Best of 2024 DIY’s Tracks of the Year 2024

How do you kick off a Glastonbury headline performance with a bang? For Dua Lipa, it was with a slice of slick disco-pop excellence in the form of ​‘Training Season’. Produced by Tame Impala man Kevin Parker and a highlight of Dua’s third record ​‘Radical Optimism’, the catchy morsel of stomping beats and sultry guitar licks was a siren call to the dancefloor and a middle finger to terrible dates. ​“Don’t wanna have to teach you how to love me right,” our fed-up protagonist pronounces before declaring: ​“Training season’s over”. We’ve all been there, but Dua took ​‘there’ to the top of the Pyramid. (Hannah Mylrea) 

Read our full review of ​‘Radical Optimism’ here, and review Dua’s story so far here. 

Landing this summer as a precursor to his much-anticipated LP ​‘Small Changes’, ​‘Floating Parade’ was the first taste of a new dawn for Michael Kiwanuka. Much like its title suggests, the track was an escape; a place for the musician to be untroubled. ​“We can’t be stronger than life itself / We can be solid but hardly make a dent / So I’ll be a full-on child for a while,” he sings, acknowledging the struggle and accepting the inability to be fully in control. Smattered with interludes of piano and acoustic strokes, it’s a warming composition which carries the spirit of soul greats, yet ​‘Floating Parade’ holds a space of its own: a subtle prompt from Kiwanuka to find a lightening safe place amidst the weight of discomfort. (Kayla Sandiford)

Read our September 2024 In Deep interview with Michael here, and our full review of ​‘Small Changes’ here. 

A suitably theatrical cut from one of the biggest British breakout bands in recent years, ​‘Caesar on a TV Screen’ was a highlight of The Last Dinner Party​’s much-hyped debut; an impressive journey through ever-changing melodies, intertwined with rhythmic chaos and layered vocal brilliance which crafted a three-act masterpiece that felt more orchestra than rock band. Sporadically throwing in references to classic literature and historical battles via vast changes in harmony and tempo, the track’s accompanying music video even set the band in their own portrayal of Shakespeare’s Julius Caesar. Fun, poppy, glam-rock inspired guitar music is back, and The Last Dinner Party have unequivocally proven it. (Kyle Roczniak)

Read our February 2024 cover feature with The Last Dinner Party here, and our full review of ​‘Prelude To Ecstasy’ here. 

Billie Eilish may have said she’d never talk about her sexuality again after being outed by Variety in 2023, however ​‘LUNCH’ — the most immediate track from third album ​‘Hit Me Hard And Soft’ — proves otherwise. Openly detailing oral sex with a woman, the romantic and breathy cut finds Eilish winking of how the receiver ​“tastes like she might be the one” in the chorus. Joining 2024’s Sapphic Renaissance, the track allows the musician to own her narrative, shedding any fear or shame that may have been pushed onto her. It’s more than just the lyrics, too; plush rhythms, decisive driving bass, taut drums partnered with brisk claps; and an isolated squeal of tyres emphasise the sense of certainty around Eilish’s desire. What more could we want? (Bella Spratley)

Read our full review of ​‘Hit Me Hard And Soft’ here. 

The so-called ​‘difficult second album’ would prove no obstacle for Leeds’ Yard Act, in no small part due to the sense of humour that runs throughout much of ​‘Where’s My Utopia?’. And ​‘We Make Hits’ is a prime example of the self-deprecating winks that the band so excel at; built around an irresistible groove, it’s one of their poppiest moments to date. A significant jump away from the post-punk found on debut ​‘The Overload’, it showcases a greater breadth to their sound whilst still being ridiculously fun. (Chris Connor)

Read our January 2024 In Deep interview with Yard Act here, and our full review of ​‘Where’s My Utopia?’ here. 

