The Genius Community’s 50 Best Albums of 2020

While the COVID-19 pandemic created a raft of quarantine goals that remain unfulfilled, Charli XCX delivered on her promise to write, record, and release an album in two months. The result, how i’m feeling now, is perhaps the best, most focused output of her career. She weaves tales of romance (“c2.0”) with wistful reminiscing on past parties (“anthems”) and a bit of the signature electronic squeals of her frequent collaborator A.G. Cook as well as 100 gecs’ Dylan Brady. The album’s emotional heart, “enemy,” finds her singing about the anxieties of opening up to someone. “Maybe you’re my enemy/Now I’ve finally let you come a little close to me,” she sings. Charli said the process of making an album amidst a global pandemic left her feeling “emotionally volatile” and “a bit lost” after she spent so much time focused on its completion. But the album feels like her way of processing, rife with emotion and a deeper look into her psyche than we’ve ever gotten before. —Chris Mench​

A Written Testimony is Jay Electronica’s long-awaited debut album. Signed by JAY-Z to Roc Nation in 2010, he was mostly silent for the decade, only occasionally releasing non-album singles and contributing coveted guest verses. He acknowledges his absence and silence on the track “Ezekiel’s Wheel”, confessing, “Sometimes I was held down by the gravity of my pen.” But on the album, he overcomes that weight and raps with confidence and poeticism. JAY-Z is featured on most of the album and matches his confidence, the two trading verses juxtaposing religion, philosophy, and braggadocio through complex and insightful wordplay. Both often reference The Nation of Islam and its leader, Louis Farrakhan, bringing spirituality to the forefront to contemplate, reflect, and analyze the modern world and themselves. A Written Testimony proved Jay Electronica’s pen never weakened despite his years of silence. —Scott Dougherty​

​Although it follows seven projects released since 2014, Anyways marks the debut album from one of East Atlanta’s most promising new stars, Young Nudy. Named after a term that Nudy frequently uses in a dismissive manner, Anyways finds the rapper hooking up with producers like 20Rocket, DJ Marc B, and COUPE. The latter of whom produced on half the songs, including standouts like “Blue Cheese Salad” and “Deeper Than Rap.” There’s also introspective cuts like “A Nudy Story,” where he discusses the hardships of his early life, and songs like “No Go,” where he shows off one of his fastest flows ever. Throughout the album, Nudy delivers violent lyrics and high-octane energy over atmospheric yet menacing production, creating a uniquely addictive record. —Nathaniel Hall

​If you’ve kept an ear to rock music in the past decade, you’ve heard women dominate. It’s no surprise that the Haim sisters lead the charge in 2020. Three albums in, HAIM keeps finding new ways to sound at the top of their game. There’s the usual bubbly ’80s pop, but there’s also boom bap, bari sax, and twangy folk, to name a bit of what’s new. However, the real reward of Women in Music Pt. III is how close you feel to the women who made it—when Danielle is crying in the car on an LA street, you feel like you’re riding shotgun. Such specific songwriting makes Women in Music Pt. III feel cinematic—with sampling theatrics to match on “3AM”—as the sisters wink, wipe tears, and flick off the camera along the way. The result is an album that’s as expansive emotionally as it is sonically yet still crushingly intimate. It could only be the work of sisters. —Chris Ritter

​Megan Thee Stallion’s nine-track Suga project is filled with unapologetic, raunchy lyrics almost too good to be featured on a non-album project. Released ten months after her mixtape Fever, the mini-album was plagued by a highly publicized feud with her former label after Megan revealed they were blocking her from dropping new music.

