The 25 Best Hip-Hop Songs Of 2024

“BAND4BAND” – Central Cee Feat. Lil Baby

Central Cee and Lil Baby clashed on “BAND4BAND” at interesting points in their careers. The London rapper was on a hot streak, while the Atlanta rapper had the pressure of delivering his next hit. Together, they provided a song-of-the-summer contender in this UK drill-laced, money-making anthem. They surprisingly had great chemistry, going back and forth on the chorus and putting on star-making performances in their individual verses. For the first time in a long time, it felt like two rappers wanted to compete with one another on a strong record-turned-mainstream song. It climbed to the No. 18 spot on the Billboard Hot 100 chart in a year dominated by pop and country and proved their efforts were not in vain. – Armon Sadler

“Redrum” – 21 Savage

21 Savage delivered a spine-tingling masterpiece with “Redrum,” the chilling highlight from his third album, American Dream. Released at the top of the year, the track showed off Savage’s signature grit and storytelling skills. Produced by London on da Track, the chilling track samples Antônio Carlos Jobim’s “Serenata do Adeus,” as 21 raps with raw authenticity of street life and gunplay. The title—a palindrome for the word “murder” and a nod to the psychological horror film The Shining—sets the tone for the song’s dark, introspective vibe. 21 raps, “21, nias don’t play/My Glock Gen5 said hey” which gives a playfully eerie vibe that he means what he says.

“Redrum” was released back in July and reached No. 1 on Billboard’s Rhythmic Airplay chart. The hit single even contributed to a full-circle moment for 21 when he returned to the U.K. after a decade to perform the electrifying song for a massive crowd of fans. — Amber Corrine

“Pi” – J. Cole Feat. Daylyt & Ab-Soul

J. Cole had a pretty interesting year. On one hand, he not-so gracefully bowed out of 2024’s Great Rap War. On the other hand, Cole continued his run of jaw-dropping verses throughout the year, and his performance on “Pi” was no different. Released on his project, Might Delete Later, the cut included stellar verses from Ab-Soul and Daylyt. The duo went back and forth on the mic, flexing their lyrical muscle in what was supposed to be a “sparring session,” as noted by “Soul Brotha No. 2. ” However, Daylyt sent the song to Cole, inspiring the North Carolina emcee to pull out a vintage Friday Night Lights performance. The song is so good you almost forget about the calamity that followed. Almost. — Marc Antonio “Spidey” Griffin

“Where The Sun Shines Again” – Common & Pete Rock Feat. Posdnuos

Common and Pete Rock’s collaboration on “Where The Sun Shines Again” is a testament to the enduring vitality of traditional, contemporary hip-hop. With the announcement of their joint album The Auditorium, Vol. 1, the anticipation was palpable, and “Where The Sun Shines Again” more than met the lofty expectations. The track seamlessly blends Common’s introspective lyricism with Pete Rock’s signature soulful production, proving once again that the duo is among the most potent tandems in hip-hop today.

Common’s opening verse is a masterclass in storytelling, where he reflects on his roots and legacy: “I was born, son of Mahalia, so I received the gospel… Rap’s du Sable for the street apostles.” His words evoke a sense of history and purpose while staying grounded in the present. The track also features a standout guest verse from Posdnous of De La Soul, who adds another layer of lyrical depth.

The infectious, jazz-inflected sample of Roy Ayers’ “Everybody Loves the Sunshine” gives the track a timeless feel, enhanced by Pete Rock’s signature scratches, which include classics like James Brown’s “The Payback” and Wu-Tang’s “Can It Be All So Simple”. With additional vocals by Bilal and Marnie Hinds-Jones, the track radiates warmth and positivity and captures the essence of hip-hop’s golden era. — Preezy Brown

“Denial Is A River” – Doechii

Formula-busting is Doechii’s forte. After achieving viral fame with “Yucky Bucky Fruitcake” and “Persuasive,” the Florida barslinger devoted an entire mixtape — the Grammy-nominated Alligator Bites Never Heal — to healing over hitmaking. Thus, on the project’s spellbinding standout “Denial is a River,” the Florida lyricist presented a tale that is equal parts diary entry, therapy session, and vocal playtime. Backed by a booming, nostalgic beat, she raps under the influence of hip-hop greats à la Slick Rick, Tupac, and Nicki Minaj, while detailing pivotal moments in her life (i.e. a lover’s scandal, a creative rut, and a 100,000-dollar “oopsie”) with levity and vulnerability. She even throws in breathwork as a bonus, making this track a treat for old-school and new-school rap fans alike. — Adelle Platon