“This is the end of every song that we sing,” Robert Smith notes over three minutes into the lengthy instrumental intro to The Cure​’s first song in 16 years, on what is the biggest oxymoron of 2024. ​‘Alone’ is by far the most triumphant return in recent memory; a beautifully melancholic, chorus-less opus that simultaneously harks back to the band’s previous output while sounding remarkably current. It’s even bold enough to bring a plethora of new fans into the fold, as well as reinvigorating any casual fanbase from years before. The near-seven minute masterpiece blends Robert’s distinctive vocals with a gently bubbling instrumental, gliding towards its understated crescendo. ​“This is the end of every song that we sing… alone,” he concludes – not so much of an oxymoron after all. (Ben Tipple)

After the giddy heights he reached in 2021 and 2022 with ​‘Seventeen Going Under’ — and having shared little since — ​‘People Watching’ had a huge amount riding on it for the North East’s indie hero Sam Fender. Needless to say, the comeback track proves once again why he is a generational talent. Remarkably a late addition to his upcoming album of the same name, its personal lyrics about losing one of his mentors will strike a chord with many, while still showing his sound to be as anthemic as ever. The involvement of The War On Drugs’ Adam Granduciel will have intrigued many, and, on this appetite-whetting evidence, the collaboration seems to be a match made in heaven. (Chris Connor)

On the title track from his outstanding sixth album as Father John Misty, Josh Tillman brings together everything that has long marked him out as one of his generation’s finest songwriters. Over the course of more than nine majestic minutes, he conducts a signature study of the false promises of politics and religion over a sweeping, stately instrumental that builds handsomely to a climax incorporating a choir and a saxophone solo — all on an offering which is already rich with orchestral swell. The song’s title is taken from the Sanskrit for burial ground, and if that seems a neat metaphor for the world around us in 2024, then ​‘Mahashmashana’ is every bit as elegant musically too. (Joe Goggins)

Read our full review of ​‘Mahashmashana’ here. 

The self-proclaimed emotional junglist, Nia Archives has truly had a breakout year, and ​‘Cards On The Table’ is one of her acclaimed debut album’s standout tracks. Perfectly encapsulating the vulnerability she injects into the jungle scene, it takes ever-present sonic codes from the genre’s ​’90s hey-day — think speedy breakbeats and deep, soul-shaking bass — and merges them with lightening treble vocals (which are sung rather than spoken) and bright, lilting guitar. It’s a true earworm, and even in its accompanying video Nia oozes cool; here, every element of the production is elevated. (Bella Spratley) 

Read our full review of ​‘Silence Is Loud’ here. 

Something of a curveball for SOFT PLAY, ​‘Everything And Nothing’ is a poignant showcase of the duo’s evolution. Marking a departure from their expected raw energy, the track is inspired by personal loss and enriched by emotive mandolin, and sees Isaac Holman and Laurie Vincent deliver an unfiltered portrayal of grief and vulnerability. Written during lockdown, its lyrics detail mental health struggles and the passing of loved ones, making for a deeply relatable and deeply touching piece. Their most profound work to date, ​‘Everything And Nothing’ stands as a raw, uncompromising highlight of the pair’s superlative comeback record, ​‘HEAVY JELLY’. (Gemma Cockrell)

Read our 2024 Festival Guide cover feature with SOFT PLAY here, and our full review of ​‘HEAVY JELLY’ here. 

The first track to appear from her third album of the same name, ​‘Eusexua’ swirls upwards from FKA twigs’ sultry vocals to a driving, thumping beat that wouldn’t be out of place in an underground Berlin club. Its name an obvious portmanteau celebrating the euphoria of sex, the song – much like its accompanying visuals – mirrors the act’s rising pleasure, representing an unashamed celebration of a hedonistic climax. ​“Just don’t call it love,” she implores in an ever-refreshing embrace of uncomplicated and raw sexuality, delivering a visceral, captivating soundtrack to passion. Its tone is set to flow through sweaty, underground dancefloors at 5am for the foreseeable future, inviting all to writhe in its euphoric, seedy, sexy glory. (Ben Tipple)

Amyl and The Sniffers are undoubtedly one of 2024’s success stories. Not only did the Aussie four-piece carry their customary unpretentious punk appeal into third album ​‘Cartoon Darkness’, but they allowed for plenty of melodic progression in the process. And it was this first taste of the Melbourne band’s latest record that paved the way for this sonic evolution: lead single ​‘U Should Not Be Doing That’ marks a change in approach from the explosive towards the groove-laden, wherein Gus Romer’s funky bass tones and Declan Mehrtens’ bluesy guitars provide a strong nod to The Rolling Stones’ 1978 anthem ​‘Miss You’. Lyrically, meanwhile, the indomitable Amy Taylor mocks critics of her boisterous performances in a fiery retort against sexist attitudes that still prevail against female performers. It’s an absolute earworm, and one which made many a new fan sit up and take notice of this unique band. (Matthew McLister)

Read our September 2024 interview with Amy Taylor here, and our full review of ​‘Cartoon Darkness’ here. 

