Team JamBase’s Favorite Albums Of 2024

Katie Crutchfield’s Tigers Blood, released in March through ANTI- Records, stands as an undeniable testament to the evolution of her project Waxahatchee. The Alabama-born, Kansas City-based singer-songwriter’s follow-up to 2020’s Saint Cloud not only earned my top spot for 2024, but resonated deeply across the entire JamBase team, with several of my colleagues having it high in their own year-end rankings. I believe if we were all submitting Top 5 lists, this album would have appeared on multiple lists for sure.

My connection to Waxahatchee’s music connects me to a treasured time, dating back to a magical weekend in fall 2019 at the Yo La Tengo Camping Weekend in California’s Big Sur. There, alongside my JamBase colleagues, I experienced Crutchfield’s captivating live performance for the first time. That small and intimate festival became even more precious in hindsight, as it would be our last such gathering before the COVID pandemic shut down live music in March 2020. The memory of that weekend, filled with music and team camaraderie, now feels like a beautiful bookend to an era.

Tigers Blood finds Crutchfield in a remarkable place, both personally and creatively. Having found stability in Kansas City and years of sobriety under her belt, she approaches these 12 tracks with newfound clarity and power, examining her past experiences through a lens of hard-won wisdom. The lead single “Right Back To It,” written backstage at Wolf Trap while opening for Jason Isbell and Sheryl Crow, has proven to be my personal most persistent earworm of the year.

This collection of songs represents Waxahatchee at her most powerful and assured. It’s more than just my album of the year – it’s a milestone in an already impressive career, and a record that clearly demonstrates why it resonated so strongly with our entire team at JamBase.

Put another epic mark down on producer Brad Cook’s resume. His track record at this point makes anything he puts his name on the credits for to be a must-listen.

I was not surprised to find Grace Bowers near the top of my Spotify Wrapped this year because, well, she rips. And her album, Wine on Venus, is fantastic, with plenty of increasingly hard-to-find replay value.

Wine on Venus is packed full of high-energy, feel-good tunes played by an impressive band — affectionately known as The Hodge Podge — including Esther Okai-Tetteh (vocals), Joshua Blaylock (keyboards), Brandon Combs (drums), Eric Fortaleza (bass), and Prince Parker (guitar).

Throughout the entire album you’ll find Bowers slinging a string of highly-competent solos, drawing inspiration from the likes of Derek Trucks and T-Bone Walker, with my favorite track being “Holdin’ On To Something.” I shared this track with dozens of people this year, and gave it a spin each and every time without the petal ever falling from the rose.

Apparently I’m not the only one who digs Bowers’ style. Bowers first came on my radar as a guest at Daniel Donato’s Cosmic Christmas 2023, where the not-yet-20-year-old guitarist from Nashville joined Donato and friends for a highly-psychedelic take on “Riders on the Storm.” And now, you can find her on tour supporting notable acts like Bob Weir and Gary Clark Jr. along with a slew of festival dates in 2025 including SweetWater 420 Fest and Mountain Jam.

The War On Drugs are back with Live Drugs Again, a killer collection of 11 tracks from their 2022 and 2023 tours. The record builds on 2020’s Live Drugs and feels like one epic set, full of raw emotion and sprawling jams that hit you right in the feels.

The band, now a seven-piece, somehow keeps things balanced – big and anthemic without going overboard, heartfelt without being cheesy. Tracks like “Under the Pressure” and “Pain” turn into mesmerizing jams, with Adam Granduciel’s vocals and guitar work shining alongside the band’s tight rhythm. Pitchfork nailed it when they called the WOD’s live sound “the ineffable combination of tour-tight and casual.”

This isn’t just a live album – it’s a chance to relive the energy and emotion of a The War On Drugs show, which is also highly recommended. Whether you’re a longtime fan or just curious, Live Drugs Again is definitely worth a listen.

Few albums this year blew me away the way the Everyone’s Getting Involved: A Tribute to Talking Heads’ Stop Making Sense compilation did. The renditions of the songs on this classic album were surprising, heartwarming, and exciting.

Highlights include DJ Tunez’s slowed down and dark “Life During Wartime” and Lorde’s masterful and sexy take on “Take Me To the River.”

The best artists are constantly evolving while remaining true to themselves. At heart, Floating Points (Sam Shepherd) is a composer, as evidenced by his 2021 work, Promises, which was arranged with Pharoah Sanders for The London Symphony Orchestra and ultimately performed at Hollywood Bowl with an all-star cast of musicians. His 2024 release, Cascade, is the realization of his psychedelic, jazz-inflected, electronic-infused 2015 debut LP, Elaenia. I’ve been waiting nine years for this. And it delivers.

Floating Points’ Cascade is without a doubt an album of electronic music. But don’t let that scare you off. Shepherd’s armed with an array of analog and modular synthesizers weaving dynamic, burbling textures atop beats made for hip-shaking. I dare you to go straight to “Birth4000” and bask in the Giorgio Moroder-esque pulsating synth-line until the first drop. If your head’s not bobbing, check your pulse. Cascade is thinking man’s dance music.

