Best Songs of 2016 (So Far)

We're halfway through 2016, but there has already been a lot to love. We've been treated to new albums from music's biggest names—Kanye West, Chance the Rapper, Rihanna, Drake, and Beyoncé, to name a few. We've also seen the emergence of some fantastic newcomers.

The one thing in common with all successful artists in 2016 is that they're trying something new. Music streaming is continuing to rise, album sales and digital downloads are steadily declining, and artists are getting creative with release strategies and promotion. They're also becoming more open to new sounds. Mainstream pop artists are working with underground talent, emerging artists are pushing genres into new territory, and local sounds are going global.

A lot of what's happening in music right now is being worked out through trial and error. There have certainly been some missteps, but all of this scrambling to adapt and evolve has led to some wonderful music, and that's most evident when we look at the singles. Artist are reaching for something completely new and unusual, and they've generated some excellent songs in the process.

When it came to Baauer's long-awaited debut album, Aa, many music critics wondered if he could elevate his sound past "Harlem Shake." But those who know understand that he'd long grown past that surprise viral hit.

The album has a number of highlights, but one of the most immediate is the captivating banger "Kung Fu," which finds Pusha T delivering coke raps and Future dropping an unforgettable hook over bombastic low-end. If you've seen Baauer live in the last four years, you know that this is the kind of turn up he's accustomed to, and given the right looks, he could knock out jams like this on the regular.—khal

"I wanted to be as far away as I could be from the U.K. and my situation when I wrote ["Club Aso"] and there’s a lot of rain in that track," Benjy Keating, the man behind Palmistry told us. It is certainly a sad song, Keating bearing his heart and soul with a lilting delivery over production that is stripped down to only the necessary elements.

It's simple but totally effective, and along with that sadness comes a melody that you’ll be humming for days. A summer anthem for the sad-hearted.—Constant Gardner

If, for at least a couple months this year, you weren't randomly finding yourself sitting at work, walking through the grocery store aisles, or sitting on the toilet singing "I SHOULD BE DEAD! I SHOULD BE DEAD! I SHOULD BE DEAD! I SHOULD BE DEAD!" then I can't relate to you. This is one of the wildest songs of 2016, and while ZelooperZ's Bothic album may be too abrasive and chaotic for some, it's a testament to how far hip-hop can be pushed when you've got someone young and recklessly creative taking the reigns.—Jacob Moore

Philly’s Tunji Ige chases bucks and ducks illuminati booby traps in “On My Grind,” a warbling toast to the endless hustle and bustle of hip-hop and life at large.

The song first touched down last November, but "On My Grind" really took off when it appeared on Tunji's Missed Calls tape. That filthy, filtered hook makes for a surefire anthem, and the alluring choral arrangements top it all off, sandwiching confident bars that bounce.—Alex Siber

Pumarosa burst into our consciousness last year with "Priestess," a sprawling, engrossing, seven minute guitar driven psychedelic extravaganza. They returned this year with "Cecile," not quite as long, but certainly as good. The five-piece from London tighten things up on their second single, a driving mix of guitars, electronics, and vocalist Isabel's beguiling vocals. With influences ranging from Patti Smith to The Knife, Pumarosa have created their own potent sound, and we're already looking forward to hearing more.—Constant Gardner

When Blank Body and Night Lovell joined forces numerous times on Lovell's intense debut, Concept Vague, it was evident that the two made for a formidable duo. With tracks like "Light From the Car" and "The Renegade Never Dies," the two really brought out the best in each other.

But on "Barbie Doll," they've taken their chemistry to a whole new level. Blank Body streamlines his vibrant sound and Lovell rides the beat perfectly with a winning hook that just begs to be played as loudly as possible.—Joe Price

One of Chance The Rapper's greatest strengths is his ability to bring together artists from different worlds. Musically, Chance doesn't have a lot in common with Young Thug and Lil Yachty, but that's what makes "Mixtape" so perfect. Chance changes up his flow, frantic Thug ad-libs pop up at all the right times, and Yachty has a show-stealing verse starting with one of the best opening lines of the year.