“Godfather Pt. 2” – Hit-Boy, Big Hit & The Alchemist

When Hit-Boy’s father Big Hit came home after multiple years-long prison bids in May 2023 at age 53, the duo immediately got to work, releasing three albums within a year-long span. Their latest album Black & Whites was created with The Alchemist, and the song “Godfather Pt. 2” featured pops trading bars with longtime Alc collaborator Boldy James. The two go back and forth on both verses — Big Hit employing his hoarse voice, Boldly using his signature deadpan venom — over Hit-Boy’s pounding West Coast piano keys. In October, Hit-Boy shared that his father had sadly ended up back in prison, but that the duo recorded over 700 songs while he was out. There’s no official word on his future yet, but hopefully, he can get back to doing what he’s great at. — William E. Ketchum III

“Ferraris In The Rain” – The Alchemist And ScHoolboy Q

The chemistry between The Alchemist and ScHoolboy Q is undeniable on their “Ferraris In The Rain” collaboration. Released ahead of the lauded producer’s The Genuine Articulate album, the track features a verse from both musicians and dialogue over the horns and drums.

“My latest combo, danced on the work, did thе macarena and the mambo/I slide electric, worldwide respected/The method’s been tried and tested,” he rhymes, comparing himself to the gladiator Spartacus whose story includes leading a violent slave revolt against the Roman Empire. ScHoolboy Q slides in the second verse with the looming question “On God, who gon’ play today?”

The Alchemist’s bragging of luxury in the opening verse flaunts the California native as a “vintage stepper” whose pen is as sharp as his production. With ScHoolboy Q on the track, “Ferraris In The Rain” is an instant repeat. — DeMicia Inman

“Alter Ego” – Doechii Feat. JT

On “Alter Ego,” Doechii introduced “editorial rap,” which she explained to Rolling Stone as “if Hip-Hop and house music had a baby,” and brought along fellow Florida rapper JT for the ride. The two ladies are confidently unbothered on the upbeat song, flexing their lyrical skills and flaunting a spirit of invincibility. 

Doechii takes the first verse kicking off with the slick declaration “Fk that h*e, fk that bih/It’s fk that h*e ’til the condom slip,” before floating through her remaining bars. JT, who thanked Doechii for “challenging” her with “Alter Ego,” comes in strong in the second verse, making sure listeners are aware of her “that bch” status. The bridge showcases Doechii’s singing skills and brings the entire track together. 

“Alter Ego” ends with both rappers rightfully talking their sh*t. Bum abihes beware. — DeMicia Inman

“Wanna Be (Remix)” – GloRilla (Feat. Megan Thee Stallion, Cardi B

After having a rollercoaster 2022 that started with two smash singles and concluded with an underperforming EP, GloRilla reignited her career with the anthemic “Yeah Glo!” at the top of 2024, earning her a top 40 Billboard hit and a pair of Grammy nominations. Her mixtape Ehhthang Ehhthang dropped that spring, and she hit the road with Megan Thee Stallion on the Hot Girl Summer Tour a month later. When Cardi B pulled up to the stop at Madison Square Garden, fans hoped for a three-way collab. The original version of “Wanna Be” was already hot on its own, with Glo and Meg’s confident, nia-dismissing bars and co-anchored chorus earning the song another top 20 chart spot and nominations at the BET Hip-Hop Awards and the MTV VMAs. But Cardi B’s appearance on the remix further elevated it. It wasn’t just the darts that Cardi aimed at BIA, which had the social media timelines buzzing. But all three MCs flexed their signature styles — Meg’s punchline-heavy verbosity, Glo’s Memphis-curled flow, Cardi’s staccato pugnaciousness — and showcased just how dynamic hip–hop is for women these days. By the end of the song, they’re gassing each other up like three best friends at the club after a long work week. Running the game is one thing, but respect from your peers is even better. — William E. Ketchum III

“Get It Sexyy” – Sexyy Red

Sexyy Red’s “Get It Sexyy” is a commanding anthem that solidifies her place as a vanguard of sexual freedom and agency in modern hip-hop. Continuing her campaign to make the nation “Sexyy Again,” the St. Louis native offers an explosive track that speaks to empowerment, confidence, and unapologetic fun. On the song, Sexyy Red beckons her “ratchets” to “do their dance,” all while showcasing her “slim thick” figure and caramel skin, presenting herself as a woman who seeks no validation—only a good time on her own terms.

