Historically, pop music has been a bit of a punching bag by “discerning” music aficionados whose carefully cultivated tastes and MP3 folders fostered in them a sense that what the masses are enjoying can’t possibly be among the most creative and entertaining music that’s available. People who enjoy having fun in their lives, though, know that this just isn’t the case.
Pop music is awesome! What’s wrong with a catchy, well-written song? Pop has also been used as a place for exploration beyond the established rules of what’s been algorithmically proven to hit commercial benchmarks. 2023 yielded tons of pop music that excelled in all its forms, whether you’re talking about the continued North American emergence of international-originating genres like K-pop and Latin music, innovators bending the genre’s conventions to their wills, or more conventional busting out straightforward, undeniably catchy hits.
Let’s reflect on the year in pop (and perhaps catch up on what you missed) by checking out our list of the best pop albums of 2023 below.
What happens when you cross a dystopian cyborg wasteland with industrial hyperpop? The answer is Uproxx cover star Ashnikko’s worldbuilding debut LP, Weedkiller. Throughout 13 biting tracks, Ashnikko redefines what it means to be a modern-day popstar by leaning into the absurd, creepy, and downright disturbing. With tracks like the bouncy anthem “Worms” and the fervent kiss-off tune “You Make Me Sick!” Ashnikko invites listeners into a fantasy world of her own creation, while leaving space to drop her swaggering on-stage persona in favor of getting up close and personal with songs like the queer awakening anthem “Miss Nectarine” and the veiled Roe v. Wade response “Possession Of A Weapon.” – Carolyn Droke
Caroline Polachek is by no means new to the music world. Despite this, her solo sophomore release, Desire, I Want To Turn Into You, finds her experimenting with a range of influences and elevating herself beyond the initial sound that first drew listeners in. Here, she plays with flamenco on “Sunset,” while also not alienating anyone by adding the catchy, electronic early preview of “Bunny Is A Rider.” In her present chameleon fashion, she then flips the script once more for the quiet tension on “Crude Drawing Of An Angel.” Just as the title suggests, Polachek reaches a new peak by being able to play with the concept of transformation and versatility on this album. – Lexi Lane
Chappell Roan has had a wild few years. During the pandemic, she moved back home to Missouri, where she saved up money to resume her music career. The result is her debut album, The Rise And Fall Of A Midwest Princess. Produced by pop music’s new favorite collaborator, Dan Nigro (Olvia Rodrigo, Conan Gray), Roan found herself free and comfortable to express her identity fully. Across the 14 brilliant pop tracks, it has the energy of a merry-go-round at a club or a dancefloor at the county fair. Either way, getting off the ride is hard once you press play. – L.L.
Ed Sheeran’s intimate September album Autumn Variations should hypnotize Merriam-Webster into updating the definition of “autumn” to simply read “Ed Sheeran.” His entire perennially chart-topping career has been defined by albums titled after mathematical symbols, ending with May’s – (Subtract). But there’s nothing calculated about Autumn Variations. Sheeran described the album, co-produced and co-written with Aaron Dessner and Bryce Dessner, to Gayle King as “14 songs about my friends” made simply because he wanted something cozy to play while cooking with his wife. Incidentally, Sheeran crafted 14 new musical companions for the rest of us. – Megan Armstrong
“You fell hard / I thought, good riddance,” Abrams twists the knife on the album opener “Best,” while maintaining themes of self-criticism throughout. The new album finds her exploring new horizons by working with Aaron Dessner and putting her biggest fears, worst behaviors, and an expanded level of emotional vulnerability on full display — all while backed by some gentle production. She also provides pauses to lift the energy, like the sweet caught-by-surprise moment on “The Blue.” Yet, staying true to the themes of struggling with the rollercoaster of entering adulthood, the album ends with the darkly contemplative “Right Now,” where Abrams wonders if her “little brother thinks my leaving was wrong,” as she continues growing up, getting out, and saying good riddance. – L.L.
Holly Humberstone’s Paint My Bedroom Black chronicles the ups and downs of being a woman in your early twenties in a way that connects listeners of all backgrounds. “Here’s to new horizons,” she greets listeners in the album’s opening line, almost like a fitting hint of what’s to come. Her electronic production takes larger leaps, notably at the ending of “Into Your Room” and the chilling vocal adjustment on “Baby Blues.” Others, like “Elvis Impersonators” and “Cocoon” serve as powerful lyrical displays. In its entirety, the album is a thrilling next step that has us excited to see where she goes next. – L.L.
