Top 50 Best Rap Albums Of The Decade So Far

We are comfortably in 2025 right now which means we are over halfway done the decade. Overall, this has been an incredible decade for music and that is especially true when we talk about hip-hop specifically. Some of the biggest artists in the game have released albums, forging new trends while ushering in their new personal eras of artistry. Pretty well every single highly-anticipated album has dropped and for the most part, these albums lived up to the hype. So much so that a lot of them have made it onto this list.

Hundreds of rap albums have been released this decade, and for the purposes of this list, we are bringing you the best 50. How did we come up with these albums? Well, our staff got together and held numerous discussions that at times, got pretty heated. After all, there is a lot of good music here, and it is almost impossible to rank it all according to everyone’s tastes.

With that in mind, we realized we had to take numerous criteria into consideration. For instance, we ranked the albums based on not just the music itself, but the album’s impact, ethos, and overall reception by the general public. This led to some interesting entries, as well as a top five that is filled to the brim with modern day classics.

There are going to be a lot of disagreements amongst our readers and quite frankly, we welcome this with open arms. 

In April of 2021, Moneybagg Yo unleashed his fourth studio album, A Gangsta’s Pain. The album is jam-packed with features from high-profile artists including Lil Durk, Jhené Aiko, Future, and Pharrell. It became the Memphis rapper’s first No. 1 album on the Billboard 200 album chart upon its release, marking a pivotal moment in his career. On some tracks, listeners hear Moneybagg Yo get vulnerable, spitting emotional bars about the hardships he’s experienced throughout his life while delving into subjects like trauma, violence, substance abuse, and heartbreak. On others, they hear him lean into his carefree, unbothered persona to deliver more upbeat bangers. It puts his affinity for powerful, moving storytelling on full display while leaving room for less serious cuts like “Shottas (Lala)” and “Just Say Det.” In October of 2021, he dropped a deluxe edition of the album featuring the likes of EST Gee, Pooh Shiesty, Lil Wayne, and more.

After hearing UTOPIA for the first several times, we were absolutely captivated by the production choices. Also making the initial front-to-back listening experiences so thrilling were that he included a set of some coveted teasers and reference tracks. “GOD’S COUNTRY,” “LOST FOREVER,” “TELEKINESIS,” the list goes on. However, now that Travis Scott’s second consecutive attempt at creating a true blockbuster album is nearly two years old, it doesn’t feel as special. The main issue with it are the lyrics that are too vapid too often. In most cases, they lead to flavorless tracks, especially when the beat or features aren’t up to snuff. Overall, there are too many times in which Travis doesn’t live up to the iconic La Flame moniker he goes by. But still, this album was a massive moment for him and his fans, especially after the Astroworld Festival in 2021. His return was highly anticipated even with a lot of people turning on him for the controversy he indirectly (or directly) caused for himself. Songs like “SIRENS,” “I KNOW ?” and “MY EYES,” remain in rotation, for example. UTOPIA will never be viewed as more impactful as ASTROWORLD or Rodeo, but this era and LP still hold importance for his career and this decade.

Before his 2021 album, The Course of the Inevitable, many fans believed that Lloyd Banks had stepped away from rap for good. Despite his undeniable lyricism, there was a prevailing belief that the protégé of 50 Cent would not make a comeback. However, The Course of the Inevitable marked his reintroduction to hip-hop, showcasing his impressive punchlines and signaling a new phase in his career. The album strips away mainstream expectations, allowing Banks to fully embrace his introspective style and intricate wordplay. Songs like “Pain Pressure Paranoia” and “Sidewalks” highlight his ability to craft vivid street narratives with poetic precision. His raspy, deliberate delivery remains as commanding as ever, reinforcing his reputation as an elite lyricist. Guest appearances from Freddie Gibbs, Roc Marciano, and Benny the Butcher contribute to the album’s raw and authentic feel. These collaborations flow naturally, rooted in a shared respect for the foundations of hip-hop rather than being driven by industry demands. Overall, the album effectively connects generations.

In November 2022, Drake and 21 Savage dropped off their collaborative album, Her Loss. The project is said to be the third in a trilogy of albums released by the Toronto rapper, following Certified Lover Boy and Honestly, Nevermind. Preceded by an unconventional rollout and one of Drake’s most polarizing projects to date, it debuted at No. 1 on the Billboard 200 album chart upon its release. All 16 tracks also debuted on the Billboard Hot 100. The project later landed both rappers a nomination for Best Rap Album at the 2024 Grammy Awards. On top of being a commercial success, Her Loss stands out as a fan-favorite in the two rappers’ discographies, playing to both their strengths and showing off their creative chemistry. While Drake appears to be in the driver’s seat throughout most of the project, 21 Savage didn’t disappoint, making for a solid joint album with impressive longevity.

Pop Smoke’s Meet The Woo 2 represents the biggest moment in the New York City Drill scene, elevating the genre from underground status to commercial success with tracks like “Dior,” “Shake The Room,” “Christopher Walking,” and “Dreaming.” Pop Smoke’s signature sound was perfectly suited for the prestigious title of King of New York. The album excels in balancing aggression and charisma, while the production is dark and cinematic, enhancing Pop Smoke’s distinctive baritone voice. It also inspired 50 Cent to return to music, as he saw reflections of his own attitude and popularity in Pop Smoke. Each beat reinforces the intensity that established him as a generational voice. This album is considered one of the most influential works for the next generation of hip-hop, showcasing Pop Smoke at his purest. It has the same impact as the 90s generation’s Life After Death. While he didn’t get the opportunity to reach his full potential, the album solidified his legacy as arguably one of the greatest New York rappers of all time.

In the summer of 2023, Sexyy Red unleashed her eagerly anticipated second mixtape, Hood Hottest Princess. Serving as a follow-up to her 2021 mixtape Ghetto Superstar, Hood Hottest Princess encapsulates Sexyy Red’s playful and unapologetic spirit, which fans have come to know and love her for. The project catalyzed her hasty rise to monumental success, cementing her role as one of the raunchiest femcees of the 2020s so far. Jam-packed with catchy and explicit bangers like “SkeeYee,” “Looking For The Hoes,” and of course “Pound Town 2,” the album positioned the St. Louis-born performer for high-profile collabs with the likes of Drake, Bruno Mars, and more. It also set her up to win various awards including “Best Breakthrough Hip Hop Artist” at the 2024 BET Hip Hop Awards. A deluxe edition of the album was released in December of 2023, boasting appearances from Chief Keef, Summer Walker, 42 Dugg, and G Herbo.

Conway’s never been one to shy away from the more tragic aspects of his past, but on his 2022 album, God Don’t Make Mistakes, he took his candor to new heights, producing the best album of his career. On tracks like “Stressed,” he details the shooting that left his face partially paralyzed, the loss of a son, a cousin– it’s all enough to lose hope, but still, he contemplates finding meaning in uplifting others. On the closing track, he reflects on the culmination of all these experiences, the “what if’s” of his life. He brings up moment after moment, career moves, near-death experiences, all memories that have made Conway the man he is today. Altogether, it’s a brilliant portrait of an artist struggling with his past and worried about how it may shape his future. It’s easily one of the best albums of the decade thus far.

