Allow me to take you through a review of the year 2024, considered an especially warm year for the music scene. This account was originally curated by the folks at Slate’s Music Club. You may wonder, what exactly is the Slate Music Club? For over twenty years, Slate has gathered a group of music critics at the close of each year to dissect the year’s soundtrack, identify the cultural undercurrents shaping the music of the period, along with throwing spotlights on our personally cherished albums and singles.
Following a brief interlude, we’ve reinstated the Music Club this year, with a fresh twist: transforming it to a podcast conversation. Opening the discussion is Julianne Escobedo Shepherd. Julianne is a distinguished writer, editor and the brain behind Hearing Things, a free-spirited, employee-owned music e-zine.
Additionally, the Music Club’s essence wouldn’t be complete without the seasoned insights of Ann Powers. Ann’s reputation as a critic and spokesman for NPR Music sets strains of credibility in the room. Our musical symposium’s moderator is none other than Carl Wilson, leading the music opinion at Slate. Carl contributes to the industry discussion from Toronto as a freelance writer and editor.
Removing any formalities, it’s time to give Carl the floor. Ann Powers then begins our journey into retrospection. Speaking as if between old friends, she reflects on a record dear to both. Witness the luminous creation of Brooklyn-based singer-songwriter Cassandra Jenkins, a masterpiece titled, My Light, My Destroyer.
The sonic atmosphere she weaves, the narratives she spins, and her use of field recordings make this record a standout. Julianne Escobedo Shepherd springs forward with her top pick, an album that hit close to home called I Hit the Water. The hands behind this composition belong to a NY titan of tunes, Lollise.
Meanwhile, for Molanphy, Charli XCX’s genre-blending album, Brat and all of its various versions was apex. With an exhaustive name like Brat but It’s Different but It’s Still Brat, the reimaginations of its tunes lent a fascinating edge to its narrative. The remix of ‘Girl, So Confusing’; was particularly noteworthy, with Powers affirming and adding that Eric can’t stop raving about it.
Indeed, Shepherd shares their enthusiasm wholeheartedly. Wilson then steers the conversation towards the year’s hip-hop scene. Without a doubt, Doechii grabs the limelight as a refreshing gust in the arena. It’s a challenge to pin down any distinct, powerful currents within the genre, but she represents a definitive milestone.
Chances are, we’ll revisit these examples as the discussion unfolds, but for now, we must proceed. Summing up, it appears that 2024 gave us a breath of fresh air in terms of pop music; a year that broke the monotony of the 2020s.