Aside from this being an awesomely addictive song, it's also a strong message from three of the fastest rising rappers in the game right now (who do, in fact, have something in common). In the age of exclusive streaming deals, declining album sales, and music industry mass confusion, great (and free) mixtapes are still a hell of a way to build a career. It worked for these three.—Jacob Moore

SBTRKT is constantly surprising his listeners. The producer has subverted the traditional album cycle by releasing his newest project Save Yourself as cohesive, constantly-growing collection of songs, one of which features The-Dream crooning over a dynamic, passionate beat.

The synths on “Good Morning” will have any audiophile drooling, and the beat that drops around the halfway mark reminds listeners of how SBTRKT manages to land the impressive collaborators that he does. Whether you’re a dedicated fan following Save Yourself as it unfolds or a first-time listener, “Good Morning” is guaranteed to surprise and delight.—Alex Geisel

Several weeks ago, a little-known artist from California quietely shared one of the best songs of the year thus far. ROY's "Thunder" rivals the efforts of big budget superstars.

This is grunge rap, punk pop, an honest, wide-ranging examination of young love. Somehow, the traces of rebellion coexist with mournful croons. It makes sense, as ROY benefits from Brockhampton production on this one—Bearface and Joba provided helping hands, and "Thunder" takes a distinctly operatic tone as a result. It rumbles and bides its time before bursting wide open.—Alex Siber

The life cycle of "Skrt" says more about it than anything else. Released in 2014 as a part of Kodak Black's Heart Of The Projects mixtape, the song earned Kodak more than a few new fans.

But it wasn't until the song received support from OVO Sound Radio last December, however, that it really spread. An official release soon followed in February, and the months since have seen Black become the center of attention. Vicious production and keen-eyed observations delivered with a youthful voice make this slow-builder a true standout of the year thus far. —Alex Siber

Whether or not you're familiar with his deacde-plus stint in the music game, Kano's 2016 return is something worth getting excited about. Made In The Manor, released in March, is his first record in five years, and it's also his fifth album in a discography that started with 2005 grime classic Home Sweet Home.

Towards the end of last year, Kano started getting warmed up with the Rustie-produced "Hail" and the Mele-proudced "New Banger," but with "3 Wheel-Ups," he went in for the kill. Alongside road rap legend/current guest feature superstar Giggs (remember his winning appearance on JME's "Man Don't Care"?) and grime legend Wiley, Kano does what he does best, deliver bars on bars on bars.—Constant Gardner

The best melodies are the ones that are immediately satisfying without being obvious. "Needed Me" is a perfect example. Rihanna turns three words—"you needed me"—into one of the best, most unforgettable hooks of 2016. Also, who knew DJ Mustard could make beats that sound like this?—Jacob Moore 

Maggie Rogers might be the first artist in decades to land a hit built around the sound of a hand and leg making contact. It's a modest, mundane backbone that, on "Alaska," is bolstered by whimsical lead production. The Maryland singer's hopes of reflecting free-flowing movement are embedded in the song's very core.

Riding a viral wave and a cosign from Pharrell, the release of "Alaska" was a make or break moment. In the end it confirmed our excitement—Maggie Rogers is a unique artist with limitless potential. There's been a need for feel-good tunes lately, and Rogers delivered a hopeful song for the summer months to come. She bridges the soulful overlaps of hiking and dancing to enter a place of peace, where the kindhearted are welcome to roam.—Alex Siber

In keeping with other surprise releases from the Top Dawg Entertainment camp, Kendrick Lamar’s untitled unmastered. was released with no warning this past March.

The compilation is packed with strong, original demos that tackle similar themes to those presented on To Pimp a Butterfly, but “untitled 02” stands out for one simple reason: it slaps incredibly hard. The drums and bass are perfectly in the pocket, and Kendrick does not waste the opportunity to body the beat. How this track didn’t make the cut for TPAB is beyond me. Somebody get Top on the phone.

Besides inspiring our sincerest gratitude to Kendrick, “untitled 02” makes us wonder what the outtakes from his other records sounded like—if we’re lucky, maybe 2016 will see a sequel to this blessing of a compilation.—Alex Geisel

True to its title, Innanet James’ defining song to date is tailor-made for poolside parties.