This album will always be synonymous with sparking arguably the biggest rap beef in the genre’s history. That of course was the widely publicized battle between titans Drake and Kendrick Lamar. Its spawning of “Like That” is almost reason enough to include this collaboration album on a list like this. Half joke aside, the rest of WE DON’T TRUST YOU is chock-full of bangers that remind us of what makes the duo of Future and Metro Boomin special. While the St. Louis producer has been working towards making more cinematic LPs and songs for the last few years, there are moments here that are reminiscent of the efforts on DS2, among others. “WTFYM,” “Magic Don Juan (Princess Diana),” “Ain’t No Love,” all hit that nostalgia bone. Speaking of which, this took us back to Pluto’s 2015 run. It kicked off another three-project stretch with its R&B-heavy sister album WE STILL DON’T TRUST YOU, which dropped about three weeks later. Then, MIXTAPE PLUTO would arrive in November 2024. Again, it will be remembered more for what it caused, but, you know, the music is not too shabby either.

While he might be a household name now, in 2021, Yeat was a relatively unknown underground superstar in the making. Songs like “Sorry Bout That” were huge on Tiktok and SoundCloud, but he didn’t have a full body of work to act as his mission statement. Enter 2021’s Up 2 Me, arguably the best underground album of the 2020s thus far. A project filled to the brim with some of the most off-the-wall beats you’re ever going to hear. His flows are infectious and Up 2 Me has held up as the artist’s greatest rapping exhibition of his entire career.

Lyrically, Yeat entrenches you into a world of psychotic hedonism. The bars on this album are ridiculous at times, but they paint a vivid picture of Yeat’s unsustainable, drug-fueled lifestyle. Tracks like “Turban,” “Get Busy,” and “Rokstar” are undeniable classic songs in the Yeat universe. Although his artistry has evolved with albums like 2093, he has Travis Scott-ified himself and it has left fans yearning for the glory days. Up 2 Me is the album that changed everything for the Oregon MC, and it still has many of us in a chokehold.

J. Cole’s recent years have been defined by an unwavering dedication to his craft—not that it wasn’t always there, but it felt more pronounced. If 2014 Forest Hills Drive cemented his ability to stand alone, and K.O.D. showcased his willingness to experiment, The Off-Season was proof of mastery. He wasn’t aiming for reinvention but refinement, sharpening every tool in his arsenal and silencing detractors once again. More than just another album, The Off-Season was a stepping stone—a clear declaration that he was ready to assume the throne many had long expected him to take. But what truly reignited his hunger wasn’t just rap—it was competition. The same drive that once fueled him as a college basketball player pushed him back into the game, this time, against the new class of MCs.

One of the biggest shifts on The Off-Season was Cole’s embrace of collaboration. The once-staunchly self-sufficient rapper welcomed features like never before, and the results were undeniable. His chemistry with 21 Savage on “My Life” felt effortless, while “Pride Is The Devil” saw him matching Lil Baby’s energy in a way that was both complementary and competitive. But the album wasn’t just about bar-for-bar sparring—it was about hunger. The basketball metaphors that ran throughout mirrored his approach to rap as a discipline, and the constant process of sharpening and evolving.

Beyond the lyrical flexes, The Off-Season marked a transition. It bridged the relentless ambition of his early years with the wisdom that comes with longevity. In a career full of milestones, this album felt like the moment he stopped chasing validation and fully stepped into his greatness.

The elusive Jay Electronica’s A Written Testimony is widely regarded as a project that is equal parts Jay-Z. However, it is certainly one of the most impactful releases of the decade. It blends themes of spirituality, introspection, and exceptional lyricism. In the years preceding this album, Jay Electronica aimed to recapture the excitement he felt with his track “Exhibit C.” However, many fans believed he had become a “never was” rapper. With Jay-Z complementing each outstanding verse by Jay Electronica, the collaboration showcased a masterclass in lyrical chemistry. The production features ethereal samples and sparse arrangements, creating an atmosphere where the words take center stage. Tracks like “The Ghost of Soulja Slim” and “Ezekiel’s Wheel” incorporate Islamic teachings and philosophical reflections into cinematic storytelling. The minimalist soundscapes defy mainstream trends, reinforcing the album’s meditative essence. The title is perfect, serving as a testament to Electronica’s patience, perseverance, and artistic integrity. It demonstrates that hip-hop still has room for depth and introspective thought. Electronica’s long-awaited debut was not just worth the wait; it became a timeless testament to the power of lyricism.

In October 2020, Benny The Butcher unveiled his second studio album, Burden Of Proof. The 12-track project was entirely produced by Hit-Boy and boasts various high-profile features from the likes of Big Sean, Lil Wayne, Freddie Gibbs, and many more. It sees the Buffalo artist reflect on his life before ever finding success in the rap game, laying out some of the hurdles he had to overcome to get there along with the scars he still lives with to this day. It marked a significant step forward in Benny’s career, showcasing how much he’d grown creatively in the two years it had been since the release of Tana Talk 3. “I called it Burden Of Proof because I feel like the burden of proof was on me to show what I’m gon be,” he told TIDAL following the release. “I’m proving who I am or what I am on these albums.”

With the way things have been going lately, DONDA will very likely serve as the last “good” Kanye West album. Made in the memory of his mother, Ye delivered a project that was more about the process than the end result. His listening parties allowed fans insight into the creative process. Each party, the album got better and better. More finished. More features. Feedback was instantaneous. Changes were made accordingly. It was a beautiful disaster that miraculously got done in a timely fashion.

Musically, it is all over the place and the bloat is certainly one of the weakest things about it. However, DONDA also has a ton of charm. It is packed with goosebump inducing features, whether it be The Weeknd on “Hurricane” or the tear-jerking Don Toliver vocals on “Moon.” Songs like “Remote Control” are tongue-in-cheek and melodically rewarding while “Off The Grid” is probably the last great rapping performance we will ever get out of Ye, and Fivio Foreign for that matter. Even if the album could be 8-10 tracks shorter, it’s still iconic and it remains the last bastion of Kanye’s once great artistic mind.

Gunna’s DS4ever will always be remembered for sparking a pop culture phenomenon with the phrase “Pushing P.” Major brands have started incorporating this terminology into their advertisements, making it widely recognized. Beyond its cultural influence, the album marks a pivotal moment in Gunna’s career, showcasing his artistic growth and dominance in melodic rap. It refines his signature sound by blending fluid cadences with hypnotic beats, solidifying his impact on hip-hop culture. Before the division in his collaborations, this album may represent one of the last times Gunna works with Young Thug and Lil Baby. The album effortlessly transitions between introspective moments and high-energy tracks, maintaining cohesion from beginning to end. As the final installment in the Drip Season series, DS4Ever concludes this era with authority while suggesting an even stronger future ahead. Overall, the album enhances his signature style, blending smooth rhythms with captivating beats and further cementing his influence on hip-hop culture. However, it is the album that marks the end of an era in Atlanta Hip-Hop as the infamous YSL RICO trial would be on the horizon.

The original Savage Mode was one of the biggest pleasant surprises of 2016, and it ultimately turned 21 Savage into a household name. It also cemented 21 and Metro Boomin as one of the premier rapper/producer duos in all of hip-hop. Four years later, the two returned for Savage Mode 2, an album that was released in the midst of COVID when it felt like every major release was being pushed back. 
In the end, 21 and Metro did not disappoint as they delivered an album that is filled with a little something for everyone. From the sinister bars on “Glock In My Lap” to the r&b stylings of “Mr. Right Now,” 21 Savage proves he is a versatile artist when he wants to be. Not to mention, this is one of Metro Boomin’s best collection of beats. The “Many Men” sample is an undeniable high-point on the record, and songs like “Runnin” serve as perfect examples of why we love this duo so much. Unfortunately, 21 has been unable to match the magic he created on this project, which is another reason for why Savage Mode 2 is held in such high regard.

