism and its ramifications. Dawn FM isn’t only The Weeknd’s most cohesive project since his mystery-shrouded mixtape days, thanks to the unlikely executive production team of Max Martin and Oneohtrix Point Never – it’s also a sobering concept album, dressed up as a radio show for the deceased as they commute through purgatory’s tunnel to the afterlife, with supremely disconcerting Jim Carrey narration. Buckle up. — E.R.B.

“Baby, you got somethin’ in your nose/Sniffin’ that K, did you feel the hole?” That’s Lacy’s opening salvo on his breakout album Gemini Rights: Easygoing and embittered may seem like conflicting modes, but they thrive side by side amidst this set’s lolling funk and terse new wave. That opener, “Static,” tempers unpretentious, late-night-bar piano with casually cutting lyrics, while the runaway hit “Bad Habit” skates on guitar set to 96-and-sunny, even as the chorus lands like a lonely walk in the rain. But Gemini Rights ends in a state of contentment, which shines through in the blissful vocal harmonies on “Sunshine,” before closing with a lovely, bass-forward declaration of devotion in “Give You the World.” — ELIAS LEIGHT

More than a decade after becoming an overnight teen idol as part of One Direction, Harry Styles proves just how comfortable he is now as a fully grown pop superstar with this confident and cozy third solo album. Harry welcomes his eager guests with “Music for a Sushi Restaurant,” with its “Sledgehammer”-swinging horn stabs and uninhibited scatting signaling a House party to come. And while there is a lot of jubilation here – like the effervescent, a-ha-worthy synth hook of 15-week Hot 100-topping lead single “As It Was” or the giddy and glossy come-on “Late Night Talking” – there’s also a lot of soul-searching that makes it feel like a very public figure inviting you into their very private space. No question the charismatic Styles has always had curb appeal, but this self-assured album shows that the foundation of Harry’s House is just as strong. – KATIE ATKINSON

Motomami is the product of a nonconforming, rule-breaking mami, who revels in vrooming motors, hyper-speeding and screeching brakes, while all clad in leather. On her third studio album, Rosalía further testifies that experimentalism and traditionalism — in all forms and sounds — can coexist, and rivetingly: Opener “Saoko” introduces reggaetón minimalism, before she splatters it with complex jazz melodies to create a contortion of sounds as she declares, “I transform.” On “La Fama,” she and duet partner The Weeknd dare to blend bachata with sultry electro-pop, as she embodies a fame-seeking siren that’s consumed by the dark pleasures of celebrity (“Fame is a bad mistress and will not really love you,” the Weeknd croons in Spanish.) But Rosalía never abandons her beloved flamenco, as evinced on the bewitching “Bulerías.” The Spanish provocateur continues to push the limits of modern Latin pop with an unflinching approach, while bringing excitement and seduction to the fore. — I.R.

“One-thousand eight-hundred and fifty-five days.” That opening lyric details just how much time passed between the release of Kendrick Lamar’s Pulitzer Prize-winning album DAMN. and his most confessional, brutally honest album to date, Mr. Morale & The Big Steppers. During the radio-friendlier first half of the set, he details his lust addiction on the skittering “Worldwide Steppers,” and how his daddy issues contribute to toxic masculinity on the graceful, Sampha-assisted “Father Time.” But it’s on the more theatrical, introspective back end that he really gets into the mud, tackling his biases regarding transphobia on the controversial “Auntie Diaries” and freeing himself from the generational trauma caused by sexual abuse on the somber, piano-driven “Mother I Sober.” The Billboard 200-topping project boils down to Lamar’s poignant thesis that your favorite rapper, even the defining rapper of his generation, is not our savior – and we shouldn’t expect him to be. — H.M.

Taylor Swift certainly did not have to drop anything new this year, as she’s already released two albums this decade, and has been keeping fans fed with bonus-filled re-recordings of her early albums in the meantime. But just when Swifties thought Speak Now (Taylor’s Version) was next on the horizon, Midnights was announced. And while her 10th album continues themes of her past works, from the dreamy lyricism of Folklore to the bold pop of Reputation, Midnights is in its own league when it comes to vulnerability; songs like the introspective “Anti-Hero” and regretful “Midnight Rain,” are more raw, self-aware and human than we’ve seen from a global superstar in years. Midnights feels like a celebration of a 16-year career layered with a sense of immense growth. Not that we had any doubts, but after all that time in the music industry, she “can still make the whole place shimmer.” — R.A.

Whenever Beyoncé releases new music, it’s an event. And this summer’s Act 1: Renaissance — her long-awaited seventh solo studio album — was no exception. This time around, Beyoncé set her sights on dance music, paying homage to its various iterations, from the house-burning anthem “Break My Soul” to infusions of disco, techno and go-go. Elsewhere on the 16-track danceathon, you can find the carefree “Cuff It,” whose retro disco-funk vibe channels Chic’s “Good Times,” and “Pure/Honey,” her nod to the ballroom and late-‘80s voguing culture. Just as varied as the music are the album’s themes: Accompanied by a rhythmic pace that goes from zero to 100, “Church Girl” dissects the age-old struggle between being nice and naughty, while “Plastic Off the Sofa” is an energetic yet sensual love romp, accentuated by Bey’s breathy vocals. As the album’s fitting title conveys, Beyoncé proves once again that she can always be counted on to pinpoint the cultural zeitgeist, reinvent it and take it to the next level. Undoubtedly, fans are eagerly waiting for her to do it all over again whenever Act 2 arrives. — G.M.

We will always remember 2022 as the year when Benito made history, breaking his own records and uniting the whole world in celebrating his eternal Verano. Regardless of the language, culture or generation, we all somehow connected over Bad Bunny’s Un Verano Sin Ti this summer, letting ourselves be carried away by his most visionary musical project. The set brilliantly demonstrated the global superstar’s capability and versatility through its ambitious 23-song tracklist – 22 of which hit the Hot 100 the week of its release – and debuted atop the Billboard 200, staying there for 13 nonconsecutive weeks, and later becoming the first Latin album to ever top the Year-End chart.

Verano, divided into “Lado A” & “Lado B,” was designed to bring you on an emotional roller coaster across its two halves, climbing to an early high with the furious mambo “Después de la Playa.” From there, it hurtles listeners through intense perreo (“Me Porto Bonito”), feel-good reggae (“Me Fui De Vacaciones,“) and dembow (“Tití Me Preguntó“) cuts, before decelerating with bossa nova (“Yo No Soy Celoso”) and smooth melodic soul (“Ojitos Lindos”). Each song on the album has its own purpose and each lyric and melody its own story, and the whole thing adds up to an album vivid and exciting enough to make the album the year’s biggest in America without a single stateside pop radio hit or English-language song. It’s Bad Bunny’s world, and we’re all just hopping around in it, pretending that summer isn’t over yet. — I.F.