Backyard barbeques wouldn’t feel quite right without it. The Kount’s squiggly synths rise like heat waves above concrete. James jukes past low-hanging fruit like a running back, straying from the expected to deliver a sizzling performance so fun it’s easy to forget the technical control at play. When August has come and gone and the cold winds of winter return, just come back to this, a summer song that’s built to last.—Alex Siber

Kweku Collins mixes genres with ease on his Nat Love project. Rap, pop, reggae, psychedelic rock—it all goes in the Evanstown, Illionis artist's blender, and when it works, the results are spectacular. The gentle bounce of the production on "Stupid Rose" gives Collins the space to flex his sing-song delivery and faster rap flows for a song with effortless summer charm.—Constant Gardner

Read our interview with Kweku Collins here.

We don't know what prompted Kanye West to drop the first Cruel Winter single when he did (on the radio, on a weekday, with no warning). All we know is we're glad West woke up and decided it was time to drop a battle cry. Buzzing synths murmur beneath an all-star rap cast like the rotating blades of hovering helicopters. Each rapper steps to the mic in turn, trying to outdo the competition.

On paper, "Champions" looks like one of those songs that could never live up to its guest list. But it does—everyone leaves their stamp on the track: Quavo acknowledges the radicalism of merely being black in America, 2 Chainz applies the snowball effect to his sexual appeal, and Gucci Mane stops by, fresh out of prison. And of course, it's only a matter of time before someone makes an actual Ye Button. Blast this one at dangerous levels.—Alex Siber

Related: The Power of a Kanye West Cosign

Bonkaz and Stormzy are a deadly pairing. The two South London MCs teamed up on Bonkaz' excellent Mixtape of the Year, delivering one of the sonically varied project's hardest tracks.

Bonkaz proved he can sing, write love songs, and paint vivid pictures with his words on the mixtape, but hearing him go in over a high-energy beat is always a pleasure. Whether or not you catch all the UK references the first time round, this is the kind of track that needs to be replayed again and again. The fact that Bonkaz is joined by another of our favorite rising U.K. artists on "And Dat" is just a bonus.—Constant Gardner

When speaking of his sophomore album Imperial, Denzel Curry said that the project is him "attempting to reach [his] ultimate form."

While it was the remix of "Knotty Head" that made the cut on Imperial (it did, after all feature none other than fellow Floridian Rick Ross), the original seems to reflect that ultimate form the most.

Curry has come a long way since the release of his critically acclaimed debut Nostalgic 64, showing on "Knotty Head" that he has the remarkable ability to weave stories into bars without sacrificing all the makings of a banger. The hook is so catchy that you might even miss Curry painting a picture of his harrowing upbringing while you're singing along. His delivery is visceral and his lyrics are brutally honest, making "Knotty Head" one of Curry's most impactful creations. What's most exciting, though, is that he's is only 21; Denzel Curry is just getting warmed up.—Joyce

Related: Watch Denzel Curry and J.K. The Reaper Freestyle at SXSW 2016

There’s no denying that Gallant made an incredible impression when we first heard his voice just a few years ago. In the time since, he worked to carefully craft his standout debut album, Ology. While the album’s breakout single “Weight In Gold” helped draw new attention from far and wide, “Bourbon” helped show fans a new side of his talent.

Though Gallant has become known for his ability to hit the high notes, the steady tempo of “Bourbon” allows the Maryland singer to stay within a range that put more focus on his vocal control and songwriting skills. There’s an '80s R&B influence guiding the production, but there’s nothing dated about the single. Instead, Gallant’s silky vocals fit perfectly, floating effortlessly over the rhythm. As a result, “Bourbon” feels as warm and smooth as its namesake.—Adrienne Black

Read our interview with Gallant here.

Ty Dolla $ign knows how to write a summer hit, and he's here for us with an easy, breezy, windows rolled down, wind blowing in your hair, cruising in the sun anthem.