Putting together a posthumous album that was not only respectful to Mac Miller but felt like the completed expression of his genuine vision sounds like an impossible task, but it’s one composer-producer Jon Brion undertook after the rapper’s tragic passing in September 2019 at the age of 26. With 2020’s Circles, Brion kicked off the decade by bringing closure to the career of one of the most beloved hip-hop artists of the 10 years that preceded it. The album marks Miller’s most candid work from his entire career with heartfelt tunes like “Blue World” or his cover of Arthur Lee’s “Everybody’s Gotta Live.” It’s so candid, in fact, that it often makes for a difficult listen. “I heard they don’t talk about me too much no more/And that’s the problem with a closed door,” he eerily sings on the album’s first single, “Good News.” We’ve since gotten another project from Miller with his long-awaited Balloonerism, but even if we hadn’t Circles would’ve been a beautiful goodbye to an artist gone far too soon. 

Few rappers have built a career this enduring while staying so loyal to a singular theme. The world of drug rap is littered with artists who failed to evolve—some clung to their past without fresh insight, while others lost their edge entirely. Pusha T, however, has mastered the art of refinement. For over two decades, he’s balanced luxury and austerity, storytelling and wit, keeping his lane fresh without ever switching routes.

On It’s Almost Dry, he sharpened his formula even further, backed by two of his most trusted collaborators, Pharrell Williams and Kanye West. The result was an album that blended icy detachment with razor-sharp precision, where his maniacal laughter felt just as fitting as his reflections on longevity and survival. Tracks like “Let The Smokers Shine The Coupes” and “Diet Coke” were vintage Pusha—technical mastery wrapped in effortless cool. Meanwhile, “Dreamin’ of the Past” added weight to his bravado, layering nostalgia over reflections of triumph.

Few artists have maintained this level of respect, longevity, and hunger. The question of how Pusha T could top Daytona—a modern-day classic—loomed large. But with time, the guidance of Ye and Pharrell, and a keen understanding of his own mythology, Push struck a balance between the ostentatious habits of stardom and the ghosts of his past. The result? Another masterpiece in an already bulletproof catalog.

We’re almost a decade removed from trap’s mainstream domination, yet one of its early 2010s pioneers somehow elicits more relevance, influence, and reverence than many who assumed his superstar slot. Chief Keef’s 4NEM is his most consequential release not just in the 2020s decade, but since he first eschewed the spotlight for adventurous, visceral, and oddly timeless mixtapes. His love of classic Atlanta and Memphis trap trailblazers works even better in hindsight, especially since this album’s DNA of occasionally loose flows, animated deliveries, and hard-hitting beats continues to show up in today’s underground leaders. 

That mix of homage and innovation comes through with a really bizarre sonic pallet on most of 4NEM, where brash brass on bangers like “B***h Where” contrasts with the ethereal and sharp synthesizers courtesy of “On What.” It all comes across as very grandiose, an approach Chief Keef would further succeed with on Almighty So 2. But on this 2021 album, Sosa’s free-flowing eccentricities proved he’s still a giant with a relentless dedication to pushing his style in bold directions. He’s no slouch on the mic either, whether for his hilarious jabs, his vividly cutting expressions, or his fearless performance on pretty much every track.

The Chicago-raised Alabama-born MC has been as steady as they come for over a decade. His most well-known project was always his 2014 streaming debut The Water (S). From there, it was rock solid after rock solid project. But in 2023, Mick Jenkins went for a more stripped down, all killer, no filler 11-track format that paid tremendous dividends for him. The features (Freddie Gibbs, Benny The Butcher, Vic Mensa, and JID) elevate his rapping and potent lyricism. The mix of jazz and hardcore beats complement his frustrated and hungry deliveries to a tee. You feel every word that comes out of his mouth. It feels like he’s really going through the mental struggles he’s divulging on. Songs like “Pasta,” “Show & Tell,” and “2004” showcase that and then some. Overall, it may not be the most dense, over-the-top record here. But Mick Jenkins doesn’t waste a single second out of the 27-minute runtime he gives himself to work with. That includes the powerful message on the closer “Mop” that hits us hard still.

After founding PRE in 2010, Young Dolph grew the label steadily and turned it into a Memphis hip-hop juggernaut. In 2017, it became somewhat of a family business with younger cousin Key Glock signing on. With the mentorship of a true trailblazer, Glizock would become a force of his own thanks to his persistent work ethic. That translated to consistency in his mixtapes and his third studio album Glockoma 2. The original 15-song tracklist is solid on its own, but there’s something special about the deluxe. Of the additional eight tracks, there’s arguably zero misses. If you have it on in passing, it won’t sound that diverse. That’s also true when you intently listen to it. But Glock’s charismatic, gleefully braggadocios, and hungry energy culminate into a super consistent Southern hip-hop album. What also keeps us coming back are the beats. While we did mention how they can feel like they are bleeding into another, you’ll notice the sometimes odd and intoxicating details that make them tick. The use of soul and blues samples are especially satisfying. Even though he dropped this after Dolph’s painful passing, he managed to come through with his strongest effort yet and tribute his fallen brother with great honor.

When Baby Keem burst onto the scene with Die For My Bitch, he immediately became an artist to watch out for. His sound was unique and he had a visual aesthetic that showcased he was a visionary in the making. Eventually, we all found out that he was Kendrick Lamar’s cousin, and things began making sense. However, to dismiss him as a beneficiary of nepotism would be a mistake. The Melodic Blue is a great example of this as Baby Keem gives us his most diverse project yet. An album that is jam-packed with well-written songs containing soaring choruses and atmospheric production.

Songs like “scars,” “gorgeous,” “issues,” and even “16” are perfect examples of how Baby Keem can take on different sounds and still be cohesive. What really pushes this album over the edge, however, are the Kendrick Lamar features on “family ties” and “range brothers.” While Keem remains his own artist, you cannot mention him without also talking about his big cousin. Despite Lamar’s phenomenal performances, it’s clear that it is Keem’s influence that rubs off the most. Kendrick is having fun with his cousin. Fun was not something associated with Kendrick’s music prior to 2022. Without his contributions to The Melodic Blue, we might not have a GNX. That alone secures Keem a spot on this list.

In June of 2023, Killer Mike dropped off his first solo album in more than ten years, Michael. The Atlanta-born performer recruited a variety of fellow artists for the project including Lena Byrd Miles, thankugoodsir, and more. He calls it his “come home moment musically,” acting as a prequel to the rest of his work. Listeners can pick up on the influences of gospel, soul, funk, blues, and more as Killer Mike unpacks his upbringing and delves into themes of religion, loss, and being a Black man in America. Michael earned Killer Mike an impressive three Grammy awards at the 66th annual ceremony. The awards included Best Rap Album, as well as Best Rap Song and Best Rap Performance for “Scientists & Engineers” with Andre 3000, Future, and Eryn Allen Kane. The album stands out as one of the most vulnerable and introspective of his discography, marking a significant milestone in Killer Mike’s decades-long career.

For 11 years, Doechii has been creating music, marching to the beat of her own drum in an industry crowded with carbon copies. Although she has over a decade under her belt, Doechii found her big break in recent years, and things reached new heights when she signed to Top Dawg Entertainment. Then, the eclectic rapper inked a deal with Capitol Records, and just like that, Doechii became the new “it” girl—dominating stages with her genre-blurring style, unapologetic Black aesthetics, fashion-forward ‘fits, and fiery lyrics that set her apart from her peers. 