Jessie Ware snuck “Free Yourself” under the wire last July. She’s ahead of the game this year with a disco-pop indulgence inspired by divas like Donna Summer. “Lightning” is ready-made for dog days, oozing romance. “Freak Me Now” is brash lust. “Begin Again” is pure refreshment. Pick one, and you will feel good. – M.A.
The Jonas Brothers are a trifecta, but the Jon Bellion-produced The Album underscores their dynamism. “Waffle House,” TikTok’s favorite single, reframes their formative fights with loving eyes. “Little Bird” delicately illustrates their newer roles as girl dads. They haven’t lost their edge in marriage — just listen to “Summer In The Hamptons.” Life keeps changing, and Joe, Kevin, and Nick keep writing. The ‘70s-inspired LP propels them into a boundless future. – M.A.
BTS’ Jung Kook has shown himself to be a pop sensation both within the group and as a solo act. His debut solo album, Golden, served as a gift to fans, as it arrived weeks before Jung Kook began the process of enlisting in the Korean military. He’ll be away until 2025, but songs like the romantic “Standing Next To You,” the sexy, rhythmic “3D,” and the gut-wrenching ballad “Hate You” will certainly hold as timeless classics. But they also set the stage for him to continue his world takeover upon his return. – Alex Gonzalez
Kali Uchis’ third album Red Moon In Venus is without question her best album to date. Maybe it’s because she’s more in touch with herself than ever or maybe it’s because she’s more at peace than ever. The result of either, or maybe both of those observations, is a 15-track body of work that captures Uchis majestically and graceful float through elements of R&B and pop, while also tapping into her Spanish roots, to make what sounds like Uchis’ idea of paradise. Whether it’s “Fantasy” with Don Toliver, “Deserve Me” with Summer Walker, or solo efforts like “All Mine” and “Moonlight,” Kali Uchis’ Red Moon In Venus has plenty of music to get lost in and find your own paradise. – Wongo Okon
After a very public breakup, Karol G chose to heal the way she knows best — through music. The Colombian superstar’s fourth album Mañana Será Bonito proves to be a therapeutic experience, for both Karol and the fans. Over the course of 17 flawless tracks, Karol engages in self-care, debates returning to an ex, falls in love on her travels, and has several good cries. All while repeating the very phrase that got her through it all — “Mañana será bonito.” – A.G.
Lana Del Rey’s career has been defined by a hot and cold reaction from the press, and equally hot and cold moments of self-sabotage and self-mythologizing. But if anything, it speaks volumes that any online spat that might accompany a rollout is generally forgotten by the next album cycle. That’s how continually surprising and sharp Lana is as a songwriter, that mild controversy slides off her. And that talent is underscored on Did You Know That There’s A Tunnel Under Ocean Blvd. “A&W” is another high point in sonic adventurousness and lyrical insight, while “The Grants” and the title track are so instantly familiar, they might as well be pulled directly from the singer-songwriter canon. We just can’t quit you, Lana. – Philip Cosores
Jazz’s resurgence into the mainstream has made for interesting online music discourse. The 2023 Grammy Award Best New Artist, being a classically trained jazz vocalist, brewed the ideal environment for Laufey to burst onto the scene. The singer’s sophomore album, Bewitched, featuring singles “From The Start” and “Letter To My 13-Year-Old Self,” is an enchanting spell of classical jazz elements with a bubbling elixir of infectious light-hearted bedroom pop sonics. Bewitched is a time-capsuled work perfectly scored for a vintage romance flick. Its light-hearted, airy, and delicately simplistic layerings transport listeners to a world graciously ruled by Laufey. – Flisadam Pointer
Sometimes, something is so objectively true that it’s worth how cliché it sounds. This is one of those times. The Good Witch is spellbinding — packed with aching anecdotal vulnerability (“There It Goes”) and sharp wit (“Lost The Breakup”) — and in the words of Maisie Peters in the criminally clever “BSC,” you’d be “actually bloody motherf*cking batsh*t crazy” to think otherwise. Not convinced? Peters, Uproxx’s July 2023 cover star, became the youngest British woman to hit No. 1 on the UK’s Official Albums Chart since 2014. – M.A.