As ever, Ty can help melt away life's stresses, his laid-back drawl rolling over a surprisingly restrained DJ Mustard beat, and coming through with a hook that is pure radio hit excellence. For all his success, Ty Dolla $ign is still underrated, but that surely can't remain the case for too much longer.—Constant Gardner

If you’ve somehow made it this far into 2016 without hearing “Panda,” then you’re in for a treat. “Panda” transcends age, race, class, and every other demographic classification you can imagine—this song has been everywhere, and you're probably sick of it by now.

Kanye West liked it so much that he essentially turned it into a Kanye song on The Life of Pablo, begging all kinds of questions from listeners: Who is that rapping? Is this a Future song? Did Kanye write this? Who the hell is Desiigner? In reality, these questions are unnecessary, for “Panda” has elevated itself above such worldly constructs of ownership and originality. “Panda” is no longer Earth-bound; it exists in an ethereal cloud-realm, floating alongside other transcendent standards like “Happy Birthday” and “Camptown Races.” “Panda” is pure energy. “Panda” is omnipresent. “Panda” is, without a doubt, one of the best songs of 2016.—Alex Geisel

Some songs provoke deep thought, others are simply a treat to listen to, and just sometimes a song does both. Enter Jorja Smith’s “Blue Lights,” a stunning debut from the 18-year-old artist.

It’s equal parts moving social critique and soothing R&B lullaby. In the track, which samples Dizzee Rascal’s “Sirens,” Smith laments oppressive policing and the baseless feelings of guilt that result: “There’s no need to run,” she urges. It’s easy to see why the song has racked up nearly 900,000 plays on SoundCloud and won praise from the likes of Stormzy and Skrillex. Smith’s throaty, fiery vocals and poignant lyricism on the track show talent not just beyond her years, but beyond more seasoned contemporaries, too.—Tatiana Cirisano

"Go Flex" is as much a radio-ready single as it is a defense against pigeonholing. Post Malone turns off the trodden path to embrace his roots with this one—it's an unabashed sonic stew that taps hip-hop trends and the guitar strumming of good ol' country to come out clean.

Several old YouTube clips hinted at Post's potential as a country singer, but we had yet to see the rising star blend hip-hop with those early influences until now. Hi-hats and spacey strings uncover an emotional overlap which we're hoping Post will continue to embrace.—Alex Siber

Some songs take time to become a hit single, while others need but a few seconds to make listeners fall in love. Drake’s single “One Dance” took off almost immediately.

On Views, Drake found inspiration from several genres and various countries to create an album that reflects the cultural melting pot that is his home of Toronto. In the past we’ve heard Drake take turns with songs inspired by dancehall, R&B, Southern rap, West Coast rap, and even New York boom-bap. But “One Dance” was the first time we’d heard Drake take a step towards embracing African sounds and Afrobeat rhythms. The way the song rocketed to the top of the Billboard chart reflected the mainstream music world’s changing taste and willingness to accept new sounds.

The addition of Nigerian artist Wizkid’s vocals and a newly sung version of London singer Kyla's 2008 "Do You Mind" on the chorus helped to complete this cultural blend and create a record that would be not only globally accepted, but loved.—Adrienne Black

Conceived in the same sessions that produced three standouts on Vince Staples' Summertime 06, Clams Casino’s “All Nite” picks up right where the two left off on their sneaky 2015 hit “Norf Norf.”

Slicing through a brooding beat from Clams that effortlessly layers reverberating bird sounds over growling drums, Staples takes the opportunity to add more streetwise brush strokes to the meticulous mural he’s been painting of daily life in “Norf side” Long Beach over the years. Weaving nods to Kendrick Lamar and Travi$ Scott into a gritty first-person narrative, Staples makes sure to drop reference points to help outsiders navigate the streets of his hometown.

Staples' menacing flow finds the perfect home inside the pocket of Clams' ominous production, setting the stage for more exciting collaborations with A$AP Rocky, Lil B, and others on the New Jersey producer’s hotly anticipated incoming full-length debut, 32 Levels.—Eric Skelton

When Nao spoke to Annie Mac about her latest single "Girlfriend," she told the radio host, "We've gone for it this time." And if you listen to that hook once, it'll be hard to disagree.

