With 2024 coming to a close, it’s about that time to take a look at the best the year had to offer. While we’re continuing to be in the midst of what can only be described as a renaissance in both the mainstream and independent scene, it should come as no surprise that there were plenty of choices for the year’s top records.
Whether it was Zach Top’s breakout debut, Cold Beer & Country Music, The Red Clay Strays killer sophomore effort, Made by These Moments, Sturgill Simpson’s return as Johnny Blue Skies on Passage du Desir or Riley Green’s expectation-shattering, Don’t Mind If I Do, it seems as if there was a new contender for Album of the Year each and every month.
Like all year-end lists, it’s essential to keep in mind that music, at the end of the day, is subjective, and this is in no way, shape or form a definitive ranking. These are simply our top 18 albums that were released throughout the year.
Without further ado, let’s dive into our picks for Album of the Year.
Made by These Moments – The Red Clay Strays
Call them a country band, call them a southern rock band, call them whatever, there is absolutely no denying that The Red Clay Strays are one of the most exciting bands in all of music today. With all five members playing on every single track, accompanied by legendary producer, Dave Cobb, there is not a single wasted note or chord present on Made by These Moments.
Simply put, Made by These Moments feels like a shot of adrenaline straight to the chest. Whether it’s the album-opener, “Disaster,” “Ramblin’” or “Wasting Time,” Red Clay packs the album to the brim with some of the most electric guitar work you’ll hear on any album this year. There are few albums that feel like they rival the work of Lynyrd Skynyrd, but Made by These Moments absolutely strikes a similar chord.
Cold Beer & Country Music – Zach Top
With an album titled, Cold Beer & Country Music, one may think that they’re in for a derivative, boring country record that is more in line with bro-country artists such as Florida Georgia Line, not George Strait. Zach Top, however, is not that type of artist.
The album feels tailor-made for anyone looking to be transported right back to the ‘90s. From Top’s smooth, twangy voice, to the heavy inclusion of fiddle and steel guitar, to the classic 12-song structure of the album, Cold Beer & Country Music feels like a direct homage to the sound so many grew up listening to.
You could argue that Cold Beer & Country Music, as a whole, is a bit too derivative of the aforementioned ‘90s sound that many crave to hear 30 years later, but I wholeheartedly welcome it. Lately, the two dominating sounds in country music have been the low-fi, acoustic sound popularized by Zach Bryan and the extremely hip-hop/R&B-influenced sound popularized by Morgan Wallen. To hear an extremely straight-down-the-middle, neo-traditional album feels extremely fresh today despite its familiar concepts.
Don’t Mind If I Do – Riley Green
2024 very well might go down as the year of Riley Green. Between the success of his collaboration with Ella Langley, “you look like you love me,” the opening of his Nashville bar, Riley Green’s Duck Blind and a plethora of headlining spots on festivals throughout the year, it seems like the Alabama native is finally having his “moment.”
Don’t Mind If I Do is ultimately exactly what you want from someone like Green as a prominent mainstream artist. Here, he provides a great mix of traditional sounds that you’d expect from his older records while simultaneously improving his songwriting throughout whether it’s on the title track or “Jesus Saves,” which many have crowned as one of the best songs of the year.
Overall, Don’t Mind If I Do is sure to please fans of the “I Wish Grandpas Never Died” singer while simultaneously evolving his sound. You still get Green’s signature odes to small-town lifestyle and heartbreak heaters filled with traditional instrumentation. However, you see Green experimenting with some new sounds and styles on tracks such as “Worst Way” and “Change My Mind.” There’s no doubt that Green is headed to superstar status, and the release of Don’t Mind If I Do is bound to propel him to it.
Leavin’ This Holler – 49 Winchester
49 Winchester have made a name for themselves in the independent country scene since their debut in 2014 with their patented blend of country and rock, and it’s never sounded better than it does here on Leavin’ This Holler.
It should go without saying that frontman, Isaac Blaine Gibson, has one of the most dynamic voices in all of country music, and it is showcased beautifully throughout the record. “Fast Asleep” as well as the epic, sprawling album-closer, “Anchor,” are easily some of the standouts vocally from Gibson.