Puerto Rican artist Myke Towers couldn’t be held in a box while making his third album, La Vida Es Una. On the album, Towers showcases his versatility by way of lightly revisiting his rap roots, but mostly experimenting with a multitude of genres. While 23 tracks may seem saturated for an album in 2023, Towers delivers through reggaeton, dancehall, and ‘80s-synthpop sounds, defying the pigeonholing of the industry. Needless to say, he’s keeping fans fed. – A.G.
Even Olivia Rodrigo herself had worried about facing the sophomore slump, given the massive success she found with her 2021 debut, Sour. Her fears were simply just that. Rodrigo’s record Guts does a masterful job of blending her musical influences, tapping into the power and angst on stadium-ready tracks like “Ballad Of A Homeschooled Girl.” Her growth as a songwriter in just two years is already evident, reeling with the idea of being a famous “tourist attraction” on the vulnerable “Making The Bed,” or digging even deeper into personal hurts on “The Grudge” and “Logical.” – L.L.
Mexican hitmaker Peso Pluma’s Génesis certainly isn’t just the beginning. On his third album, Pluma takes inspiration from Mexican corridos music, bringing these regional sounds toward global territory. At only 24, Pluma and his album Génesis delivered the Mexican-influenced musical stylings that had been missing from the global music landscape for years. For Pluma, Génesis serves as both a breakthrough, and a time-capsule of historic and impactful sounds, that will still maintain their freshness in the years to come. – A.G.
After years of having her debut album delayed, UK singer/songwriter RAYE took matters into her own hands. Two years ago, RAYE outed her previous label, Polydor, for holding her music hostage. In February, she finally released My 21st Century Blues independently. And in turn, she flipped the industry on its head, with tales of heartache, insecurity, and gaslighting. Having finally earned number one song and album on the UK charts, it’s safe to say RAYE’s big risk paid off. – A.G.
After already conquering Broadway and television, Reneé Rapp entered her pop girl era in full force this year with her debut album, Snow Angel. Her incredible vocal talent gives her a boost forward to belt on ballads, with many new fans being recruited this year after hearing her show it off. Rapp doesn’t shy away from putting her whole heart on the line, whether she’s dealing with the painful realization of falling too hard that drives “I Hate Boston” or not holding back from the karma she wants on “Tummy Hurts” — which she recently remixed to include the equally-talented Coco Jones. – L.L.
Skrillex is most readily associated with the early 2010s, but he’s been killing it lately, too. Aside from his beloved Coachella performance alongside Fred Again.. and Four Tet, he dropped a pair of albums in February, his first since 2014: Quest For Fire came first and Don’t Get Too Close followed the next day. The list of artists featured across the projects (including Justin Bieber, Missy Elliott, Kid Cudi, and PinkPantheress) evidence how much esteem Skrillex has in the industry, while the top-rate albums illustrate why he remains an icon. – Derrick Rossignol
One of my close friends is a gigantic Twice fan, which by association, has led to me getting into their Ready To Be mini-album from earlier this year. While I’m not as familiar with their past records to compare, the early singles, “Moonlight Sunrise” and “Set Me Free,” showcase the group’s romantic side over the bubbly production that truly just pulls you in. (Plus, their live performances are so impeccable and synchronized.) On other tracks from the record, Twice shift into fiery, flirty territory with the rock-influenced “Blame It On Me,” which shows off the band’s wide-spanning inspirations that push the boundaries of the general K-Pop conceptions — and prove that they really are the ones to watch. – L.L.
It’s hard to call anything but Barbie the movie event of 2023 (except for perhaps Taylor Swift’s The Eras Tour concert film). One thing those two have in common, though, is music was a major component. So many contemporary greats from across the genre spectrum united to craft an exemplary collection of original, pink-tinted songs: Dua Lipa with “Dance The Night,” Nicki Minaj and Ice Spice with “Barbie World,” and Billie Eilish with “What Was I Made For?,” to name a few. Big-name soundtrack albums are often less than the sum of their parts, but this one comes together in true Barbie Dreamhouse fashion. – D.R.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
source