The track pairs sultry production with Nao's unique, soulful voice in a way that's much bigger and bolder than anything we've heard from her before. The verses are tighter, the chorus is more effective, and her songwriting is even more confident. It's the type of song that doesn't just excite you for the rest of her upcoming album, but instead suggests that once it's released, Nao will be a leader in the pop pack.—Katie K.

"Perkys Calling" is one of those records that helps make Future bigger than the other artists you hear at the strip club. The production still knocks, but the pain and introspection that lies in the lyrics is what sinks in when you play this track.

It's been a little over a year since the beginning of a surreal run at the top of hip-hop, and "Perkys Calling" helps tell the story hidden behind Future's reign. I see this as sort of a sequel to his 2012 record "Deeper Than The Ocean," a song in which Future speaks on his drug use and how it helps him cope with the obstacles he faces on a daily basis ("Takin' three drugs at one time, duckin' one time").

"Perkys Calling" is the story of his regrets, his pain, and how he relies on these same substances from four years ago to numb these feelings.—Eric Isom

Related: Quiz: How Well Do You Know Future Lyrics

FKA twigs has developed a distinctive sound over forward-thinking, modern electronic beats and challenging arrangements, but "Good to Love" is one of her most stripped back and straightforwardly structured songs yet. It's also one of her most beautiful.

There are still experimental flourishes that make "Good to Love" unmistakably twigs, but it's a step towards timeless, widespread accessibility, and further proof that FKA twigs is a star still on the rise.—Jacob Moore 

When was the last time dysfunction sounded so soulful? In “Real Friends,” even the birthdays of loved ones become a problem for Kanye West, his brain overwhelmed by responsibilities, bills, and the aftermath of drunk communions. Arranged to precede “Wolves” and provide one of the best one-two gut punches in recent memory, Saint Pablo’s earnest crown jewel propelled a new wave of hope for his beautiful, twisted mess of a solo album.

How many of us felt our faith in the LP rise after hearing its haunting honesty for the first time on SoundCloud? “Real Friends” is a sorrowful ballad bounced between Kanye and Ty Dolla $ign that arguably served as the most important release of the rollout, and, along with “Ultralight Beam,” it’ll still stand when the dust of “Father Stretch My Hands” memes settle.—Alex Siber

Don't put Skepta in a box. On his latest album, Konnichiwa, there is a variety of sounds and styles—influences from U.S. rap blended in with raw grime—but Skepta never sounds better than when he's rapping over the kind of heavy, hyperactive beat that most American rappers wouldn't even touch.

"Man (Gang)" is a audio riot, the production anchored by a brilliant Queens of the Stone Age sample (like I said, don't put Skepta in a box) and the track powered by furious bars. The hook is sure to incite mosh-pits at live shows the world over, but there's more to this song than raging. Just as he did on "Shutdown," and just as he does throughout Konnichiwa, Skepta mixes the personal, boastful, and poignant with such ease on "Man (Gang)."

"Came a long way from sittin' in the flats," he reflects. "Came a long way from when whites never used to mix with blacks." Later, he raps one of the entire album's truest lines: "It's like them man have got an obsession with my style of expression." That's just the way it is when you stay true to yourself and win, and Skepta has done a lot of winning in 2016.—Constant Gardner

Read our review of Skepta's Konnichiwa here.

As Broderick Batts continues to build out his discography, we'll be watching—the Tampa-born, California-based artist has an undeniable ear, and the first time it really hit us was on "Kate Moss 1989."

The song sounds like it comes from another time and place, somewhere tropical with plenty of palm trees, sunsets, and hot springs. The warbling keys, huge hook, and pillowy production make this an absolutely addictive listen, and a must-add to the bedroom playlist.—Graham

Yung Lean recently shared that he had been going through personal troubles while creating his second studio album, Warlord. Nowhere are his troubles more apparent than on the dramatic closer, "Miami Ultras," the most transformative and revealing track of Leandoer's career thus far.

It goes without saying that the production on the track, handled by Yung Sherman and Yung Gud, is impeccable, but what "Miami Ultras" does best is prove that Lean is far more of an all-round artist than we all initially thought.