In August 2024, Doe returned with her critically acclaimed mixtape, Alligator Bites Never Heal, a 19-track tour de force with a lone Kuntfetish feature. The project captured her evolution in real time and earned her the Grammy Award for Best Rap Album—making her just the third woman to take home the honor. “Three women have won,” she said during her emotional acceptance speech. “Lauryn Hill, Cardi B, and Doechii.” Further, the mixtape includes notable singles like “Nissan Altima,” “Boom Bap,” and “Denial Is a River”—songs that climbed the charts and took over TikTok. We can’t forget about “Anxiety,” which appeared on the extended version and topped the charts worldwide.

While Doechii is a tried and true rapper, Alligator Bites Never Heal was more than a simple Hip Hop project. Genre influences bleed across the tracklist, sparking debates about how—and where—Doechii should be placed. The production, handled by names like Childish Major, Austin Brown, and Kal Banx, elevated her bold experimentation. However, it wasn’t just the music on wax. Doechii’s performances became events—from a powerful Saturday Night Live set to a Grammy stage takeover, and a rare duet with Ms. Lauryn Hill.

“Why can’t I be respected as myself, as an individual, as everything?” Doechii asked in a chat with Variety. “I can do Rap, Trap, Rock, Pop, and I’m still great and I’m still me and that’s still valid. It’s just me fighting for people to understand me in a time where I felt like they just didn’t get it.” With praise from all sides—from her peers to fans to critics—it looks like the public is finally beginning to understand.

Isaiah Rashad’s music radiates familiarity, even on first listen. The House Is Burning is an album steeped in warm chords and enveloping basslines. Its title, however, makes it clear the source of this warmth can eventually become dangerous. Rashad has always been transparent about his struggles, but his third studio album finds a perfect synthesis between burnt out and content, between happiness and regret. It’s the sound of personal limbo, and all that entails. “RIP Young” suggests painful memories seen through rose-tinted glasses, thanks to a ghostly Project Pat sample and Rashad’s wistful delivery.

The TDE rapper is not known for his hook game, but he has a knack for finding subtly catchy pockets within his verses. It’s easy to find yourself humming along to an Isaiah Rashad verse before you’ve even learned the words or deciphered what he’s getting at. “Headshots (4r Da Locals)” and “Wat U Sed” are prime examples, and “Chad” is arguably the strongest earworm on the whole album courtesy of its “on-on” refrain. The House Is Burning doesn’t draw attention to itself, but those who seek it out will not be disappointed.

Tyler, The Creator’s theatricality has always been evident. He experimented with voices and characters on his debut mixtape, Bastard, which simultaneously freaked me out and fascinated me in 2009. The subterfuge of fictional characters has allowed Tyler to express whatever is on his mind, and nowhere is this practice more evident than CHROMAKOPIA. Tyler, The Creator takes Kanye West’s ambition and ambivalence toward fame, melds it with the detailed musical eccentricity of Pharrell, and gives us an album that, in my estimation, lapped every other hip hop release in 2024. 

“Chroma” sounds like every previous Tyler album collapsing in on itself, between its Cherry Bomb-esque breakdown and gorgeous, IGOR-inspired choir vocals. It should be a mess, but Tyler has accrued the experience and the musical deftness to make it sound like a catchy, cohesive thought. “Rah Tah Tah” is one of his hardest singles to date, “Noid” blends smooth keys with one of Tyler’s coolest samples, and “Darling, I” proves the rapper/producer can churn out “EARQUAKE” style hits whenever he chooses. CHROMAKOPIA is the sound of an artist who’s uneasy with celebrity but completely at ease with his musical talents.

Noname’s 2023 album Sundial is arguably one of the best examples of lyrical execution in women’s hip-hop, yet it doesn’t receive the credit it deserves. From the biting irony of “Namesake” to the meditative introspection of “Beauty Supply,” Sundial is filled with moments that stay with you. The album’s most controversial track, “Balloons,” sparked intense debate, particularly over Jay Electronica’s verse, which drew criticism for antisemitic rhetoric. “Gospel?” stands out as an urgent call for Black liberation, significantly elevated by Common’s profound insights and Jimetta Rose’s captivating vocals. In contrast, “Oblivion” presents a haunting meditation on legacy and self-doubt, compelling listeners to grapple with a multitude of thought-provoking questions. The album is as intriguing as its themes. With live instrumentation and unpredictable arrangements, it offers warmth and depth. The jazz-infused beats soften the sting of her critiques, creating a dynamic contrast between sound and substance. Beneath the social commentary, the album is deeply personal as the artist navigates fame, purpose, and the tension between art and commerce. This is an album that demands engagement. Noname doesn’t provide easy answers, but she prompts conversations that hip-hop—and the world—can’t afford to ignore. Women’s hip-hop will undoubtedly discuss this album as a hidden gem that paves the way for a new type of rapper in the future.

Kendrick’s reclusiveness has never been a detriment to his music. In fact, one could argue it has only made his work stronger. However, no year in his career has been as visible as 2024. Coming off the heels of one of the greatest yet most divisive rap beefs in history—one that felt its cultural ripple resonate beyond borders—GNX became the definitive victory lap that set the tone for 2025.

At a time when regional boundaries in hip-hop seemed to blur, GNX was a distinctly L.A. album—the most L.A.-centric project he’s released since To Pimp a Butterfly. Unlike that 2015 classic, GNX didn’t hinge on the G-Funk sounds that defined past eras and shaped his sonic identity. Instead, it absorbed the new wave of talent that has propelled L.A.’s rap scene from the grassroots level. Songs like “dodger blue” radiate breezy, sun-soaked West Coast energy, with Roddy Ricch, Wallie The Sensei, and Siete7x’s soulful touch making it a sleeper standout on the project. Meanwhile, AZ Chike’s commanding verse on “peekaboo,” where he boldly boasts about FaceTiming his opps, and Lefty Gunplay’s four-word refrain closing out “tv off”—Mustard’s latest hit—further bridge the gap between Kendrick’s reign as the de facto leader of the West Coast and the new generation pushing beyond local fame.

Ultimately, GNX is the album we’ve been waiting for from Kendrick Lamar. After the gut-wrenchingly honest Mr. Morale & The Big Steppers, the electrifying GNX was the perfect re-entry into this new, post-TDE chapter of his career. The pulsating production of “wacced out murals” amplified the fiery intensity of post-beef backlash as Kendrick sought retribution against those who counted him out or downplayed his efforts. Yet it’s tracks like “squabble up,” the aforementioned “tv off,” and the recent “luther” that prove he can craft hit records without relying on confrontation.

But at its core, GNX is the album he was destined to make outside the major-label system—one that carves out an entirely new lane while simultaneously paying tasteful homage to artists like Nas, 2Pac, and Common. If GNX was meant to cement Kendrick’s reign as the current King of Hip-Hop, then he delivered an album on all fronts—one that harnesses his vigor and aggression without sacrificing artistic depth or cohesion.

“I would like for you to focus your attention to the verse,” 2024’s The Theif Next To Jesus asks in its opening sample. For good reason, the critical acclaim behind the work of Brownsville rapper Ka focuses on his unparalleled poetic skill. No stranger to conceptual work or dense topics, this album mirrors his criticisms of religious institutions with the gospel spread by hedonistic hip-hop culture, making for an intimate, cold, but nonetheless compelling final entry in this masterful catalog. Wailing church organs, languid soul and gospel samples, and stark drums embody this contrast, filling in the gaps in his weary delivery with occasional glimpses of vivid spirituality and melancholic nostalgia. If anything, it’s one of TTNTJ’s clearest distinguishers when compared to his other gems.

