When we are in the next era of the universe and nothing but cockroaches and A.I. robots roam the planet, the time capsules will show us that the year 2024 was the beginning of a historic sapphic audio boom. The explosion of queer albums this year is a testament to that. As I researched and listened to each of these projects, I couldn’t help but beam with joy from the varying styles and worlds they took me to. As opposed to having just one icon bearing the sole responsibility of carrying the entire gay music world, it was nice to see massive degrees of success landing all over the diaspora. From commercial R&B to indie folk and all the way to bright pop, this year we yet again show that we are creative geniuses who dominate every corner of artistry, and we’re just getting started.

HIT ME HARD AND SOFT by Billie Eilish

First of all, Billie can write the hell out of a song. Her performance takes it to the next level — not in the way you’d expect. She doesn’t have to do a lot to give the song height, but she manages. This album ebbs and flows between pop and soul while maintaining her sweet, sleepy tone. Though it’s a steady walk, there’s always something to look forward to. The muted production and soft vocals feel like a party across the street I wasn’t invited to.

CRASH by Kehlani

This is a true testament to the beautiful evolution of modern R&B. What makes it even better is its blatantly sapphic backdrop. While the production keeps it fun and bouncy, Kehlani fully embraces the art of song. Every lyric adds to the storytelling. Every melody adds dynamic. Every ad-lib choice is perfectly intentional. Her confidence is evident — it makes me question my own masculinity. Next time I listen to this, I’ll remember to clutch my pearls and cross my legs.

ALLIGATOR BITES NEVER HEAL by Doechii

This album makes me so happy I want to throw up. Doechii makes it cool to genuinely be a lyricist. Coming out of an era where we’ve been taught to accept the idea of “non-lyrical” rappers, artists like Doechii show it’s actually cool to be GOOD. Brimming with ’90s boom-bap nostalgia, varying flows, inflections, and punchlines for days, Doechii is making her permanent stamp on the culture. Also, this had ZERO features. Her skill carried this album — are you serious?

ATT. by Young Miko

This body of work brims with confidence and vulnerability. The Spanish flow floats effortlessly over the Latin trap production, making me feel rich even though my checking may or may not be in overdraft. It’s synthetic yet playful and hard-hitting. It’s melodic yet rhythmic. It sucks you in with dreamy choices, but as you get comfortable, Young Miko reminds you she is a beast of a rapper.

CHARM by Clairo

This feels like folk-soul pop from the future, sent back in time to tell us that music is going to be okay. With intentional melodies and head-bobbing, calm vocals, the songs gently take you on a ride. A lot of the builds are slow but so worth it. It feels like falling in love slowly. It throws some vintage soul/R&B into the mix and has surprising virtuoso musical moments that are spellbinding but never overstay their welcome.

ALL BORN SCREAMING by St. Vincent

This steadily takes you somewhere unfamiliar, but you don’t care because you feel so safe. It’s beautifully eerie, with twangy guitar and swelling pads immersing you in a world of harmony. The vocals introduce themselves with melancholia. It’s a steady audio train that you trust with all of your heart even when you hear an explosion in the distance.

NIGHT REIGN by Arooj Aftab

This collection of music blends experimental jazz with world music to make a beautiful baby that looks similar to Sade Adu. With steady and patient instrumentation, each song takes its time, only breaking for small but poignant solos to remind you why you love music in the first place. As for the Aftab’s vocals: lush. They take their time and know exactly when to step away or expand. This album is a cup of hot tea meant to be sipped slowly and thoughtfully.

BRIGHT FUTURE by Adrianne Lenker

This album made me wake up inside a snowy cabin and let me watch the white winter turn into a green spring. With simple acoustic instrumentation and minimal vocal effects, it feels extra close, like someone telling you a secret. It’s so honest I can hear the slightly out-of-tune upright piano’s hammers fall and feel the dust vibrate on the strings. The lyrics are even more honest and heartbreaking at times, but somehow it puts a hand on my shoulder and tells me it’s okay to cry.

BIG IDEAS by Remi Wolf

This record is definitely funk/disco-inspired but somehow thoughtful and gentle. Remi’s powerhouse vocals soar on top of strong drum patterns, aggressive horns, and bright electric keys. It’s nostalgic yet forward-thinking. By marrying tangible instrumentation with experimental synths, it shows us that funk isn’t just your dad’s music.

WHAT NOW by Brittany Howard

This feels like a teenage love story in 1963 — minus the racism, homophobia, and trillion other awful things. It’s bold yet coy, letting Howard’s vocal timbre take its time until it’s ready to explode. The interplay between guitar floating plucks, crunchy screams, and atmospheric delays is a beautiful dance. It tucks you in gently, only to wake you up in the most lonely, violent way possible.

EMPATHOGEN by WILLOW

This album proves being a nepo baby is fine as long as you’re a student. Sometimes it’s frustrating to see people build careers and take absolutely no time to learn their craft. Willow clearly used her resources not just to reap the benefits of a music career but to learn. That knowledge drives this experimentation with jazz, math rock, and soul. Willow’s gone to school, and she’s showing us her homework.

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