The lead single from Remi Wolf​’s stellar second album ​‘Big Ideas’, ​‘Cinderella’ is a funk-flecked smash. Consisting of a slinky bassline, sinuous piano chords, brash brass stabs, and Wolf’s earworm melodies, every layer comes together to create pure audio sunshine. Self-described as a ​“lyrical collage of the ups and downs and mood swings and transient lifestyle I was experiencing while writing this album”, it sees the Californian artist muse on a ​“rollercoaster of emotion”, flitting all the way from uncertain (“Is there something wrong with the way that I’m designed?”) to unstoppable self-confidence (“Baby girl, won’t you dry your eyes? / Don’t stress because you’re doing it right”) in the space of one killer bridge. (Hannah Mylrea)

Read our May 2024 In Deep interview with Remi here, and our full review of ​‘Big Ideas’ here. 

Landing back in May, hot on the heels of his equally shade-throwing drop ​‘Meet The Grahams’, Kendrick Lamar​’s ​‘Not Like Us’ quickly surpassed the rapper’s self-set bar to become THE defining diss track of his years-long feud with Drake. A scathing assessment of the latter’s alleged sexual misconduct that also weaves in questions of cultural identity and history, it’s at once a blistering takedown and immense proof of Kendrick’s artistic prowess, wherein brass flourishes and chanted BVs provide the bedrock for jaw-droppingly cold one-liners (“Tryna strike a chord / And it’s probably A‑Minor”; ​“You not a colleague / You a fuckin’ colonizer”). Priming the world for the arrival of November’s ​‘GNX’, ​‘Not Like Us’ has achieved success both commercial (breaking multiple streaming records) and critical (five Grammy nods, including for Record of the Year and Song of the Year), and has even prompted Drake to seek legal action against Universal Music (his own label) for allegedly artificially boosting the track’s streams. Did somebody say sore loser? (Daisy Carter)

Read our full review of ​‘GNX’ here. 

That ​‘Albert Road’ — the closer from 2024 breakout stars English Teacher​’s Mercury Prize winning debut — captures multiple zeitgeists in one epic crescendo is testament to the Leeds outfit’s head-turning storytelling and impeccable genre blending. In its rousing five minutes it paints a moment, a place, and a feeling with ease; vocalist Lily Fontaine’s words swirl from loathing to love and back again, nodding to an abandoned North with both obvious bite and a deep-rooted sense of heritage, while her closing, impassioned scream shatters the barrier between past and present. As a standalone offering, it’s a stunning snapshot of life; as a conclusion to ​‘This Could Be Texas’, it’s one that cements English Teacher as far more than a moment in time. (Ben Tipple)

Read our April 2024 interview with English Teacher here, and our full review of ​‘This Could Be Texas’ here. 

An undeniable (and inescapable) soundtrack to Summer 2024, Sabrina Carpenter​’s ​‘Espresso’ has been rolling around in our brains ever since it arrived back in April. And with one of the catchiest hooks of the year, there’s little wonder why: ​“That’s that me espresso” remains one of the most nonsensical yet brilliant line deliveries of recent times. Lifted from the pop powerhouse’s sixth studio album, it’s a fittingly addictive mix of tongue-in-cheek lyricism and playful, sun-drenched melodies, making for an irresistible track that becomes an earworm from first listen. Equipped with Sabrina’s trademark wit and effortless charm, ​‘Espresso’ brims with the personality and inarguably clever wordplay that’s allured fans since her earliest days. It may have taken her over a decade, but Sabrina’s main pop girl moment is finally here – and it’s showing no signs of ending anytime soon. (Emily Savage)

Read our full review of ​‘Short N’ Sweet’ here. 