Amidst the label drama, Megan managed to share her finest work to date and prove she’s a certified hitmaker. On the second track “Savage,” Megan started with an earworm of a chorus and transformed it into a viral dance challenge that, with the help of a Beyoncé remix, topped the Billboard Hot 100 in May. Other tracks, such as “Rich” and “B.I.T.C.H.,” follow a similar formula and feature catchy rap choruses, while tracks like “Crying In The Car” reveal Megan’s previously unknown R&B side. Suga wasn’t the debut album her fans were expecting, but it was certainly a sweet appetizer. —Matt Taylor

After their critically acclaimed debut album, The Kids Are Alright, Chloe x Halle returned with their well-rounded sophomore album, Ungodly Hour. In an interview with Apple Music, the girls said, “We’re not perfect. We’re growing into grown women, and we wanted to show all of that.” The album finds the R&B duo experimenting with a blend of genres, including funk, jazz, soul-pop, and more. The sisters showcase their personal growth discussing topics like empowerment, sexuality, and self-appreciation. Their captivating lead single “Do It” showcased their angelic voice with a simple message—have fun. Ungodly Hour proved their harmonic, debonair vocals have a boundless potential that can keep us enthralled for years to come. —Sing​

After an eight-year hiatus, the reclusive singer-songwriter Fiona Apple released an album that accidentally encapsulated the quarantine experience with sound collages and raw pots-and-pans percussion. However, the appeal of Fetch the Bolt Cutters extends far beyond production, as Apple ruminates upon relationships, trauma, and the patriarchy through idiosyncratic lyrics and impressive vocals that range from soaring solos to rhythmic scats. We hear her at the height of her rage in political tracks like “For Her” and at her most transcendent and heart-wrenching on “I Want You To Love Me”. At the core of the album’s creative hurricane, with all its bold experimentation and abrasive tendencies, is a deeply personal journey of liberation, reclamation, and self-realization that inevitably had critics and listeners equally awestruck. —Ethan Rubenstein​

​Agust D is described as the rawest version of Suga of BTS. Through his mixtape, D-2, Agust D openly sings about his feelings surrounding the astronomical popularity of BTS, his personal life, and adulthood while also touching on social issues. On tracks like “어떻게 생각해? (What do you think?)” and “대취타 (Daechwita),” he addresses his fame and the importance of humility and questions where he should go after reaching the “peak” through traditional Korean storytelling styles in its songwriting. On tracks like “사람 (People),” Suga’s lyrics shine as he talks about regrets, life, and love. BTS has never shied away from speaking on social issues, and Agust D is no different. With songs like “이상하지 않은가 (Strange)” and “Burn It,” Suga comments on capitalism and the competitive nature of the modern world. The mixtape closes with “어땠을까 (Dear my friend),” featuring K-Rock artist, Kim Jong Wan, a beautifully crafted song where Suga laments over lost friendships and bonds. —Saquib Syed

​Record labels have a checkered past with posthumous albums. Sometimes the decision can feel like a cynical cash-grab. Alternatively, it can feel like a genuine tribute, motivated by a desire to share an artist’s music that wouldn’t otherwise see the light of day. Legends Never Die is decidedly in the latter category.

The album continues the melodic emo-trap that Juice WRLD had begun to explore on earlier releases like Death Race for Love, with earnest lyrics alongside his trademark sing-song delivery. This is best exemplified on album stand-outs “Wishing Well”, “Up Up And Away”, and the haunting “Righteous”.

While the production eschews the raw energy of his early SoundCloud material, it never feels overproduced either. Instead, it finds a comfortable middle ground for Juice to wax lyrical about love, addiction, and his other inner struggles. Taken together, the album is a fitting farewell to a rapper gone well before his time. —@NSRE

​There’s no way she could have known, but Soccer Mommy released color theory at the perfect time. The album’s swirl of soft guitars and spiraling stories made for an unfortunately ideal soundtrack to the weeks-turned-months of self-isolation that followed the album’s late-February release. Where previous Soccer Mommy albums felt like ramshackle basement recordings, the album has an instrumental depth that extends beyond acoustic guitars and Sophie Allison’s often haunting vocals. There are the driving drums, and finicky fingerpicked melodies of “crawling in my skin,” while standout “circle the drain” brings back the growling, submerged bass grooves that made previous hit “Your Dog” such an endlessly replayable record. Don’t let the studio polish fool you—color theory is still as confessional as fans have come to expect; an album by a young woman laying her innermost insecurities on wax. color theory is as emotionally raw an album as we’ve heard all year—just when we needed it most, too. —Patrick Basler