Overall, Leavin’ This Holler is the perfect album for someone looking for a blend of country and rock that simultaneously keeps lyricism as a priority. There’s no doubt that Gibson is one of the most underrated songwriters in the genre, and this record is another testament to his ability.
still hungover – Ella Langley
In a year filled with breakouts from the likes of Zach Top, The Red Clay Strays and many more, it can be argued that none other than Ella Langley had the biggest year thanks in part to hungover and it’s subsequent deluxe edition, still hungover.
It’s hard not to mention the absolute smash hit that “you look like you love me” was; however, there’s a lot more to love here throughout the record. Whether it’s the romping, “better be tough,” the introspective “monsters” or the brutally honest “20-20,” Langley packs hungover top to bottom with a variety of different styles that still feel cohesive and true to her sound.
Welcome To The Plains – Wyatt Flores
It seems as if Wyatt Flores has been on the brink of stardom for the past year or two, and he once again proves why he’s gained so much traction in the independent scene with his most recent release. Everything that you’ve come to expect from the “Please Don’t Go” singer is showcased here on his debut album, and showing that he’s just getting better with age.
Welcome To The Plains, like many great albums before it, instantly transports you to Flores’ home in Oklahoma, bringing all the small idiosyncrasies that make it a breeding ground for the most compelling acts we’ve seen in the alt country scene over the past two decades.
Flores is playing with quite a few different styles here, whether it’s the alternative-inspired “Stillwater,” the incredibly traditional “Don’t Wanna Say Goodnight” or the folksy “The Good Ones,” and he’s delivering knockout punches on each and every song.
Norther – Shane Smith & the Saints
There are some albums that suck you in from the first listen and others that are slow burns. I’ll be the first to admit that Norther was the latter for me. That being said, after subsequent listens, I can truly say that this record is a brilliant piece of southern rock-inspired country.
Using the term dynamic always feels like a bit of a cop-out while reviewing a song or album, but I can’t help but feel that way about Norther. The way Smith and Co. balance in-your-face, powerhouse tracks like “Book of Joe,” “1,000 Wild Horses” and “Fire in the Sky” with the reserved, softer songs such as “All the Way,” “Wheels” and “The Greys Between” is nothing short of impressive.
Smith’s vocals are off-the-charts here on Norther. With a rasp akin to late-career Johnny Cash and vocal runs similar to fellow alt-country star, Charles Wesley Godwin, Smith delivers an all-time vocal performance that pairs beautifully with his introspective lyrics throughout
American Son – Colby Acuff
Often viewed as one of the premiere songwriters in the independent scene, Colby Acuff has long been one of the most underrated artists in the entire genre. After capturing lightning in a bottle after the success of “If I Were the Devil” back in 2021, Acuff has proved time and time again that he’s one of the best in the business. American Son is yet another gem from the Idaho native and is arguably his best album to date.
If nothing else, American Son proves why Acuff is one of the most important artists working today. Between his masterfully-penned tracks about mental health, the brutal honesty of “Bruised” and the biting crique of the country in the title track, he’s saying what many of us are thinking in an incredibly beautiful nature.
Passage du Desir – Johnny Blue Skies
It should go without saying that whenever Sturgill Simpson releases an album, it’s automatically going to be a frontrunner for Album of the Year. With Passage Du Desir, this sentiment remains true. One of my favorite things about Simpson as an artist is that he’s never going to do the same album twice, and Passage Du Desir is another great example of this. It’s no High Top Mountain, it’s no Metamodern Sounds in Country Music and it’s certainly no SOUND & FURY. But that’s what makes it special.
The record blends a lot of different sounds and influences, leaning more toward a classic rock sound for the majority of its runtime. With that being said, however, you still get some of that classic bluesy, country sounds on tracks such as “Scooter Blues” and “Who I Am.”