But this is still the Ka we know and love, packing potent lyrics with clever wordplay and calls to action against the true systemic murders subjecting Black communities to blind faith or self-serving but nonetheless escapist greed. Some tracks like “Collection Plate” point to Christianity’s betrayal of Black people, whereas others like “Cross You Bear” are much more gut-wrenching and heavily personal ponderings on human nature, which ties The Thief Next To Jesus together. As desolate as this largely drumless collection of Bible chapter equivalents is, no emotion defines its heart as much as empathy. It’s what capitalism and white supremacy have robbed from Black folks, but what heals their wounds far more enduringly than any deity can. RIP Ka.

It makes too much sense that Tariq Luqmaan Trotter was born not even two months after hip-hop came to life in the Bronx. His extensive catalog of powerful writing proves this no matter what era he’s in, but 2022’s Cheat Codes with Danger Mouse is a particularly special achievement. Not only is the behind-the-board work some of Danger’s most lush and evocative yet, but this backdrop also yields Thought’s most personal and emotional moments as of late. Much of that perspective shows up in the dexterous and focused way in which he carries both his own personal experiences with street life in Philadelphia and the generational and systemic elements that make Black communities in the United States live in a game with all the rules written against them.

Most importantly on Cheat Codes, this message and connection concerning the Roots frontman’s identity manifests in two pivotal ways. Stankface inducers like “Saltwater” with Conway The Machine crown Black Thought atop a lyrical throne, and more conceptual and harsh reflections like “Identical Deaths” connect his story to centuries of plight. Whether artistically or historically, Thought and his guests make the most out of dramatic, sample-heavy soundscapes to champion authenticity, detail their environments, and nurture the legacy of their craft and people. Of course, it also helps that he breezes through so many captivating rhyme schemes with authoritative but nonetheless emotive deliveries. All in all, the balance between grit and warmth here is a fitting and very satisfying bastion of Tariq’s full mastery.

On his 2018 debut, trap maestro Metro Boomin showed some flashes in terms of orchestrating grander and more adventurous songs. Whether it was getting creative with samples, melodies, or instrumentation, he was making strides to bring something fresher to what can be a monotonous sub-genre. His sequencing was also very impressive on that tape, especially when it came to outros and their transitions. However, his curating abilities were more realized and consistent on the sequel, HEROES & VILLAINS. Kneecapping his sophomore effort the most is the lack of fresh faces, though. There’s too much of certain artists, particularly 21 Savage. He sounds at home on the record, but he should. He’s been working with Metro for almost 10 years now. Additionally, he’s already too one-note as it is. But this isn’t to knock 21. It’s more so to point out that the producer was too safe in his feature choices. It leads to by-the-numbers moments like “Raindrops (Insane),” “Lock On Me,” and “Umbrella.” Fortunately, though, there are a great number of times where it pays off. “Superhero (Heroes & Villains)” with Future still gives us a vintage 2015 performance to kick things off. “Too Many Nights” is arguably Don Toliver’s magnum opus and the most magnetic track. That is unless you view “Metro Spider” with a then locked-up Young Thug instead. If that’s the case, then we couldn’t disagree with you there. Overall, Metro does improve and fine-tune his skills on this cinematic listen, but we do hope that he ventures outside of his comfort zone guestlist wise next time.

While there are many contenders for the best “old head” renaissance in the 2020s (Killer Mike, LL COOL J, etc.), there’s really only one legendary spitter who we can thank for starting the debate in the first place. Of the six solid Hit-Boy collab albums Nas dropped this decade, King’s Disease III stands tall as his most complete and convincing, although its predecessor and Magic are very worthy candidates. The Queens lyricist starts off reflective, triumphant, and ferocious on “Legit” and “Michael & Quincy,” almost setting you up for another victory lap. But more present affirmations like “Reminisce” and pleas for valuing the moment on “Once A Man, Twice A Child” place KD3 as a more actionable and determined statement on aging and legacy. Obviously, what brings it all together is Hit-Boy’s dynamic and temporally unbound production, which breathes on every track with a lot of detail, soul, and flourish.

Still, it’s pretty difficult to contextualize King’s Disease III in an era it feels very separate from, although the new generation seeps through on tributes like “First Time” and other lyrical references. Nostalgia is KD3’s lifeblood and limiter. But that never stopped a rap album from being amazing before, and that certainly hasn’t made Nas any less of a prime suspect in the GOAT conversation. In fact, this “third peak” for Esco only solidifies his ever-present defense of the title, as few MCs of his ilk have been so good – and so consistent – so many years after such a peak.

Veeze was easily the critical darling of 2023 and it was all thanks to his album Ganger which was the most delightful surprise of the year. In our Hottest Albums of 2023 list, we had Ganger in our top 10 and for good reason. Overall, this project is a masterclass in production. Every single beat is perfectly crafted to send you deep into the pit of despair that Veeze finds himself in. Whether it be the pounding percussion on “Not A Drill” or the melancholic strings on “Safe 2,” Veeze uses the music to pull you into his world. The fact he keeps this up for 21 tracks is nothing short of a miracle, but we’re glad he pulls it off.

While some may have trouble getting past Veeze’s monotone flow, it is important to remember that this is a stylistic choice that contributes to the album’s themes. At their core, the songs on Ganger are a cry for help. Sure, there are humorous bars and some other quips that make it seem like Veeze is indifferent about his drug use. But oftentimes, these bars are used as a mask for the pain that resides deep within every track on the album. The non-chalant delivery is a mechanism to showcase how this descent into misery has become Veeze’s norm. He’s numb to it and by the end of the album, you’re numb to it as well. One of the marks of a successful piece of art is its ability to take the listener or the viewer down the same emotional pathways as the artist. Ganger does that and then some.

In April 2020, Westside Gunn dropped off one of the most critically acclaimed projects he’s come up with so far, Pray For Paris. The album was recorded shortly after the Buffalo rapper attended Virgil Abloh’s Off-White Paris fashion show in January of that year. According to him, he had no intentions of recording music during his trip to France but was so heavily inspired by the culture that he just had to get into a studio. “It was too many dope moments,” he explained to DJBooth following the release. “I wanted to dedicate something to Paris because that trip changed my life.” What started as an EP quickly became a full-length project once Westside Gunn returned to the United States and introduced a few more songs. The album features a variety of special guests including Tyler, the Creator, Joey Badass, Boldy James, Freddie Gibbs, and more. Of course, fellow Griselda mainstays Conway The Machine and Benny The Butcher also make appearances. Pray For Paris sees Westside Gunn effortlessly strike an impressive thematic balance between unattainable opulence and undeniable grit. For this reason, the 13-track album stands out in Westside Gunn’s discography as one of his more accessible and inviting projects to date.

Following the success Billy Woods achieved in the 2010s, the new decade brought with it a popularity that demanded his performances overseas. It was this experience of traveling the globe for a world tour that inspired his 2023 album, Maps. Throughout its 17 tracks, he tackles the road, pondering the lives he could’ve lived elsewhere, the distance in-between himself and New York City, and more. Who better as his co-pilot for the journey than his Hiding Places collaborator, Kenny Segal, whose jazz loops and layered synths blend perfectly with Woods’ desolate imagery? Altogether, Maps presents the perfect contextual groundwork for an artist who has used the violence stained across world history as the backdrop for his lyrics for over a decade. By the end of the project, Woods returns home to New York, but realizes he’s been longing for a place that no longer exists. New buildings are populated by unrecognizable neighbors now wearing Japanese denim. On the closer, “As the Crow Flies,” he watches his child at the playground with a new perspective on the years to come. It’s a beautiful, conflicted end to one of the best albums of Woods’ career and the decade.