Could there be a more heartbreaking yet powerful close to an artistic cycle? Mac Miller’s passing shook the world, as the 26-year-old rapper died nearly a month after the release of Swimming. The project was meant to be accompanied by another album to conclude the issues raised in the first. Malcolm’s family explained that he was well into the process of creating a companion album, Circles, when he passed away, and they entrusted producer Jon Brion to complete the record. The lyrics on his posthumously released sixth studio album embody Mac’s self-reflection and psychological growth while dealing with his past and his path to become the best person he could be. Conceived together with the same vision, the two projects convey the phrase “Swimming in Circles” as a perpetual search and understanding of himself. —@noufi​

Appropriately adorned with a crown on the cover, The Album was one of the most highly anticipated projects in pop music this year. Preceded by three unique singles, The Album mixed everything that fans have come to love about BLACKPINK. Combining the power of the four members with longtime collaborators and industry veteran Teddy Park, The Album solidified BLACKPINK’s position as a global music artist. On tracks like “Pretty Savage” and “Crazy Over You,” listeners hear the girls’ bold rap and vocal delivery styles. The album closes with “You Never Know,” co-written by Bekuh BOOM, which touches on the hardships faced by K-pop idols: “Cause everybody sees what they wanna see/It’s easier to judge me than to believe.” While the credits featured A-list artists like Selena Gomez, Ariana Grande, and Cardi B, the four members of BLACKPINK are the ones who shine the brightest. With each track, Jennie, Jisoo, Rosé, and Lisa brought their passion and charisma to deliver a powerful multilingual album. —Saquib Syed​

Lil Baby was massively successful in 2020, dropping hit singles and a string of show-stealing feature verses and even winning Artist of Year awards. The centerpiece of it all is My Turn, the chart-topping, anthem-filled album released in February. The title was Baby’s message to the world, signaling that he was ready to step into the spotlight and reap the rewards of his hard work. The tracks on My Turn range from frantic, punchy “Freestyle”-esque bangers like “Woah” and “Sum 2 Prove” to melodic, introspective cuts like “Emotionally Scarred” and “Catch the Sun.” Ever the businessman, Baby included both artists signed to his label 4PF on the album, exposing an entire new audience to 42 Dugg and Rylo Rodriguez. It was a winning strategy: The deluxe track “We Paid” with Dugg reached No. 10 on the Billboard Hot 100, adding another to the long list of accolades Lil Baby has accrued over the course of this year.​ —Sam Mulvaney

​While mafiaso rap and drawing inspiration from gangster flicks aren’t new ideas, Freddie Gibbs and The Alchemist give them a refreshing spin on Alfredo. There are many mob references; the album artwork is inspired by The Godfather, and they sample the TV show Godfather of Harlem and shout out real life gangsters like Frank Lucas.

But Gibbs makes sure to relate these reference points back to his own experiences on songs like “1985.” Gibbs and ALC subvert rap’s idolization of the mafia by highlighting its racist tendencies—mostly clearly on “Baby $hit.” The Gary, IA rapper also touches on the general disinterest in black struggles on “Scottie Beam.” With guests like Rick Ross and Tyler, The Creator complementing the star, the end result is a tightly wound genre standout. —@NSRE

Manic is an introspective self-analysis from New Jersey-born singer Halsey. Throughout the album, she grapples with her identity, her past relationships, and her legacy. The album is sonically diverse, spanning multiple genres like hip-hop, country, and rock. Manic is an apt title for the album, as the listener is taken on a chaotic journey where the singer brazenly bares her soul.

On “Still Learning,” Halsey struggles with the concept of low self-esteem despite her achievements. “You should be sad” chronicles her heartbreak and regret over a relationship. “More” is a love letter to her future children. On “Ashley,” which is Halsey’s first name, the singer reflects on her career and explores the effect making music has on her state of mind. Overall, Manic represents Halsey as who she is at the core: an artist. —@KennyTogs​

Crafting a sequel to a mixtape that deftly captured the liminal space between rap-superstardom and hardened street life was always going to be a tall order for a rapper who has since earned a Grammy, dropped a #1 record, and released a 5x platinum single. However, with Metro Boomin providing the beats, 21 Savage manages just fine.

