When Hip Hop historians look back at 2024, undoubtedly the climactic confrontation between Drake and Kendrick Lamar will be the centerpiece of contextualization. And it makes sense. The Rap Avengers (Future, Metro Boomin, Kanye West, Kendrick Lamar, The Weeknd, Rick Ross, ASAP Rocky, etc.) teaming up to take down the reigning king of the rap charts was the most captivating storyline of the culture in 2024, thematically creeping into conversations conducted across multiple projects on this list. Rap is the only genre with battle culture embedded in its DNA, so of course many artists embraced the opportunity to revel in the conflict.
But while Hip Hop’s greatest rap beef was the biggest story of the year, it was far from 2024’s only headline-worthy event. Common and Pete Rock teaming up on The Auditorium Vol. 1 along with Eminem’s monumental return with The Death of Slim Shady (Coup de Grâce) provided ample counterpoints to the narrative that rap is a young man’s game. GloRilla claimed her place as a certified hitmaker with Glorious. BigXthaPlug staked his claim as Texas’ giant-sized torchbearer, and the success of Tyler, the Creator’s Chromakopia injected him into Big 3 debates. With record label disruption and country music’s return to the top of the charts as a backdrop, where Hip Hop sits as a future industry priority may be in question, sure. Regardless, from major productions to independent releases, this year delivered ample amounts of awesomeness for rap fans across the lyrical divide.
Below are REVOLT’s top 11 rap albums of 2024.
11. The Auditorium Vol. 1 by Common & Pete Rock
Excitement reigned when it was announced that Golden Era icons Common and Pete Rock finally aligned for a proper team-up. “Chi-Town Do It” — with its Kanye West “All Falls Down” chopped sample — finds the Chicago-native sending sweet nothings to a woman he loves as much as his hometown, while “Wise Up” delivers the street gospel synonymous with the artist formerly known as Common Sense. “Like a prize in a race, that boy hold the metal,” he rhymes. “By the scars on his face, I could tell he know the ghetto.” The Jennifer Hudson-featured “A GOD (There Is)” adds a spiritual flare to the project and the effervescent “Everything’s So Grand” perfectly meets the lofty expectations of a Common and Pete Rock collaboration. The Recording Academy nominated The Auditorium Vol. 1 for Rap Album Of The Year at the 2025 Grammy Awards and it’s easy to understand why. The two make a perfect duo for quintessential Hip Hop fans: Dope beats, dope rhymes, and an overflowing celebration of the culture.
10. STABBED & SHOT 2 by Benny The Butcher & 38 Spesh
Benny The Butcher opens “Who Really The King?” with a lofty declaration: “It's me and Spesh, it's like upstate got us switchin' crown / The best to go back and forth since Kiss and Styles / Every time we drop, the hottest s**t around.” The two upstate New York MCs continue to carry the torch for prototypical East Coast rap and STABBED & SHOT 2 is another important entry into the regional sound. Busta Rhymes drops an electric verse on “Jesus Arms,” rapping, “Purer than the holy water that be blessin' your seed / Higher than a hiker that's climbin' a mountain of weed.” As does Ransom on “Coke Runs” with the bars, “As a youth, was labelled a Bad Boy, but still blessed with faith / Check the tapes, you'll see me hoppin' fences when they investigate.” Benny The Butcher and 38 Spesh litter STABBED & SHOT 2 with cold beats and weighty entendres — fresh for Hip Hop heads everywhere.
9. Blue Lips by ScHoolboy Q
ScHoolboy Q delivers so many oft-considered contradictory soundscapes, it’s mind-boggling that they all combine for a cohesive sonic experience. “Pop,” featuring Rico Nasty, with its plodding bassline and haunting screams would feel out of place on a project that also features serene jazzy fare like “Blueslides,” for example. “OHio,” featuring Freddie Gibbs, feels like it should be on the soundtrack to a blaxploitation film, while “Pig feet,” featuring Childish Major, sounds haunting enough for a horror flick. It’s been five years since ScHoolboy Q’s previous full-length release. Stepping away from the public for half a decade normally signals a disconnect from creative zeitgeist. Following a significant hiatus, somehow Q compiled quite possibly his richest project to date. Growth, maturation, firing at an incredible hit rate while continuing to push his sound, style, and perspective to the brink of breach, Blue Lips is ScHoolboy Q’s magnum opus.