The album opens with “Vocoder [Club Mix],” a revamped version of his 2022 single that is, you guessed it, updated for the clubs. The original pensive piece now has added punch with added drum machine, vocal samples, and drops that punctuate the song’s original dynamics. With the bulk of the album’s tracks clocking in over six minutes, these sonic adventures are filled with patience and intention. “Ocotillo” begins with a delicate harp and clavichord duet that sets the mood for a slow, pulsing build. It’s meditative and hypnotic, as textures subtly shift through the movements. When the beat finally joins the party, it brings the song to a frenzied peak.

Dr. Dog’s Scott McMicken has been busy creating some fun music over the past couple of years with his group THE EVER-EXPANDING. Which consists of a rotating cast of talented musicians that contribute to both the recordings and live performances. THE EVER-EXPANDING isn’t just a backing band; it’s an evolving entity, and the music reflects that communal energy. The arrangements feel organic, as if the songs were born from spirited jam sessions rather than rigid studio sessions.

This past year, the group released their second album titled When It’s Happening. Seasoned songwriting skills are mixed with thoughtful use of percussion and unique instrumentation. This lends the songs to a world music infused groove that is not confined to one specific genre. You never quite know what to expect, and that’s what makes these EVER-EXPANDING records so much fun.

Royel Otis’s debut studio album, Pratts & Pain, is a dreamy, sun-soaked indie-pop album that feels like a nostalgic soundtrack for summer. The Australian duo weaves shimmering guitars, bouncy synths, and heartfelt lyrics into tracks that range from groovy and upbeat to introspective and moody.

Tracks like (my favorite) “Foam” deliver psych-pop brilliance with emotional depth, while “Heading for the Door” blends ’80s dance-pop influences with modern indie vibes. The album’s production bridges the gap between early-2000s indie and contemporary rock, with standout moments of experimentation such as the jangly, baggy rhythms of “Always Always” and the bluesy swagger of the closing track, “Big Ciggie.”

Pratts & Pain does lean on some familiar indie tropes, but their talent and energy lay a strong foundation for future growth. With a sold-out tour and a growing fan base, Royel Otis seems poised for success.

Eggy’s second album, Waiting Game, takes listeners on a dreamy ride through psychedelic sounds and deep musical layers. This album marks a big step forward for the Connecticut band, highlighting their growth and evolving style. The album was produced by James Petralli and his influence is clear, giving the album an indie rock vibe similar to White Denim’s, while still keeping Eggy’s distinct sound. The band’s vocal harmonies stand out, adding depth and emotion to every track.

For the first time, drummer Alex Bailey steps into the lead vocal role, bringing a fresh twist compared to their first album. Songs like the catchy “Smile,” a radio favorite, and the reflective “So Long” really shine. Personally, “So Long” is my favorite track on the album. Its heartfelt duet with Veronica Stewart-Frommer takes me back to classic duets from my childhood, like those by Dolly Parton and Kenny Rogers, making it both nostalgic and moving.

Tracks such as “Way of the Stone” and “Come Up Slow” showcase Eggy’s skill in combining psychedelic experimentation with precise, detailed playing. Jake Brownstein’s guitar, Michael Goodman’s bass, and Dani Battat’s keyboard work come together to create a sound full of layers and surprises for repeat listeners.

Waiting Game strikes a balance between classic psych-rock influences and modern indie vibes. It’s adventurous yet easy to enjoy, intricate but always melodic and I recommend it to all of my family and friends.

Throughout two EPs and her debut full-length album, singer-songwriter Remi Wolf showed flashes of brilliance but never really put it all together. On Big Ideas, her sophomore album, released in July, the California native weaved elements of funk, soul, R&B, rock and pop into a captivating 13-song collection that I can’t stop spinning.

Big Ideas touches on Wolf’s many different influences yet has a sound all its own. “Cinderella” is one of the catchiest songs in recent memory, while the anthemic “Soup” is a synth-pop delight and “Motorcycle” is a gorgeous ballad. Remi Wolf is also a master wordsmith who mashes fun quips with thought-provoking lyrics. It’s hard to believe Wolf is only 28 and I can’t wait to hear what’s next after she delivered my favorite album of 2024.

If my record player had a Wrapped for 2024, MJ Lenderman’s album Manning Fireworks would without a doubt take top billing. The North Carolina-based singer-songwriter is a hell of a guitarist and equally skilled lyricist. The nine-song Manning Fireworks put those two talents on full display with big, bold riffs and a penchant for vivid imagery and poignant wordplay.

Lenderman, who is a member of the band Wednesday and also extensively contributed to Waxahatchee’s Tigers Blood, cuts through with an honesty in both delivery and content. His songs capture the viewpoint of a 20-something male musician making his way in the world today, with references to maintaining old friendships, Catholicism, class status, self worth and relationships. Lenderman’s former partner and Wednesday bandmate Karly Hartzman makes an appearance on the standout track, “She’s Leaving You.”

I was able to get to see many of the songs on Manning Fireworks performed live at MJ Lenderman’s concert at First Avenue in Minneapolis. The show was one of my favorites of the year and matched the intensity and intimacy of the record while also showcasing the dynamic and at times improvisational range of Lenderman and his band The Wind.

After being tipped off to Yoyaku’s YouTube page by a coworker, it didn’t take long to comb through most of their archived sets and realize the collective sound of their featured guests is exactly what I love. One of my favorite DJs of the past few years, Karla Böhm, laid down a stellar effort earlier this year at the Paris record shop and I cannot think of another proper album I liked more than these 70 minutes of slow-pulsing, tastefully mixed music.