Hot to go on the heels of last year’s sleeper hit ​‘The Rise And Fall Of A Midwest Princess’, Chappell Roan has had one hell of a 12 months, drawing Coachella’s biggest daytime crowd of all time and emerging as a bona-fide global star. Though her debut album — co-written with Olivia Rodrigo collaborator Dan Nigro — certainly played a huge part in all of this, a huge amount of credit is also due to standalone single ​‘Good Luck, Babe!’, which crept all the way up to the top of the charts and into billion-stream territory as the year went on. A hulking break-up song with one of the biggest, most belting bridges in recent memory, it sends its sarcastic well-wishes to a past love enchained by compulsory heterosexuality (the idea that society uplifts straight relationships above everything else) and personal denial. ​“When you think about me, all of those years ago,” Chappell sings, ​“you’re standing face to face with ​‘I told you so’”. Ouch. (El Hunt)

Read our July 2023 Neu interview with Chappell Roan here, and our full review of ​‘The Rise And Fall Of A Midwest Princess’ here. 

Said to have been inspired by a panic attack experienced by lead singer Grian Chatten at London’s St. Pancras station, ​‘Starburster’ — the lead single from Fontaines DC​’s widely acclaimed fourth album ​‘Romance’ — signalled the beginning of a seismic shift in direction for the five-piece. Moving further away from the erudite post-punk sound of their earlier work and instead towards the stadium-sized, beltable structures that often enshrine bands in the upper echelons of rock history, the sheer radioactive mass of this audacious musical reintroduction saw the Irish group rattling their own foundations, garbed in an array of seemingly tongue-in-cheek, ​’90s-inspired neon attire. Reeling with an electrifying, rebellious angst so visceral you can feel the pins and needles rising from your fingertips, the guttural shrieks, chantable melodies and cryptic lyricism of ​‘Starburster’ leaves you antsy for more. (Hazel Blacher)

Read our July/​August 2024 cover feature with Fontaines DC here, and our full review of ​‘Romance’ here. 

The peak of Brat Summer was its tenderest moment, where two pop monoliths openly explored passive-aggressive interactions over a glitchy indie sleaze track. With ​‘girl, so confusing (featuring Lorde)’ — a loose remix of the original cut — Charli xcx gave us a much-hyped collaboration with her mystery frenemy, between whom people had long drawn comparisons. For all its coquettish, off-piste synths, Essex-accent-tinged talk-singing non-rhyming prose, and oversaturated autotune, ​‘girl, so confusing’ channels its album’s cut-the-bullshit directness to offer a heartfelt dissection of miscommunication between women in the music industry. It’s bluntly confessional, aggressively poignant, and undeniably meme-able: ​“Let’s work it out on the remix” is a frenemies-to-besties mantra, now forever immortalised in the ​‘BRAT’ Hall of Fame. (Otis Robinson)

Read our review of Charli’s recent O2 Arena show here, and our full review of ​‘BRAT’ here. 

When it comes to crafting a timeless pop banger, all of the usual rules surrounding careful moderation, curation and minimalism should – ideally – be chucked right out of the window. Just ask Girls Aloud, who are champions of cramming approximately five different choruses into a single song and somehow getting away with it. Cut from exactly the same brilliantly bizarre cloth, ​‘Angel Of My Dreams’ – the debut solo single from former Little Mixer Jade Thirlwall – shares a lot of Xenomania’s songwriting DNA. Here, an echoing, haunted house introduction makes way for what at first feels like a polished, straightforward ballad about being in the grip of intense, bittersweet infatuation. Don’t judge a book by its cover, though: out of nowhere, things take a turn for the menacing, curveballing into pounding, siren-laden dance-pop. Best of all, JADE spends the rest of the time flitting between these two distinct, jarring modes, and somehow, through the chaos, comes total cohesion. (El Hunt)

Read our interview with JADE about ​‘Angel Of My Dreams’ here. 

Tags: Features, Amyl & The Sniffers, Billie Eilish, Chappell Roan, Charli XCX, Dua Lipa, English Teacher, Father John Misty, FKA twigs, Fontaines D.C., JADE, Kendrick Lamar, Listen, Lorde, Michael Kiwanuka, Nia Archives, Remi Wolf, Sabrina Carpenter, Sam Fender, SOFT PLAY, The Cure, The Last Dinner Party, Watch, Yard Act