MIKE has been making music for a decade, and you should listen to all of it. 2020’s Weight of the World gets better with each listen, and 2021’s Disco! is the sort of album I wish I could hear again for the first time. Burning Desire is the one, though. The 2023 release represents the plutonic ideal of MIKE as an artist, slightly more accessible but idiosyncratic enough to feel revelatory. He still sounds like he was beamed in from a timeline in which MF Doom had the commercial impact of JAY-Z. Burning Desire is overflowing with creative ideas, whether they be lyrical, like MIKE’s unorthodox pursuit of lust on “Set the Mood,” or musical, like the mesmerizing vocal loop that drives “THEY DON’T STOP IN THE RAIN.”

MIKE the emcee is compelling, between his conversational flow and his unhurried, oftentimes sleepy delivery. MIKE the producer makes his rhymes, and the rhymes of his guest features, sound sublime. I’d still be writing about this album if it was a batch of instrumentals, but the fact that we get to hear Larry June, Liv.e and Earl Sweatshirt over standout cuts like “U think Maybe?” and “Golden Hour” is a treat for every rap fan in existence, whether or not they know it yet.

Vince Staples is a fascinating artist. He’s become an internet favorite for his blunt, often hilarious observations, but the same bluntness that manifests in memes and viral clips results in brutally somber music. Dark Times lives up to its title and then some. Staples’ previous album wrapped its themes in G-funk synths, and Dark Times lays them bare over brittle pianos and breakbeats. I don’t want to give the impression that Staples is sacrificing musical quality, though. “Black&Blue” provides glimpses of euphoria with its flipped Sacred Souls chorus, and “Children’s Song” builds an entire instrumental (and story) around wonky guitar licks. Similarly, “Radio” finds warmth in the abyss of the album’s black cover through carefully chosen Marvin Gaye samples.

Dark Times is an album that can sound one-dimensional on first listen, or so cohesive that it’s hard to pick out individual tracks. I admit I fell victim to this mindset. The chaos that has ensued over the last year, however, has made this thing vibrate with immediacy. In a decade largely defined by bloated tracklists and “deluxe versions” that are secretly just new albums, Vince Staples’ Dark Times is a concise, purposeful, and thematically rich listen. It will stick with you a lot longer than its 35 minute runtime suggests.

Two years following the release of her highly praised 2019 album Grey Area, Little Simz returned with another acclaimed album. Sometimes I Might Be Introvert arrived in 2021, bringing an essence of a necessary recalibration for what Rap could sound like when reflection meets orchestral ambition. The British-Nigerian MC—known for her precision and poise—turned inward without losing her edge. What she delivered was a 19-track masterwork that unfolded like a cinematic experience, complete with interludes, grandeur, and grit.

Grey Area may have already put Simz on Hip Hop’s global radar, but Introvert was the project that confirmed her as a generational talent. Backed by producer Inflo (of SAULT), the album layered Soul, classical flourishes, and Grime-adjacent percussion. This formed a sonic landscape that matched the scope of her storytelling. She wrestled with identity, womanhood, fame, and family on tracks like “I Love You, I Hate You” and “Little Q.” Elsewhere, she leaned into vulnerability without sacrificing command—Introvert is an artist in full control, even when confronting chaos.

Critics took notice immediately, and the accolades followed. Simz won Best New Artist at the 2022 Brit Awards (despite being years into her career), and the album was also nominated for British Album of the Year. She later took home the Mercury Prize, securing Sometimes I Might Be Introvert as one of the decade’s defining releases in Rap and across all genres. Further, Introvert was heralded by critics as arguably one of the best releases of 2021, with publications globally lauding the project as comparable to 1999’s classic The Miseducation of Lauryn Hill. For an artist who built her reputation outside of the mainstream system, the moment was a quiet triumph. Little Simz didn’t need to shout to make herself heard; she let the music speak volumes.

When The Alchemist first mentioned working with Earl Sweatshirt on a full-length album in 2021, fans went into a frenzy. Having already showcased their chemistry on tracks like “Loose Change,” “Old Friend,” and several more, the idea of an entire album of collaborations sounded like a dream come true. He claimed the two already published the project together under a fake name on YouTube and true or not, fans scoured the internet for years until an official announcement for Voir Dire came in 2023. The album didn’t disappoint. Across 11 tracks, Earl brought his characteristically dense wordplay with the more mature perspective he had been putting forth since 2018’s seminal Some Rap Songs. While he’s having a bit more fun on Voir Dire, the quality remains just as high. Alc gives him a perfect palette with which to play, supplying one impressive beat after another. One particular highlight comes three tracks in with “Sentry.” The two team up with another frequent collaborator of theirs in MIKE to supply a haunting track. Earl reflects on his mental state, birthplace, and ancestral lineage, while MIKE speaks on his parents and past relationships. Just five years in, Earl Sweatshirt and The Alchemist have cemented their impact on the 2020s.

In a 2023 in which Drake’s reheated sample platter and Travis Scott’s hollow rocketship trip dominated the hip-hop mainstream, SCARING THE HOES felt like the only lighter in Rykers. JPEGMAFIA and Danny Brown are two artists you might never subject to that comparison on paper, but somehow, audiences found a treasure in a place they hadn’t been drawn to look in before. Therefore, it’s incredible that the album’s abrasive, defiant, subversive, and chronically online quality was not only able to break it into this complicated visibility, but that it was able to completely overshadow any expectations of style or compromise folks usually attach to the genre’s biggest releases. A No. 84 Billboard 200 albums chart debut went sextuple platinum in rap fan circles.

Whether it was for absurd sample selection on cuts like “Garbage Pale Kids,” ethereal pace-setters like “Kingdom Hearts Key,” or crooked religious flips on “HOE (Heaven On Earth),” this album was pretty much the perfect introduction to these rappers for casuals and a killer vindication for die-hards who always advocated for their art. Danny Brown is as manic as he’s ever been in past releases while still coming through with more seasoned remarks about the industry and artistry that he’s honing even more carefully these days. Both behind the board and through his barrage of boisterous bars, JPEGMAFIA controls chaos with cheeky wit and fiery bravado. SCARING THE HOES is experimental and “frightening,” sure, but never at the cost of purpose, skill, or lyrical substance.

Boldy James might have the largest amount of worthy contenders for this list out of any artist here. The true turning point of this ongoing run, though, was February 2020’s The Price Of Tea In China, one of many excellent collab projects with The Alchemist. It not only provided the clearest sonic retelling of Detroit’s unforgiving environment – a staple of Boldy’s catalog – but it also marked his re-entry into the hip-hop scene in a number of ways. This was the first chronological release that perfected his cold and husky tone, and also revealed his writing’s biggest strength: the weight his experiences place on his bars. James doesn’t need much to do much to evoke a feeling, instead letting his principles, demeanor, and descriptive language tell the story without pretense.

Despite this aversion to glamor, seamless collaborations with MCs like Benny The Butcher and Vince Staples add to dreary spoken word vignettes to create a grittily immersive album experience. Uncle Al sets the foundation for that through mean-muggers like “Giant Slide” or chilly mourners like “Phone Bill,” and many of his best cases in the “Producer of the Decade” convo land on here for their haunting atmosphere while still engaging you musically. It’s that much easier for Boldy James to constantly sneak witty lines in between icy and hair-raising imagery. The Price Of Tea In China is certainly somber in many pockets, but in a far more earnest and primal way than most of its comparably static or boastful contemporaries.