There's a vision here, and it's far darker than anything he's released before, summarizing all that's changed about him since the release of Unknown Memory. When we spoke to Lean earlier this year, he said the release was about growth, and "Miami Ultras" is perhaps the best example of that growth. "I take what I got, I live till it stops," he shouts on the hook, reiterating that he'll continue to make music until he's in the ground.—Joe Price

Read our parallax story with Yung Lean here.

If you read through 18-year-old Atlanta producer/singer/prodigy Demo Taped's tweets, you'll get an idea of what he's all about. As he shared with us early on in his career, he's struggled with depression, but he counters that with positivity, love, and warmth, and that radiates from the music he makes.

"Game On" is one of his brightest songs yet, and that's saying a lot. Demo Taped is just getting started, but when it comes to euphoric electronically driven pop, he's already a master.—Jacob Moore

ScHoolboy Q is a master of making music that makes you feel like you're in some sort of drug-induced haze, but "Groovy Tony" is a different beast altogether. Its dark, menacing production is the perfect backdrop for ScHoolboy's slurred delivery, with each lyric seamlessly blending into the next; the rapper hardly stops to take a breath.

The film noir-inspired visuals for "Groovy Tony" are the cherry on top, a typical story of drugs, violence, and money with just enough eerie elements to make it uniquely ScHoolboy Q. The melted faces made a lot more sense once he revealed the title for his upcoming album, Blank Face. But don't let this be a clarifying detail, though; see it as a glimpse into ScHoolboy's unapologetically clandestine world.—Joyce

James Blake's The Colour In Anything is a challenging album that rewards close listening. There are songs that only bloom after four minutes of slow looping, and gorgeous builds—instant gratification is rare. That's Blake's game, and he plays it well. But when he works with another artist as singularly talented as himself, the rules of the game change.

These two had teamed up previously on the piano-heavy, effected lullaby "Fall Creek Boys Choir," which, beautiful as it is, definitely feels like Blake's track first. The scales are evened on "I Need a Forest Fire"—Justin Vernon's vocals are front and center, while Blake fills out the song with some beautiful harmonies and a verse of his own over the simple, addictive vocal loop that glues everything together.—Graham

Read our review of The Colour In Anything here.

Over the last few years, California has seen a resurgence of talent on the mainstream stage. From Boogie and Kendrick Lamar to YG, the West has come back in a big way, innovating and paying homage to its rich history in equal measure.

The latest example is Oakland's Kamaiyah. "How Does It Feel," taken from her critically-acclaimed project A Good Night In The Ghetto, is a "scars and all" kind of track, lyrically. The honesty in the track is a huge plus, switching the conversation from bragging on shit you don't have to keeping it 100.

And that beat? Kamaiyah might be the closest to what you assume cats are banging on the Left Coast. One of those tracks that, if you throw it on on a Saturday morning, you better be lacing up some Chucks and throwing on some crisp Dickies. It's also one of those tracks that's so good, there isn't much of a doubt that Kamaiyah will indeed soon know what it's like to be rich.—khal

We waited three years for a Sampha solo track, but "Timmy's Prayer" was worth it. Hopefully the wait until the next song won't be as long—if the British singer and producer's recent note and interviews are anything to go by, new music, and maybe even an album, is on the way.

On "Timmy's Prayer," Sampha's instantly recognizable vocals take center stage from the beginning—fragile, certainly, but never hushed. Just as on 2013's Dual EP, the lyrics are poignant and direct, this time describing heartbreak in vividly brutal terms:

My vital organs are beating through / My ribcage opened, my heart ballooned
I... I've lost another one
I'm on the floor trying to dress my wounds / Address the fact it was mine to lose
I... I didn't try enough

While we've certainly heard Sampha backed by electronic production before, especially on SBTRKT's albums, his own solo work has tended towards spare arrangements, often centered around piano and vocals (e.g. "Indecision," "Too Much"). Even from the beginning, "Timmy's Prayer" introduces new sounds (Are those bagpipes in the background?), but by the mid-point of the second verse, things take a surprising turn.

A galloping beat comes in, heightening the sense of emotion and desperation as Sampha addresses the song's subject: "If you find me, I wanna tell you I love you so." Sampha is a special talent, and although it's awesome to see him collaborating with artists like Kanye West, what we really want is a solo album.—Constant Gardner

It was hard to pick a song off Anderson .Paak's Malibu. The whole album is so good, and every song does something different.