Perhaps it’s not surprising that a year as bleak as 2020 inspired 21 to confront past demons, as well as recent personal turmoil, like his imprisonment by ICE in 2019. Throughout the record, there is a lurking sense that he may never be able to truly extricate himself from his former life. This serves as a thematic thread on Savage Mode II and powers album highlights like “Runnin”, “Glock in My Lap”, and “Many Men.” Metro’s haunting yet melodic trap beats give 21 ample room to move. Combined with 21’s unflinching lyrics and cold, measured delivery, the two produced a cinematic trap sequel to 2016’s Savage Mode. —@NSRE​

If Punisher wasn’t already the name of Phoebe Bridgers’ extraordinary sophomore album, it might be a good title for this hellish year. As the world burned, Punisher stood strong as one of the finest comforts the ashes could offer. Over beds of carefully plucked electric guitars, Bridgers’ lyricism tracks us through niche—but oddly relatable—themes: parasocial relationships (“Punisher”), desire for alien abduction (“Chinese Satellite”), sexual tension on the drive home from the airport (“Savior Complex”), and an MDMA trip (“Graceland Too”). By the album’s close, Bridgers has guided us from her nightmares (“Garden Song”) to the end of the world (“I Know The End”), where she bids us adieu, screaming herself hoarse. When the dust settles, this much is clear: Bridgers has managed to coax even the most plaintive melancholias into beautiful things. In a year that has denied us beauty at every turn, it’s what we deserve. —Max Zhang​

​On February 19, 2020, fans were devastated to learn that 20-year-old rising star Pop Smoke had been murdered in Los Angeles. While fans were still mourning, Pop’s team planned the release of his debut album, which was slated for this summer.

Shoot for the Stars, Aim for the Moon arrived in July 2020 and is proof of Pop’s potential, as it takes the listener on a sonic trip through a range of eclectic styles. He experimented with R&B on songs like “Something Special” and delved into his Afro-Latino roots with KAROL G. He also stayed true to his aggressive hip-hop sound with tracks like “Aim for the Moon.” 50 Cent, Quavo, DaBaby, and many other highly respected guests helped fill out the tracklist. Although Pop Smoke’s life was cut short, his legacy lives on through his music, and fans will remember him as a pioneer of Brooklyn drill. —Charity Spicer

​Rappers claiming to have “GOAT” (Greatest Of All Time) status is not a new phenomenon. But Polo G’s sophomore studio album, THE GOAT, utilizes the title for a different reason—as a nod to his Capricorn zodiac sign. Throughout the album, Capalot explores a variety of different styles, flows, and beats. He plays with shifting focus from his trap and drill roots on tracks like “Go Stupid” to his more amorous side on songs like “Martin & Gina.”

On THE GOAT, we also find the Chicago rapper at his most vulnerable. He struggles with the passing of friends like Juice WRLD and legends such as Kobe Bryant, details relationship issues on songs like “Beautiful Pain (Losin My Mind),” and highlights police brutality and institutionalized racism on “Wishing For A Hero.” Although Polo says he didn’t title his album after the acronym, THE GOAT proves he’s on that path anyway. —@tonymontana

During a global crisis, Dua Lipa released a cathartic dance-pop record with Future Nostalgia. After Lipa won the Best New Artist award at the 2019 Grammys, the album, which has since earned the singer six more Grammy nominations, defied the pressures of a sophomore effort. Supported by hits like “Don’t Start Now” and “Physical,” Future Nostalgia is a collection of cohesive pop anthems. But it’s not just the singles that shined—there are also standout deep cuts like “Cool,” “Hallucinate,” and “Love Again.” Lipa closes the album with “Boys Will Be Boys,” where she puts a spin on an age-old saying by singing, “Boys will be boys, but girls will be women.” It’s a powerful statement that sparks an important conversation surrounding the growing pains of young girls in modern society. Simply put, there is a new “Female Alpha” in pop music, and she’s here to stay. —Saquib Syed ​