Denzel Curry’s versatility is second only to his rapping ability. He has proven that he can navigate any production style or tempo with ease, and his 2022 album, Melt My Eyez See Your Future, is a prime example. Curry decided to ditch the booming Miami bass of his previous release for something quieter, jazzier, and more cinematic. The rapper’s love for Spaghetti westerns and samurai flicks comes through on the sinister keyboards driving “Worst Comes to Worst,” or the pianos sprinkled over the contemplative “The Ills.” Curry made a conscious decision to downplay his trademark aggression on Melt My Eyez See Your Future, which could lead some casual listeners to deem it his most “boring” album. 

In my estimation, Denzel Curry’s approach makes it his most rewarding to revisit. You can still hear the energy in his voice, bubbling under the surface on songs like “Walkin,” and the decision to meld it with smooth instrumentation gives each song a fascinating tension. Zel is the best rapper on his own album, but it’s worth noting how strong (and eclectic) the roster of guest performances on Melt My Eyez See Your Future are. Robert Glasper and Saul Williams co-exist with 6LACK and Rico Nasty, yet none of them sound out of place. JID also sounds electric on the booming posse cut “Ain’t No Way.” I have to show love to the album’s extended edition, and the live “cold blooded soul” versions of each song that may even be better than their studio counterparts.

For a record with 11-syllable rhyme schemes, Kreyòl passages, and an encyclopedia of creative references, this is one of the most enthralling and welcoming albums on this list. Some fans may understandably prefer the more abstract treatment of previous masterpieces. But Mach-Hommy’s latest ode to Haiti and his artistic trajectory has a particular vibrance to it that goes beyond his pen’s already expansive nature, thanks in small part to the context around its release. One day before Haitian Flag Day, 2024’s #RICHAXXHAITIAN dropped amid violent turmoil in the country, an ongoing humanitarian crisis, and many questions about current and previous international interventions. This LP does comment on that bleak state, pointing its focus to Gaza and other global catastrophes as well. But a hyper-talented production cast came through with perhaps the most lively, immediate, and resourceful set of beats the polyglot has ever rapped over, and the contrast is powerful.

There are still grimy moments throughout like “ANTONOMASIA” with Roc Marciano and the severe swirling of “GUGGENHEIM JEUNE,” plus some truly nasty bars throughout about pieces in Accords, parking fees, and so on. But it’s the extra musical embellishments, temporary beat switches, and transitional moments that turn #RICHAXXHAITIAN into Mach’s most nourishing record yet, such as transcendental gospel fusions on “HOLY ___,” the clashing key motifs on “SONJE” (also including one of his best rap performances ever), and the patient wistfulness of “AUX BON PARFUMS.” Overall, it’s a cultural celebration with a lot of nuance and discipline throughout, settling you into a hypnotic flow with highlight after highlight and pretty much everything you could want out of a hip-hop record. Technical prowess here never compromises heart nor grit to impress. Instead, Mach-Hommy’s latest is a staunch defense of the world’s livest nation, tackling systems while maintaining a humanist artistic sovereignty.

ScHoolboy Q has always been at his best when he gets outside the box. So, when he dropped off his 2019 album CrasH Talk, it left fans pretty disappointed. But with BLUE LIPS, he hit the reset button. The 38-year-old came back with a new physique, a (occasional) grown-up perspective on life and his career, and production that keeps you on your toes. The latter is one the most endearing qualities about it. There’s so much diversity and it feels like we were taken inside the mad-scientist mind of Q. There’s a lot of albums that take a rollercoaster approach sonically and thematically. However, how the California rapper goes about it doesn’t make it feel like a mess. If we had to compare it to past works of his, Blank Face LP would be the closest thing to it. So, if you were a fan of that, then his sixth album will be right in your wheelhouse. There’s an excellent duality about it that keeps it sounding fresh no matter how many times we revisit. ScHoolboy Q also packed in some of his most concise writing yet, and he’s known for being a blunt lyricist in general. “Bluesides” and “THank god 4 me” are prime examples of this. The former keeps it straight when it comes to taking risks to improve yourself, but also for those around you. Conversely, the latter works in the project’s title to reflect on how proud he is of how far he has come as a man, father, and artist. In the end, the five-year hiatus was just what the doctor ordered for Q.

Billy Woods may have already appeared on this list for his collaboration with Kenny Segal, Maps, but it’s one of his works with Elucid as Armand Hammer that takes the cake as his best album of the decade. Just months after that release, he confirmed plans for a sixth Armand Hammer album during a performance with Segal on KEXP. “It’s about to knock Maps off the album-of-the-year list,” Segal even jokingly admitted at the time. Armand Hammer dropped We Buy Diabetic Test Strips as their sixth album together in September 2023.

Despite careers spanning over two decades in New York’s underground hip-hop scene, both artists yet again found a way to tread new ground and blew away their fans with their latest effort. It’s littered with memorable moments. “Trauma Mic,” featuring Pink Siifu, in particular, is a stand-out from the tracklist. The two rap over cacophonous, industrial beats that sound plucked out of a junkyard in Ridgewood. The lyrics throughout introduce the paranoia and isolation that comes along with societal collapse. Put together, it sounds like something that could score a remake of Tetsuo: The Iron Man.

As if the original tracklist wasn’t enough, five months after the release, Billy Woods and Elucid added their critically acclaimed single, “Doves,” as a bonus track to conclude the album. The nine-minute song is intimate– a beautiful reflection on the passage of time, death, concealing emotions, feeling lost in a changing city, and finding meaning in the abyss the duo presented in the preceding 15 songs. It concludes one of the very best albums of the 2020s.

In February of 2020, Lil Baby delivered his second studio album, My Turn. The project features various guest appearances from artists like Gunna, Young Thug, Lil Uzi Vert, Future, Lil Wayne, and more. It was the first project of Lil Baby’s career to debut at No. 1 on the Billboard 200 album chart in the U.S. It stayed there for over a month, making it one of the best-performing albums of the year. It’s continued to be a massive commercial success, even getting certified quadruple platinum by the RIAA in 2022. A few months after the initial release, Lil Baby dropped a deluxe edition of the project featuring six additional songs. On top of proving his ability to do some impressive numbers, Lil Baby successfully showcases his growth as an artist on My Turn. He outlines his rise to stardom on the project all while putting his lyrical prowess on full display. With the help of viral tracks like “Woah” blowing up on social media, the project attracted a lot of new listeners. It even managed to convert some who weren’t previously fans of the Atlanta MC. Other songs like “Sum 2 Prove” added a bit more depth to the album, making his intentions to solidify his position as a leading force in the rap game crystal clear. “I called it My Turn ‘cause I feel like everybody else had a lil’ turn,” he said of the project on Instagram Live shortly before the release. “It’s my turn now.” 

It took far too long for people to really notice it, but Tyler, The Creator is one of the biggest hip-hop fans in a sea full of artists who focus on their idiosyncrasy within the space more than their actual love of music. Of course, 2021’s CALL ME IF YOU GET LOST still boasts character in spades that makes the Hawthorne native a true one-of-one. But on this Gangsta Grillz mixtape, his material flexes fall on a previous Westside Gunn background, his lovelorn odes evoke his longtime soul inspirations, and the spirit of Madlib filters his loose thoughts on cancel culture and the plight of Black people. In other words, CMIYGL is as much of a celebration of pure rap enjoyment and musical legacy as it is yet another energetically confident world in the Wolf Haley discog. That “Wolf” growl capping off “SAFARI” tells you everything you need to know.