"The Season/Carry Me" is one of the more ambitious cuts, a two-part odyssey produced by 9th Wonder and Callum Connor. The bittersweet, humid production soundtracks a heartbreaking story of childhood that chronicles, among other things, the arrest of .Paak's mother and the subsequent salvation provided by music.

"Having an outlet in music is super important to me," he told Genius. "It was always my way of meditation, zoning out, dealing with problems. When I didn’t know how to talk about it, I just put it out in the music. When things were going haywire with my mom, my step pops being locked up, I always went back to that."—Graham

I still have no idea who the fuck 24hrs is, but "Stylist" is one of my most played songs of the year so far. The track features elements of modern sounds popularized by artists like Jeremih and Young Thug, but the anonymous ATLien overloads every line with charisma, or as he calls it, "just a lot of sauce." Whatever it is, we need more of it.—Jacob Moore

Listen to 24hrs' debut EP here.

Kaytranada has come a long way from transforming mid-tempo R&B records with party ready remixes. Longtime fans and recent supporters can all agree that Kaytranada’s growth within the past year has been clear, and it’s all been building up to this moment.

In June, the Montreal native finally released his debut album 99.9%. Though his production remains the crucial core, each song continues to showcase Kaytranada’s special ability to bring out the best in a featured vocalist. For “Got It Good,” Kay linked up with English legend Craig David and the results were as great as we all dreamed they would be.

Kaytranada offers up production that is equal parts bouncy and silky-smooth. When combined with David’s voice, it feels like the two were destined to make music together.—Adrienne Black

2016 has the potential to be Young Thug’s biggest year yet. We’re only halfway through, but Thugger has already released two highly anticipated mixtapes, I’m Up and Slime Season 3, and has been featured on tracks alongside artists like Chance the Rapper, Travis Scott, Kanye West, and Usher.

Thugger’s recent success can be attributed to songs like “For My People,” where he flaunts his unique style over a beat that most rappers frankly could not handle. On top of that, the song and its video show solidarity for the Black Lives Matter movement, a political message that is not common in mainstream rap music.

As Young Thug continues to demonstrate his talent and dedication, even his staunchest critics are becoming fans. It’s hard to deny Thugger’s hustle, and if he continues at the pace that he has set for himself thus far, 2016 will be the Year of the Thug.—Alex Geisel

Related: The Best Young Thug Songs of 2016

Khalid's "Location" was the perfect introduction—a laid back track that highlights the 18-year-old singer's strong vocals and youthful pop sensibility. But "Let's Go," the El Paso artist's follow-up, is a hit. It's more upbeat, features a massive chorus, and applies that same emotive voice with double the energy. It's still very early for Khalid, but it's pretty obvious that he is a star in the making.—Jacob Moore

This Danish quartet is going to be big. The songs Liss make sound that way already—polished, addictive pop hooks delivered with real emotion are paired with riffy instrumentation that recalls the glam-rock '80s, minus the hair.

They're still young, but these XL signees have a hit with "Sorry." It's heartfelt and romantic, but comes with an undeniably exasperated message: "'Sorry is about different ways to save a relationship and make it work," the band told us. "But it doesn’t work—because what really needs to be done is to speak about the problems face to face."—Graham

Starrah is one of the most talented and exciting artists we discovered in 2016. The L.A.-based singer and songwriter already has hits to her name, in the form of songs like Rihanna's "Needed Me," Travis Scott and Young Thug's "Pick Up The Phone," Kevin Gates' "2 Phones," and Jeremih's "Pass Dat."

Starrah has songwriting credits on all those tracks and more, but we can't get enough of her solo work on "Rush." Her voice floats over a brilliantly bubbly beat from Retro Future, delivering a sticky sweet hook and coming with a carefree energy and genuine sense of fun that so much contemporary music is lacking. "My music is an ode to youth, and I wanted to make a song that captured that," Starrah told us.

Whatever your situation, whatever your mood, put "Rush" on and enjoy three minutes of summer escapism.—Constant Gardner

"No Problem" is special, a romping anthem of a track as overtly anti-label as industry rule #4080.