Collaborating once again with producer Tay Keith, the track features a bombastic instrumental that echoes like a military cadence, matching the song’s bold, commanding energy. The infectious hook and structure make “Get It Sexyy” one of the year’s most addictive songs, fueling dancefloors and parking lots alike with listeners eagerly shaking their derrieres and touching their toes on command. — Preezy Brown

“Hiss” – Megan Thee Stallion

Megan Thee Stallion left the booth in flames after she made the fiery sh*tstarter “Hiss.” Venom drips from every line on the Billboard Hot 100-topping single, where the H-Town Hottie lunges at the haters — and artists — who dared to come at her. (Need more context? Check Google or watch her Prime Video documentary.) Thee Stallion raps her derrière off for nearly three and a half minutes straight, making the track one of the year’s most potent rap performances. Lyrically, she incorporates viciou-sss wordplay, a Teflon Don comparison, and a loaded reference to Megan’s Law. The striking visuals also made jaws drop. May “Hiss” be a warning to any dude or detractor: Keep Meg’s name out of your mouth. — Adelle Platon

“Sticky” — Tyler, The Creator ft. GloRilla, Sexyy Red, & Lil Wayne

“Sticky” was the perfect song to illustrate how far Tyler, The Creator’s ear for production, composition, and rapping has come. The posse cut features quick 8-bar verses from GloRilla, Sexyy Red, and Lil Wayne laid atop a beat that’s just begging an HBCU marching band to perform it. Infectious claps, stomps, and a sample of Young Buck’s “Get Buck” rhythmically glitter the song’s foundation, with each rapper allowing space to get off on this jam, hungrily. Hell, the beat is so contagious that Tyler changed his voice several times just to sneak back in and get more than one verse off on this lively cipher. Tyler The Creator’s “Sticky” is one of those anthemic cuts that will outlive the man himself, occupying lunchroom tables for all eternity. — Marc Antonio “Spidey” Griffin

“Type Sh*t” – Future & Metro Boomin Feat. Travis Scott And Playboi Carti

Future and Metro Boomin have been on a generational run. With back-to-back albums — ‘We Don’t Trust You‘ and ‘We Still Don’t Trust You‘ — both debuting at No. 1 on the Billboard 200, there is no stopping their insane reign. The proof is in the sensational single “Type Sh*t,” where the unstoppable tag team calls on hip-hop‘s trusted hitmakers Travis Scott and Playboi Carti to elevate the transcendent posse cut. Over Metro’s eerie production (church bells included), Pastor Pluto presides over the after-hours antics before passing the pulpit to Scott for an entrancing solo. Fans also held space for “Deep Voice Carti.” This hood hymn is highly sticky by design and sure to instigate a wild night out  — the type sh*t you can expect from all parties involved. — Adelle Platon

“Yeah Glo!” – GloRilla

On the bold and brash hype anthem “Yeah Glo!,” Memphis queen GloRilla transforms affirmations into an inescapable hit. The lead single off her Ehhthang Ehhthang EP sparked a viral TikTok dance challenge and topped Billboard’s Mainstream R&B/Hip-Hop Airplay chart. Sampling St. Louis group Dabanggaz314’s “Run Up Get Dun Up,” the crunk-infused heater and its corresponding video feature Glo gassing herself up in the best way. “Young wealthy and ratchet, I’m the hood bihes’ motivation (stamped it)/ On top of the world now, they tried to underestimate me,” she spits. Add in her charming accent and the playful flip on Juicy J’s popular tagline, and this GloRilla smash is proof the South always got something to say. — Adelle Platon

“Get In With Me” – BossMan Dlow

Bolstered by a viral freestyle posted on TikTok in January, BossMan Dlow’s “Get In With Me” became an instant hit on and offline. The Port Salerno, Fla. native glides over a menacing trap beat with a braggadocious bite and money-minded bars (“Bae, these Off-White, these ain’t no Huarache/ Bad bih, fiftieth floor, eatin’ hibachi”). Co-signed by Ciara, Lil Baby, and Quavo (special shoutout to Internet sensation Tia Kemp), the breakout single notched his first entry on Billboard’s Hot 100 chart. The track, initially considered a throwaway, became the vehicle for Dlow’s rapid rise to fame. Amassing millions of fans from sports to the streets, no one can deny Big Za AKA Mr. Pot Scraper’s invite to boss up their lifestyle. — Shanae Hardy 

“euphoria” – Kendrick Lamar

“Not Like Us” may have ended the verbal sparring match between Kendrick Lamar and Drake, but “euphoria” is arguably the greatest song to come from their beef. It was a six-minute chess move response to Drizzy’s “Push Ups” and “Taylor Made Freestyle.” K. Dot started the track by admitting that “everything they say about me is true” (in reverse) and proceeded to call out his nemesis over Teddy Pendergrass’ “You’re My Latest, My Greatest Inspiration.” How ironic albeit poetic. 