8. The Death of Slim Shady (Coup de Grâce) by Eminem
There are several outright uproarious moments on Eminem’s 12th studio release, The Death of Slim Shady (Coup de Grâce). There’s the jolly, finger-snappy way Marshall sings the hook on “AntiChrist” as if he’s gleefully leading a youth choir on a Christmas caroling exhibition, “Marshall / He’s the antichrist / He will slice and dice / Men, and women, and children.” There’s the sardonic nature on “Lucifer” in which he reminds his fans that even though he’s amassed tremendous wealth over his career, his life is still filled with struggle, “B**ch the f**king elevator in my mansion’s broke / I have to walk like half a block to get a can of coke.” There’s the relentless darts tossed at popstars and right-wing commentators (we see you, Candance Owens). But when it’s all said and done, Em’s inventive wordplay and relentless delivery is the real story of the album. Whether Big Sean (“Toby”) or JID (“Fuel”) or Shady-signee EZ MIL (“Head Honcho”), Eminem somehow still sounds like the hungriest MC on the mic. Whoever said rap is a young man’s game forgot to mention that to Marshall Mathers.
7. Take Care by BigXthaPlug
It appears BigXthaPlug is beginning to recoup the benefits of being one of Hip Hop’s brightest new rap stars. “I really came up from the bottom, the basement / Went from takin to givin', that's crazy / Turnt up for my son, now I got a new baby / Might cop a Mercedes to give my old lady,” he kicks on title track “Take Care.” X sounds fresher than ever, relentlessly delivering bars on life, pain, and manhood. But as success comes, so do requests and the Dallas-native has seemingly reached the more money, more problems leg of his rise to rap super stardom. “You see, nobody care when you doin' down bad… Now they all want some clout and a piece of the bag,” he emotes on “Leave Me Alone.” His booming vocals and nimble wordplay shine as bright as the lone star state, of course, but his impeccable ear for beats should also be celebrated. From mic to plug, Take Care is a soulful extravaganza high on replay value while spilling relatability.
6. Glorious by GloRilla
GloRilla compellingly delivers several different sonic looks on Glorious. Billboard Hot 100 mainstay “Hollon,” with its chanting hook and anthemic synth shots, harkens back to Lil Jon era Crunk music, while the Latto-assisted, trap-friendly “Procedure” basks in empowerment and independence. “TGIF” immediately ignites any turn up with hilarious lines like “All that, all that Twitter typin', b**ches see me and ain't do nothin' / Crop top with some biker shorts, I'm showin' off my moose knuckle.” And “Rain Down On Me,” featuring Kirk Franklin, Maverick City Music, Kierra Sheard and Chandler Moore, moves the party from the club to the congregation, lifting this album’s conversation to heavenly heights. “I know I'm a sinner, Lord, and I know I might sin again,” Glo rhymes, sending all glory to God. “So thank You for not givin' up and still givin' me the strength to win.” Glorious, indeed.
5. Vultures 1 by Kanye West and Ty Dolla Sign
If the artist formerly known as Kanye West has any regret for his adidas and GAP contract-killing crash out of 2022 where he perplexingly railed against so-called Jewish supremacy in the music industry, it doesn’t seem to appear on his collaborative project with Ty Dolla Sign. “I’m a just come through and black out / Keep a few Jews on the staff now,” he says on track opener “STARS.” “How I’m antisemitic I just f**ked a Jewish b**ch?” he questions 10 tracks later on title track “VULTURES.” But those pale in comparison to more endearing moments like North West’s feature on “TALKING” or the infectious hilarity of “BACK TO ME” or outright raucousness of “Carnival” which went No. 1 on the Billboard Hot 100. “All that word of mouth couldn’t take me out / After all of that, your kids in the house going crazy,” he raps on triumphant closer, “KING.” Ye’s conviction is the linchpin to his prominence and on his 13th studio release, he stands 10 toes down.
