Top songs of 2024 according to AP: ‘Texas Hold ‘Em,’ ‘Not Like Us,’ ‘Igual Que Un Ángel’ and others

NEW YORK – Ten of the best songs of the year, as determined by Associated Press Music Writer Maria Sherman, in no particular order.

“A Bar Song (Tipsy),” Shaboozey

Shaboozey’s hit song “A Bar Song (Tipsy)” has been at the top of the Billboard Hot 100 chart for an impressive 19 weeks, tying with Lil Nas X’s “Old Town Road.” Both songs have been successful due to their unique blend of genres, combining classic country elements with modern styles. Shaboozey’s catchy tune samples J-Kwon’s “Tipsy” and creates a relatable story of a weekend warrior on a bar stool, evoking a singalong response from listeners.

“Not Like Us,” Kendrick Lamar

At one point, discussing “Not Like Us” meant delving into the feud between Kendrick Lamar and Drake, marked by a series of diss tracks and a clear winner emerging. However, the song stands strong on its own as a bold representation of West Coast hip-hop, characterized by humor and grandiosity.

“Like That,” Future, Metro Boomin and Kendrick Lamar

The collaboration between Future and Metro Boomin on their album “We Don’t Trust You” was highly anticipated. The track “Like That” immediately drew attention with Lamar’s dynamic guest verse and its energetic sampling of classic songs. The song’s intensity and creativity set it apart as a standout moment in the music scene.

“Good Luck, Babe!,” Chappell Roan

Face it: 2024 belonged to Chappell Roan. A veteran of the music industry now experiencing what feels like an unparalleled rocket launch into fame, Roan has long wielded her theatricality and sexual candor like a wand (and a rabbit) in her songs. But it’s “Good Luck, Babe!” that thrust her into the mainstream, a pop megahit that tackles lust, frustration and compulsory heterosexuality atop strings, ’80s synths, and a soaring vocal performance. How could you not fall in love with her?

“Espresso,” Sabrina Carpenter

For the caffeinated — or those in dire need of an energy boost — Sabrina Carpenter’s “Espresso” emerged like all great pop hits should: Almost from nowhere, as addictive as its namesake and confounding in its lyrics, directly recalling the Y2K period of off-kilter pop songs with nonsensical lyrics atop sunny productions. (“That’s that me espresso” is up there with the Backstreet Boys’ declaration of “I never wanna hear you say / I want it that way.”) But this one isn’t simply fueled by nostalgia. It’s disco-pop when the genre was dead and buried, revitalized and made clever through Carpenter’s ever-present sense of humor. Cheeky!

“Texas Hold ’Em,” Beyoncé

For career-long fans of Beyoncé, the memory of the once-teenaged singer who spoke with a soft, pronounced Texas twang is all but distant. For them, a hybridist country album from the superstar performer was simply a prophecy fulfilled. When “Cowboy Carter” arrived, it became immediately clear that B was dedicated to reclaiming country music as a Black woman. But it was the introduction of this new era with “Texas Hold ‘Em” that solidified it — a honky-tonk stomper with a lot of western soul.

“Nasty,” Tinashe

Give her No. 1 for the best lyric of the year — “Is somebody gonna match my freak?” Tinashe’s “Nasty” is the hit fans of her smooth R&B-pop have been waiting for years; an exemplar of her particular talents. It’s a sultry, goodtime hit — a kick, a snare, bare production and a scare beat — melodic and stacked with backing vocals. No wonder TikTok immediately embraced it. “Nasty” is for dancing, a song that evokes a quote regularly attributed to Oscar Wilde: a vertical expression of a horizontal urge.

“I Had Some Help,” Post Malone and Morgan Wallen

Of any contemporary pop performer, Post Malone has benefitted the most from his ability to shapeshift. In an alternative universe, it might be hard to think of the “White Iverson” rapper launching a successful country career. In this one, it makes too much sense — the Texas musician has been dropping “ma’ams” and “sirs” in his speech since day one, and his signature autotuned vibrato works across the genre spectrum. (It’s that same idiosyncrasy that had both Beyoncé and Taylor Swift calling him for features this year.) But it is his red solo cup collaboration with controversial hitmaker Morgan Wallen that undoubtedly made waves, an immediate anthem for hanging out in the bed of a pickup truck or at a backyard barbecue.

“Igual Que Un Ángel,” Kali Uchis and Peso Pluma

One of the biggest music stories of the last few years has been the increasing popularity of regional Mexican music — a thrilling reflection of Latin music’s continued global growth. But the artists at the center of the movement, including Peso Pluma, know that their music succeeds because it both celebrates tradition and transcends it, like in his gruff rapping over corridos. In Kali Uchis’ “Igual Que Un Ángel,” Pluma experiments with new genres entirely, and she welcomes him into her world. Here, Uchis’ glossy, shimmery disco dream-pop is the foundation, and Pluma’s stony vocal tone a smooth accent. It’s an addictive song, and a reminder of the power at the heart of inventive collaborations.

“Right Back to It,” Waxahatchee and MJ Lenderman

A vocal harmony between Waxahatchee’s Katie Crutchfield and MJ Lenderman is a marvel from the jump — two kindred spirits, schooled in folky Americana and raised in DIY punk — but that’s only one fraction of the magic of “Right Back to It.” The song considers long-term relationships, the kind of love that can be tested, steady, reliable and, at times, restive. “I let my mind run wild / Don’t know why I do it,” she sings, “But you just settle in like a song with no end.”