For pre-Cherry Bomb fans, it’s amazing to hear Tyler Baudelaire call back to older rap-heavy approaches in a refined way thanks to cuts like “HOT WIND BLOWS” with Lil Wayne, “WILSHIRE,” and “WHAT A DAY,” the third of which is one of seven excellent deluxe cuts on 2023’s The Estate Sale. Yet, in contrast to the conceptual weight behind an LP like IGOR, there’s more room for surprises and experimentations via 42 Dugg and NBA YoungBoy features, plus tender moments like “SWEET / I THOUGHT YOU WANTED TO DANCE” and “SORRY NOT SORRY” that advance his emotional, spiritual, and sonic maturation. In totality, it’s one of the decade’s most gratifying and versatile albums yet, and perhaps the most instantly enjoyable and accessible piece not just in Tyler, The Creator’s work, but in 2020s hip-hop. Its true strength, though, is in Tyler’s persistent mission: executing his vision with thorough and unencumbered passion.

Freddie Gibbs’ online antics and feuds might grab headlines, but with two undisputed classics—Piñata and Bandana—plus a string of exceptional projects, Gibbs has cemented himself as one of the best rappers of his generation. His versatility is his greatest weapon. He seamlessly adapts to any production style while maintaining a distinct delivery, defined by a chopper-like flow and a gruff, raspy voice. Alfredo, his first full-length collaboration with The Alchemist as a solo artist, exemplifies this mastery.

The 10-track album, which earned both artists a Grammy nomination, was partially inspired by The Last Dance, the Michael Jordan documentary. Gibbs drew parallels between Jordan’s perseverance and his own defiance against a system that once blackballed him. “Scottie Beam” set the tone, pairing hazy Alchemist production with Gibbs’ unflinching perspective on police violence, while “God Is Perfect” showcased his dizzying lyrical agility. “Skinny Suge” stripped away bravado for painful introspection, and “Something To Rap About,” featuring Tyler, The Creator, was as reflective as it was mesmerizing.

Beyond being one of Gibbs’ finest albums, Alfredo arrived at a pivotal moment during the resurgence of sample-heavy, minimalist production that Griselda helped popularize—though Gibbs himself predates the movement. His ability to make classic hip-hop sound effortlessly modern has never been more apparent than on Alfredo, a testament why his legacy is built off of hardened skill, not salacious controversy.

With every project, JID continued to level up across the board. The Never Story was a solid introduction to who the Georgia wordsmith was and got folks intrigued by what he could be. At that time, there were some labeling him the next Kendrick Lamar or J. Cole. The comparisons were there, along with some shades of Lil Wayne. Then, just a year later in 2018, he would come through with not his sophomore album, but a mixtape in DiCaprio 2. Named after his favorite actor, the prospect became a star, especially in terms of his flows, deliveries, wordplay, and all of the other essential technical abilities. There were some introspective cuts peppered into the tracklist, but nothing as revealing as the preceding project. But in 2022 is where JID solidified himself as rap’s next true and honest storyteller. The then 32-year-old would really pull back the curtain and deliver heartfelt, blistering, and passionate verses and songs displaying real emotional and stylistic range in the process. It’s what sets this album apart from the rest of his discography, but also with almost every trap record this decade. Whether it be the beautifully melodic “Kody Blu 31” to the dynamic and detail-oriented “Crack Sandwich,” JID has it all working. But even with its individual greatness, it’s not as influential as the ones above it. However, it’s still incredibly important, especially with Kanye West, Drake, Future, and J. Cole in the twilight of their legendary careers. He has helped make sure that rap is in good hands creatively and lyrically for at least the next decade.

With a tenure ending, a personal reckoning unfolding, and therapy sessions shaping his perspective, Kendrick Lamar’s Mr. Morale & The Big Steppers did more than mark his departure from Top Dawg Entertainment–it closed a defining chapter in hip-hop itself. No longer the good kid in a m.A.A.d city, Kendrick re-emerged as a father confronting the traumas of his upbringing, determined to break the cycle. Mr. Morale explored the intersections of faith, love, trauma, and self-liberation, unspooling his thoughts with an unfiltered vulnerability that most rappers don’t embrace until much later in their careers.

“We Cry Together” distilled the toxicity of a failing relationship into an almost unbearably raw exchange, while the haunting “Mother I Sober” tackled generational trauma through often-ignored conversations about sexual abuse and its lasting impact. “Auntie Diaries” attempted to open dialogue on transphobia and homophobia in the Black community but its heavy use of slurs blurred the line between raw reflection and insensitivity. Whether it was a necessary discomfort or a miscalculated attempt at allyship remains up for debate—but that tension was deliberate. Meanwhile, “Savior” dissected the cult of celebrity, calling out blind idolization of figures who themselves chase material wealth, sometimes at the expense of their own audience.

While Mr. Morale wasn’t Kendrick’s most lyrically intricate work, it was a storytelling masterclass—favoring emotional rawness over technical perfection. Still, songs like “Worldwide Steppers” and “N95” showcased his dense wordplay and imaginative flows, proving that substance and skill weren’t mutually exclusive. “Father Time” ft. Sampha, the Kodak Black-assisted “Silent Hill,” and the melodic “Die Hard” with Blxst and Amanda Reifer filled in the gaps with infectious earworms that still fit within the album’s core message.

Mr. Morale & The Big Steppers will remain one of Kendrick’s most divisive albums precisely because it embraces his flaws as much as his strengths. But in stripping away the pedestal fans have placed him on, he delivered a work that feels strikingly human—capturing the mundane, messy, and deeply personal struggles that few artists can articulate as powerfully as he can.

Number one on this list is going to be a controversial one and we understand the anger some of you may have reading this. After all, this is an album that had the word “trash” trending on twitter the night it dropped. The irony: Whole Lotta Red dropped on Christmas. No, not even Santa Claus could save Playboi Carti from the initial reception to his most polarizing project. The reception isn’t surprising. Fans expected a spiritual successor to Die Lit. Or, at the very least, an album that built upon the “Baby Voice” Carti sounds displayed on the unreleased Young Nudy-assisted banger, “Pissy Pamper.”

Instead, what fans got was rap’s version of a punk rock epic. Think Bad Religion meets Onyx. An album filled with blistering synths, speaker-destroying 808s, and shouted vocals that hit you in the face and don’t stop until you’re knocked unconscious. The first track, “Rockstar Made,” hooks you in and serves as a mission statement for what the album is going for. “Stop Breathing,” “Jumpoutthehouse,” “New Tank,” and “On That Time” are a continuation of this sound and inspire some of Carti’s best music of his career.

There are others instances on this album where Carti seeks to change things up and deliver something more melodic like on the tracks “Metamorphosis,” “Sky,” and “F33l Lik3 Dying.” It is on these tracks that the artist showcases his magnum opus isn’t about embodying one specific aesthetic. It’s about taking some risks and breaking out of the Pi’erre Bourne box that fans had been forcing him in since 2017.

When you talk about the best album of the decade so far, you have to consider a myriad of factors. The music is definitely important but there needs to be something else. And no, we aren’t talking about aura. Instead, the correct word to use is “ethos.” Something that this album had before it even dropped. The same can actually be said about MUSIC which had it been released sooner, probably could have made its way to this list as well.

This is one of the few albums of the 2020s that still sends people into furious debates. There are still artists today who come on the scene and are very clearly inspired by this album’s sound. Carti is a darling of the festival circuit because of the songs on this album. You cannot talk about 2020s hip-hop without mentioning Whole Lotta Red. It has become an essential album for the genre and there aren’t a lot of projects you can say that about.

Hate it all you want, Whole Lotta Red’s importance is undeniable and that is why it is our best album of the decade so far.