4. Samurai by Lupe Fiasco
Lupe Fiasco’s ninth studio album, Samurai, was billed as a project exploring what might’ve happened if Amy Winehouse resurrected and became a battle rapper. Title track “Samurai” pulls a quote from the deceased icon’s documentary, The Price Of Fame, and flips it into an angelic hook (“I got these really neat, very beautifully alliterated little battle raps for you”). Track two, “Mumble Rap” opens with her going to the park where she meets an old man who essentially gives her the supernatural power to rhyme. And “No. 1 Headband” imagines Winehouse in her final form, becoming battle rap’s top dog. But the beauty of Samurai is that you might have missed the clues if no one told you this project was an ode to the British singer/songwriter. It really just feels like the independent artist’s journey — performing at open mics, congregating with collaborators following a show, all impeccably tied together through Lupe’s transcendent storytelling. Fiasco has etched himself into Hip Hop history leaning into Marvel Universe sized world-building. On Samurai, Lupe returns to earth telling a story every man can relate to.
3. WE DON’T TRUST YOU by Future and Metro Boomin
Future and Metro Boomin’s WE DON’T TRUST YOU was not only a not-too-subtle degradation of Drizzy Drake’s allegedly dicey behind-the-scenes maneuvering, but also a galvanizing force seemingly designed for everyone in the industry to publicly air their grievances against Mr. Graham. Future sets the tone immediately on the title track rapping, “Pillow talking acting like a fan, dawg / I don’t need another fake friend, dawg.” But the rap world was forever altered when Kendrick Lamar’s verse on “Like That” turned his cold war with Drake scorching hot on its way to topping the Billboard Hot 100. The Weeknd joins the melee on “Young Metro,” thanking his stars that he “never signed his life away” to the 6 God. “Type S**t,” featuring Travis Scott and Playboi Carti, is a hypnotic party starter, as is “Everyday Hustle,” featuring Rick Ross. It’s funny how an album dedicated to distrust can completely disrupt the rap game.
2. Chromakopia by Tyler, the Creator
Tyler, the Creator broke convention with the release of Chromakopia. Rather than dropping on a Friday like the rest of the industry, the Southern California native eschewed industry standards and released on a Monday because he believed audiences are more tuned in when listening on their way to work or school. Seeing that Chromakopia debuted at No. 1 on the Billboard 200, perhaps his instincts were correct. Tyler’s eighth studio album is a mishmash of marching drums (“Noid”), imaginative conversations on black hair (“I Killed You”) and vulnerable personal family narratives (“Like Him” and “Hey Jane”). “Sticky” featuring Sexyy Red, GloRilla, and Lil Wayne is the Odd Future chieftain’s most successful single to date, cracking the Top 10 of the Billboard Hot 100 and HBCU marching band season simultaneously. West Coast rap has had a triumphant year and Tyler’s a major part of the region’s resurgence. “The biggest out the city next to Kenny, that’s a fact,” he raps on “Rah Tah Tah.” From audience to impact, Tyler, the Creator is absolutely correct.
1. GNX by Kendrick Lamar
First Kendrick Lamar stopped the world with his vicious dismantling of Drake’s character and accomplishments during their culture captivating rap battle. Then, he stopped the world again with the surprise release of his sixth studio album, GNX. In a sense, rap’s reigning king channeled his inner Makaveli 7 Day Theory. The parallels are striking, really. Both projects were preceded by double disks, All Eyez On Me and Mr. Morale & The Big Steppers, respectively. “Wacced out murals” feels like ‘Pac’s “Against All Odds,” sending (subliminal) shots at seemingly everyone who sent criticism toward him during his head-to-head with the 6 God. “Dodger Blue” is a smoke and ride ready tribute to Los Angeles that feels inspired by “To Live & Die In LA.” The lesser-known collection of LA-based features (Dody6, Young Threat, Peysoh, HittaJ3, AzChike, Lefty Gunplay, Siete7x, Wallie The Sensei, Sam Dew, and Ink) assume somewhat of a Tupac’s Outlawz role within the project. And the teaser clip of “Squabble Up” that appeared in the video for “Not Like Us” showed a virulent K. Dot channeling his Pac-like virulence while rocking a hat that read “Bomb First” on the brim. “F**k everybody, that’s on my body,” Lamar charges on “wacced out murals.” On GNX, the lyricist shows he’s not afraid to ride on his enemies.