The diabolical record was cutthroat yet quotable with lyrics like ”What is it, the braids?!” and “We don’t wanna hear you say na no more.” “euphoria” was also a warning shot (“We ain’t gotta get personal, this a friendly fade, you should keep it that way”) that embodies what timeless diss tracks are made of: direct jabs and replay value. Without it, we wouldn’t have gotten the fuze that lit the dynamic which cemented Kendrick’s explosive year in Hip-Hop. — Mya Abraham

“Family Matters” – Drake

Let’s just get it out of the way: Drake will forever be viewed as the loser in his beef with Kendrick Lamar. Understandably, public opinion won’t be swayed when it comes to that, but those capable of duality cannot help but acknowledge how good a fight he put up especially when he released “Family Matters.” The track targeted K. Dot along with Metro Boomin, Rick Ross, The Weekend, and A$AP Rocky, an effort which some call unfocused. However, others praise the 6 God addressing all of his enemies due to the severity of his shots thrown. He also showed off three of his best musical archetypes: Drake the hitmaker, Drake the lyricist, and “Drake with the melodies.” While his domestic violence accusations against the Compton rapper ultimately fell flat, nobody can deny how impactful this record was in its 30 minutes on the throne before “Meet The Grahams” dropped. To this day, many rap fans celebrate how strong of a track it was. — Armon Sadler

“Fisherrr” – Cash Cobain & Bay Swag

Cash Cobain and Bay Swag’s “Fisherrr” had music fans talking about possible songs of the summer in February. The sexy drill subgenre that Cobain innovated continues to rise but this particular track was a lightning rod. Between the duo’s back-and-forth line deliveries, the progressive beat that hits a crescendo as it drops halfway through the record, and the viral “Reemski” dance that extended its musical shelf-life, it was the perfect cocktail to curate a slizzy summer. Cash would go on to deliver a few more big records this year, but people cannot ignore the movement he created with “Fisherrr.” It was so undeniable that Ice Spice had to jump on the remix. — Armon Sadler

“Okay” – JT

 Released in April, “Okay” stands as JT’s definitive breakout record from her City Girls beginnings. Although it’s not the first solo release from the Miami rapper, the thumping trap record debuted at No. 74 on the Billboard Hot 100, marking her first standalone entry, setting the tone for what fans could expect from her debut mixtape City Cinderella issued months later. 

After building anticipation on social media, the 32-year-old did not let her juvies down. “Okay” offers the best of JT: a sharp, conceited attitude, slick one-liners, and an infectious hook. Rapping along to the multiple flips of the song’s title phrase can make anyone feel like the bad bihes she called for at the beginning of the song.“Okay” is also reminiscent of the mid-2000s and early 2010s era club bangers by way of Young Jeezy and Gucci Mane provoking nostalgic Hip-Hop motion without a direct sample or interpolation. 

Additionally, a remix with The Snowman himself took the track to a new level, re-entering the Hot 100 at a new peak of No. 72 and proving that JT can stand next to veterans and fit right in. — DeMicia Inman

“Big Mama” – Latto

Latto stepped into her alter-ego “Big Mama” ahead of her third studio album, Sugar Honey Iced Tea, which debuted at No. 1 on Billboard’s Top Rap Albums chart. This two-part anthem showcased the Atlanta star’s undeniable confidence and charisma. The track starts as a sultry birthday celebration, with Latto flexing her spoiled-but-bossy persona, before flipping into a bass-heavy, party-ready banger. She transitions from playful croons (“What you gon’ do for Big Mama forreal?/What do I get for my birthday?”) to fierce, hard-hitting bars (“Y’all go for sh*t I wouldn’t, I’m up three hunnid a bookin’/Bih, I don’t play for the Nets/ But I’m gon’ shoot sh*t up, ’bout Brooklyn”). 

The 2025 Grammy-nominated song “Big Mama” has become more than a tune for Latto. It’s a lifestyle. The track’s lyrics have empowered and influenced women of all backgrounds to feel like they can be both bossy and soft. – Amber Corrine

“Never Lose Me” – Flo Milli

The perfect “passenger princess” anthem exists, and Flo Milli has the bragging rights as the one who delivered it. The hypnotic Gerreaux-beat instantly reels listeners in as the sexy and bold opening line puts words to the fantasy: “He speed in the wraith while his hand on my coochie.” Sealing the deal, the accompanying music video sees a carefree Flo doing exactly what she preaches in her raps: rocking a vintage Emilio Pucci fit while letting her hair whip around outside the car window as her man spoils and shows her off. 

Flo and her fans weren’t the only ones who saw the song’s greatness, as the hit received several remixes from names like Cardi B, SZA, Bryson Tiller, and Lil Yachty. It also climbed to No. 17 on the Billboard Hot 100 chart, marking the Alabama native’s most successful feat yet. “Never Lose Me” by Flo Milli will stand the test of time. Baddies everywhere will continue to blast this s