Chance The Rapper's radio bid is a yelping injection of audible confidence with enough interpretative wiggle room to apply to anything or anyone. You don't need to be redefining what it means to be an independent artist to proudly let naysayers know they can't pull you down to their level.

Gleeful and giddy, Chance is as sure of himself as he's ever sounded—if his raps don't get you, that whirlwind carousel of a gospel sample should do the trick. Hard as it was to select our favorite songs from one of 2016's best albums thus far, the most popular option also felt like the right one. It's an understated power of music that "No Problem" has no shortage of. Listen and don't let up.—Alex Siber

Related: A Weekend in Chicago: Chance The Rapper's Coloring World Was a Gift to His City

"Broccoli" is the most fun rap song of the year. Lil Yachty kicks it off with in casually cool style over an exuberant piano bounce, setting up D.R.A.M. for one of the best verses of the year. D.R.A.M. sounds like he's rapping through a smile, in celebratory spirit while he dances through slick melodies and multiple flow switch-ups.

I was 26 years old when we had dropped this one amazing record

Had the world stepping

That's what I call epic

Couple summers later I got paper

I acquired taste for salmon on a bagel

With the capers on a square plate

At the restaurant with the why-you-gotta-stare face

They know I either ball or I record over the snare and bass

Rapper face, dread headed

Golden diamond teeth wearing

They just mad cause I got that cheese, bitch I keep dairy

Turnt up in the party getting lit to Yachty

With a Spanish Barbie word to my mami

Using details to paint the bigger picture, it puts D.R.A.M.'s larger-than-life personality in full focus. He's a fun-loving, uplifting, animated presence, and now that he's winning, "Brocolli" is the feel-good victory lap.—Jacob Moore

It's lit! First of all, shout out Travi$ Scott's ad libs on "Pick Up The Phone." Second, a huge shout out to producers Frank Dukes and Vinylz, who came through with one of 2016's best beats. Third, another big shout out to Starrah, the signer and songwriter who had one of our other favorite songs of the year with "Rush," and who also co-wrote this song and provides additional vocals.

Travis Scott and Young Thug have released four songs together so far (“Maria I’m Drunk,” “Nothing But Net,” “Skyfall,” and “Mamacita”), but never have we heard this bright and positive side of the duo. The usual punishing, menacing production is replaced by what sounds like steel drums and the two artists match that energy, Travis imploring a girl to pick up the phone when he calls and Thug pledging his loyalty.

Young Thug shines especially brightly throughout, from his "Never will I cheat on you!" opening, to boasts like "I did pay my sister's tuition," and the real talk towards the end of his verse: "Mama told me don't hate on the law / Because everybody got a job / Because everybody won't be a star." Providing the final piece of the puzzle, Quavo comes through with a strong finishing verse, keeping the positivity going when he sing-raps, "And I'm loving all races, hell nah don't discriminize."

We'll see whether "Pick Up The Phone" will still sound as good when the rain is falling and it's the middle of winter but right now, with the sun shining and warm summer nights ahead, "Pick Up The Phone" is sounding just about perfect.—Constant Gardner

At this point, we're still waiting to see what Kanye West's Saint Pablo Tour is going to look like. If the past is any indication, it will be one of the most significant musical events of 2016. But before The Life of Pablo's chaotic album release, things were a little less hectic.

In February 2016, Kanye brought a full choir with him, along with The-Dream, Kelly Price, and Chance The Rapper to Saturday Night Live for a performance of "Ultralight Beam," which ended up being the opening song to The Life of Pablo. It was a blissful moment, but as soon as the performance ended, a frenzied Kanye jumped up and declared that his new album was out RIGHT NOW. Of course, it wasn't that simple. But we'll always hear "Ultralight Beam" as the calm before the storm, and what an immaculate way to kick off one of the craziest albums of the year.

"Ultralight Beam" is powerful, uplifting, and another Kanye classic. Everyone's going to have a different favorite song from Kanye's TLOP—there's no clear standout—but this is the song that set it all up, and without "Ultralight Beam," TLOP just wouldn't be what it is.—Jacob Moore