​In April 2020, Japan-born, U.K.-raised singer Rina Sawayama kicked the door down with the release of her self-titled debut, SAWAYAMA. The project finds her mixing mainstream pop sounds of the early 2000s with heavy metal guitars and house music influences. The result is a genre-bending album that doesn’t try to hide its saccharine pop heart, despite tackling heavy topics like cultural appropriation, racism, and a heritage of pain. “XS,” the project’s biggest track, finds Sawayama railing against the excesses of capitalism while melding electrified pop vocals with punctuations of shredding guitar. SAWAYAMA rounds out into a fun, fresh debut from a promising new pop star. —Chris Mench

​Bad Bunny is one of the biggest stars to emerge from the urbano movement. After the singer’s 2018 debut album X 100PRE, which showed his more personal side, El Conejo’s 2020 sophomore project solidifies him within the industry, as well as explores his roots and musical potential.

YHLQMDLG is an abbreviation for what translates in English to “I Do Whatever I Want"—which is exactly what Benito did with this project. Songs such as “Yo Perreo Sola" and “La Difícil” reveal the prevailing machismo in the music industry, and tracks like “Safaera” faithfully summarize the history of reggaeton in a brief 5 minutes. Bunny does all this without casting aside his iconic trap sound, allying himself with stars like Anuel AA and giving space to growing artists, like Mora and Pablo Chill-E. Just as he raps in “<3”, if Bad Bunny wanted to retire today, he would do it quietly—and as one of the most successful Latin musicians of the last decade. —Diego Torrejón

Taylor Swift is known for planning album drops with exquisite detail. But on folklore, she abandoned any preconceived notions of herself with its opening line: “I’m doing good, I’m on some new sh-t.” The result is some of her best work yet. The stories she tells—from that of sculptor, musician, and philanthropist Rebekah Harkness to that of teenage love triangles—are simultaneously fictional and semi-autobiographical, creating a rich text of escapism. On Instagram, Swift wrote, "In making folklore, I felt less like I was departing and more like I was returning.” Whether observing herself through stories of others or abandoning her reputation, Taylor Swift shows that, sometimes, rebirth is merely a rediscovery of oneself. —Babu Chatterjee​

Lil Uzi Vert’s sophomore LP was arguably 2020’s most anticipated album. Once it finally dropped, it was the best project of Uzi’s young career. Hours after releasing the album, Uzi cosigned a theory on Twitter that the LP contained three six-track sections, each representing one of his alter egos.

The “Baby Pluto” section opens the album with undeniable energy, whether it’s the addictive repetition of “Balenci” on “POP” or the video game sample on “You Better Move.” His artistry transforms on the “Orenji” portion, as he raps alongside hypnotic choirs on the Chief Keef-produced “Chrome Heart Tags.” In the final segment, “Uzi,” he returns to form with songs like the “XO Tour Llif3” sequel, “P2.”

Uzi released EA’s deluxe iteration the following week, essentially delivering his third album. All the hype and anticipation wound up being well-deserved—Eternal Atake was a career-defining moment for Lil Uzi Vert. —Nathaniel Hall

​“I don’t know if I can be alone again,” The Weeknd croons on the opening track of his fourth studio album After Hours. In this case, he was right. The album dropped in mid-March and became one of the first major music releases to be enjoyed by fans cooped up in their homes because of the pandemic. Abel’s lyrics of loneliness and regret took on a whole new meaning for listeners under the unique conditions.

Throughout the album, Abel covers topics like heartbreak, drug intoxication, disloyalty, recklessness, and fear. He documents his struggles living in Los Angeles and Las Vegas, reveling in his escape from the horrors of the former only to find them haunt him in the latter. What is just as intriguing is the world Abel built around the album, from eerie music videos to his blood-splattered character for stage performances. The project extended beyond the realm of music and lyrics. With After Hours, The Weeknd broke boundaries of what artists are expected to do and delivered an astonishing body of work. —Matt Taylor