Passage Du Desir also contains some of the best-constructed songs from Simpson to date, with “Right Kind of Dream” and the album’s standout, “Jupiter’s Faerie” providing some all-time lyrics from the “Long White Line” singer.
At the end of the day, Passage Du Desir is one of those albums that I can only see Sturgill Simpson making, and it once again proves why he is one of the greatest artists of our generation. Between his masterfully penned lyrics, the epic, sprawling construction of the songs themselves and production that feels as if it doesn’t belong to one single genre or time period, it is, without a doubt, one of the best
albums of the year across music.
Trail of Flowers – Sierra Ferrell
Every year there’s an album or two that really grabs me and doesn’t let me go. This year, it’s Sierra Ferrell’s Trail of Flowers without a doubt. It sounds like a cliché to say that an album doesn’t sound like anything else being released at the moment, but that is the perfect way to describe it.
Trail of Flowers is one of those albums that aren’t afraid to explore a variety of different sounds, but every single decision works perfectly. Ferrell is playing with classic bluegrass sounds on the lead single, “Fox Hunt,” and “Money Train,” a nearly musical sound on “Chittlin’ Cookin’ Time In Cheatham County” and “I’ll Come Off The Mountain” and finally a more modern sound on the album opener “American Dreaming” and “Wish You Well.”
Ultimately, Trail of Flowers a record simply sucks you into the weird, charming world of Sierra Ferrell through incredibly melodic songwriting and lush production throughout, feeling somewhere between a Tyler Childers and a Dolly Parton record.
The Coastal Plain – Muscadine Bloodline
Arguably the best duo in the genre, Muscadine Bloodline once again delivered another knockout record with The Coastal Plain. It’s becoming abundantly clear just how good they are at toeing the line between country and some southern rock, effortlessly going from swampy electric guitar-heavy songs to acoustic ballads.
Though there’s no denying there are some great songwriting moments throughout the record, mainly on “10-90” and “Good In This World,” I can’t help but fall in love with all of the production choices. Whether it’s the breaks that highlight Muncaster and Stanton’s killer harmonies or all the aforementioned guitarwork throughout, The Coastal Plain is, without a doubt, one of the best records of the year from a pure instrumental standpoint.
Where You Came From – Josh Meloy
After a four-year album hiatus, Josh Meloy finally returned with the release of Where You Come From, and I must say, it was well-worth the wait. Stating the obvious, you get just about everything that you’d come to expect from a record from Meloy here with his patented raspy vocals sounding just as good as ever.
Couple his criminally underrated vocals with some incredible acoustic-centric production and you got yourself the perfect record for a cool night around the bonfire. It’s clear that Meloy is operating right in his sweet spot, making it feel incredibly cohesive, effortless and most importantly, easy on the ears.
Fathers & Sons – Luke Combs
From the announcement of the album, Luke Combs made it clear that Fathers & Sons was not going to be a crowd-pleasing record. Instead of leaning on songs similar to his hits such as “Beer Never Broke My Heart,” “When It Rains It Pours” and “She Got the Best of Me,” Combs decided to create a laser-focused, 12-song album that dives into his journey into fatherhood.
Though Combs has gone on record saying that Fathers & Sons is not a concept record, there’s no denying that it bears a strong resemblance to one with every single song present on the album focusing on different aspects of being a man, primarily a father and a son.
Fathers & Sons is ultimately not going to be an album that will please the masses; however, it’s an incredibly strong one from an artistic standpoint. Many people, myself included, have been waiting for Combs to take some big creative swings, and this record produced the hit that many have been looking for.
This Is My Dirt – Justin Moore
Though he might not be the most flashy artist in the genre today, there’s no denying that Justin Moore is one of the most consistent. Coming 15 years after his self-titled album, This Is My Dirt is Moore’s eighth studio album, and he’s not showing any signs of slowing down.
In a time that seems hyper-focused on the two extremes of the genre: low-fi “sadboy” country and pop/trap-inspired country, it feels incredibly refreshing to see a veteran artist deliver a quality album that feels authentic.This Is My Dirt is Justin Moore being Justin Moore. He’s not trying to chase any specific sound or trend. He’s simply staying in his lane and delivering a record that appeals to his audience – in a good way.
