The world is changing so quickly, and there are so many significant world events taking place that it is difficult to pinpoint how we think about time. The one constant over the past few years has been the excellent music that has been released and that we can use as a timestamp. The top 10 on Hot Rap Songs of 2024 list is given below check the whole blog to know in detail.
Baby Keem / Kendrick Lamar: “The Hillbillies”
It is good to see Kendrick having fun again. On “The Hillbillies,” which rides a jangling beat atop bright Jersey club drums and a Bon Iver sample, the rapper and his cousin compete for the best one-liners. Lamar sets the tone, spitting out that he gets “four McDonald’s”—that is probably $4 million—”every time I land, bro,” while Keem responds with his ridiculous flex about liking “irregular girls.” Their uncontrollably infectious chemistry is like watching two All-Stars score style points rather than trying to win the game.
LaRussell / Sada Baby: “Pergola Freestyle (Live)”
For a while now, Bay Area rapper LaRussell has been hosting—and filming—intimate rap shows in the backyard of his childhood home in Vallejo, California. Earlier this year, he invited Detroit is Sada Baby to join the freewheeling experience for “Pergola Freestyle.”
With only a bassline and the live finger plucks of violin strings to support him, Sada starts unusually shy, but soon enough, his intensity grows to the point where he locks into an unconscious blur of growls, stutters, and punchlines. The audience is in full block-party mode when he passes the mic to LaRussell; they are hanging on to every word the popular neighborhood hero says, including hyperlocal references and yelled flexes.
RealYungPhil / Gud: “Winners Circle”
In the mid-2010s, RealYungPhil and producer Gud arose from different places on the hip-hop map: Phil was crafting rhymes over clap-heavy Connecticut dance rap, while Gud was creating faded synths as a member of the underground Swedish group Boys Sad. Nevertheless, this difference adds to the excitement of their unlikely collaboration on Victory Music, which features the beat of Gud like melting snow in the Arctic and Phil rapping at three-quarter speed, his East Coast monotone sounding like the voice of God.
Sexyy Red: “SkeeYee”
This year, no artist has left as much room for interpretation as Sexyy Red, who made waves with the hit song “Pound Town” and its incredibly memorable opening line, “My coochie pink, my booty hole brown.” The St. Louis rapper’s direct approach also extends to “SkeeYee,” a summer anthem off his debut mixtape, Hood Hottest Princess. The song is now so popular that it has received countless viral remixes and has a place in Fat Joe’s lexicon.
“Pound Town” may have put Red on the charts, but this song captures her disruptive joy the best. Amid a bell-chiming beat, Red explains exactly what the song’s emphatic hook means: pull up! It turns out that is a solid rallying cry. It is also just really fun to say “squeegee!”—especially when you are supposed to be quiet.
Veeze: “Safe 2”
After brewing in the underground for a while, Veeze broke through with Ganger, one of the year’s best rap records. However, on the contemplative “Safe 2,” he already sounds over all the trappings of success—the flights to Miami, the women, the hundreds and fifties that “look like red beans and rice.” A fingerpicked guitar lull sets the mood, and the 808 ticks away, creating a melancholy atmosphere while distant voices hum, laugh, and ad-lib, like half-remembered memories. Veeze’s mournful delivery shines through, almost sounding like he is giving a bittersweet eulogy for his former life.
Flo Milli: “Fruit Loop”
Flo Milli delivers simple, cutting bars like “You bitches weak and you just talk online” and the laugh-out-loud diss “Tryna talk big but he got a lil pee-pee” with peppy vindictiveness like Harley Quinn faking a conversation with someone while holding a candy-coated mallet behind her back. Flo Milli knows how to take the high of a sugar rush and knock a listener in the chest with it.
Vayda: “Jenner”
Vayda’s songs, which rarely pass the two-minute mark, blend the serotonin rush of dance music and the brain-massage quality of plugged into succinct packages that dissolve into the psyche like a Sweet Tart. On “Jenner,” over a glorious Chippettes-type chorus, the Atlanta rapper casually rattles off bars that could be drawn from the average Sunday morning anxiety brain space: She’s strapped for cash, over romantic commitment, and unsure of her sexuality. But instead of wallowing in such worries, she lets the beat set a fire under them until they evaporate into thin air.
Drake: “8 am in Charlotte”
A wannabe Letterboxd power user who references Citizen Kane, Jordan Peele, and Silence of the Lambs while tsk-tsking a date because “your words do not match your actions, like a foreign film” — continues in the tradition of his head-down timestamp tracks, unloading tangy punchlines over dinner party boom-bap. Now and then, Drake decides to stop sounding like an annoying White Lotus character, sing-whining about botched luxury vacations and the women who have allegedly done him dirty.
He is a not-so-secret assassin who makes references to having career-ending videos of his enemies that he could release at any time. But most famously, he hosts an amateur podcast about European history and frequently mentions former countries in his hilarious rhymes. “So many checks owed, I feel Czech-o-slovakian,” he raps. When he hears this, he reacts with an incredulous, “What the fuck?” This time, he truly deserves to be amazed at his dingbat brilliance.
City Girls: “Face Down”
“Face Down” flips one of 2 Live Crew’s most infamously obscene hooks, and the duo dishes out trademark manifestos on scheming men over a riotous bounce beat. Even though Yung Miami and JT have spent more time recently as moguls and models than as rappers, “Face Down” proves that their raucous formula can still produce hits.
Bktherula: “NO ADLIB”
It is hard to keep up with New York rapper Bktherula. She worked with Youngboy NeverBrokeAgain and studied quantum physics at the University of Tokyo. On the breathless “No Adlib,” she delivers one of the wildest, most surprising couplets of the year over a skittering beat that unfurls like a weaponized Slinky: “I will eat a bitch whole ass with a fork/I collect toys at this age, I am a dork.” Each time her volume builds before dropping back down to a rasping whisper, she injects another shot of adrenaline into the giddy cut. She sounds like a monkish DMX who can discuss the cosmos for hours on end.
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