Restless Mind – Sam Barber
Since his breakthrough hit, “Straight and Narrow,” Sam Barber has been one of the hottest names in the independent scene for good reason. His raw, raspy vocals are incredibly reminiscent of early Zach Bryan, and his introspective songwriting has also drawn comparison to the “Something in the Orange” singer.
It seems as if Barber took a page out of Bryan’s book with the release of his debut album, Restless Mind, packing it with a massive 28 songs which gives the album an hour and a half runtime. Can it be argued that the record is much too long? Sure. However, Barber packs it with enough quality tracks that ultimately justifies its length.
The 21-year-old singer shows wisdom far beyond his years here on Restless Mind, providing plenty of heartbreaking tracks throughout. Though it’s a journey to get through, it’s well-worth the listen.
Am I Okay? (I’ll Be Fine) – Megan Moroney
There’s no denying that Megan Moroney is well on her way to superstar status. Since her debut in 2023 with Lucky, the “Tennessee Orange” singer has quickly become country’s “it girl.” Though I’d be lying if I said that I instantly fell head over heels with her output the way many have, I absolutely understand it now with the release of Am I Okay? and it’s deluxe version, I’ll Be Fine.
Simply put, Moroney has refined everything that was present on Lucky and made it better here on Am I Okay? Her patented sass returned on tracks like “Man on the Moon,” “Miss Universe” and “Bless Your Heart.” However, she ultimately balances the record out, delivering some absolute soul-crushers on “Hope Your Happy” and “Mama I Lied.”
Overall, Am I Okay? (I’ll Be Fine), is just about everything that you want from a modern mainstream country album. It’s poppy in places it needs to be poppy, there’s traditional instrumentation when needed and most importantly, Moroney is penning each and every one of the record’s 17 tracks.
Roadrunner! – Kaitlin Butts
Much like Sierra Ferrell’s Trail of Flowers, I can’t help but applaud Kaitlin Butts for leaning into world-building and creating a wholly unique album listening experience. There are albums that feel cohesive, there are albums that feel cinematic and then there is Roadrunner!.
Whether it’s the use of the overture to kick off the record, the interlude, “Soliloquy: Out Of My Dreams,” that transitions beautifully from the bouncy “Wild Juanitia’s Cactus Juice” to the melancholy “People Will Say We’re In Love” or the inclusion of “People Will Say We’re In Love” from Oklahoma!, it’s clear that Butts wanted to craft a theatrical album experience, and she absolutely nailed it here on Roadrunner!
Though she’s known by many as a frequent collaborator with Flatland Cavalry on songs such as “A Life Where We Work Out” and “Mornings With You,” Butts proves that she is so much more than that on this record. Her undeniable charm, incredible vocals and biting wit as a songwriter are showcased beautifully.
Camouflage Cowboy – Drew Parker
Every year, it seems like there’s a handful of records that fly severely under the radar. In 2024, there’s no doubt that Drew Parker’s Camouflage Cowboy is one of those albums. Much like Justin Moore’s This Is My Dirt, Camouflage Cowboy simply feels like one of those records that are comfortable being a straight down the middle country project.
Feeling very reminiscent to Cody Johnson’s early records, Parker packs the record top-to-bottom with fantastic inclusions of fiddle and steel. If nothing else, Camouflage Cowboy is an extremely satisfying listen to those who crave a more neotraditional sound. It also helps when you can sing your a** off like Drew can.
HONORABLE MENTIONS:
- The Great American Bar Scene – Zach Bryan
- Rhinestoned – Maggie Antone
- Dark Cloud – J.R. Carroll
- $10 Cowboy – Charley Crockett
- Visitor – John Mooreland
- Silverada – Silverada
- Highway Prayers – Billy Strings
- Lose Funky Texas Junky – Red Shahan
- Postcards From Texas – Miranda Lambert
- Change the Game – Cody Jinks
- Into The Neon – Randall King
- 9 Lives – Koe Wetzel