Post by Jimmyzz on Dec 8, 2022 5:34:50 GMT
As the year comes to a close, we’re looking back on some of the best pop albums of 2022.
As pandemic restrictions eased back even more this past year, artists started touring again — and many did so with new music to promote. Even artists who didn't make it out on the road graced us with new bops, bangers and ballads.
This year, fans had long-awaited comebacks from two of music’s biggest stars on heavy repeat. First, Adele tore her heart out and put it on full display on 30. Following her divorce from Simon Konecki, the album finds her emerging as a fiercely independent woman whose voice continues to resonate with the masses. Meanwhile, Beyonce returned with a follow-up to 2016’s Lemonade that dragged listeners straight to the dance floor. Renaissance proves she hasn’t lost her creative, innovative spark.
They weren’t alone, as a multitude of music’s brightest stars and talented up-and-comers graced us with new content.
Demi Lovato went full rocker on Holy Fvck, Avril Lavigne reclaimed her pop-punk crown with Love Sux and Harry Styles continued to establish his mastery of solo stardom with Harry’s House. Both Blackpink and BTS continued to captivate fans across the globe with new, high-octane material, too.
While Olivia Rodrigo’s plucky album dominated 2021, Sabrina Carpenter’s confessional honesty shone this year on Emails I Can’t Send. There were also star-making releases from the likes of Tate McRae and Rina Sawayama.
Believe it or not, that’s still barely scratching the surface. Below, check out Team PopCrush's favorite albums of 2022.
Didn’t see an album you loved on our list this year? Let us know in the comments or hit us up on Twitter!
As pandemic restrictions eased back even more this past year, artists started touring again — and many did so with new music to promote. Even artists who didn't make it out on the road graced us with new bops, bangers and ballads.
This year, fans had long-awaited comebacks from two of music’s biggest stars on heavy repeat. First, Adele tore her heart out and put it on full display on 30. Following her divorce from Simon Konecki, the album finds her emerging as a fiercely independent woman whose voice continues to resonate with the masses. Meanwhile, Beyonce returned with a follow-up to 2016’s Lemonade that dragged listeners straight to the dance floor. Renaissance proves she hasn’t lost her creative, innovative spark.
They weren’t alone, as a multitude of music’s brightest stars and talented up-and-comers graced us with new content.
Demi Lovato went full rocker on Holy Fvck, Avril Lavigne reclaimed her pop-punk crown with Love Sux and Harry Styles continued to establish his mastery of solo stardom with Harry’s House. Both Blackpink and BTS continued to captivate fans across the globe with new, high-octane material, too.
While Olivia Rodrigo’s plucky album dominated 2021, Sabrina Carpenter’s confessional honesty shone this year on Emails I Can’t Send. There were also star-making releases from the likes of Tate McRae and Rina Sawayama.
Believe it or not, that’s still barely scratching the surface. Below, check out Team PopCrush's favorite albums of 2022.
Didn’t see an album you loved on our list this year? Let us know in the comments or hit us up on Twitter!
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Best Albums of 2022
Below, check out 2022's best pop albums according to PopCrush.
DTA Records / Elektra Records
Love Sux, Avril Lavigne
Others staked a claim to the title, but Avril Lavigne reminded the world that she is the true pop-punk princess with the unveiling of Love Sux. While 2019’s Head Above Water highlighted her chameleon-like ability to adapt to various genres, her latest — released after signing to Travis Barker’s DTA Records — signifies a full-fledged return to her plucky punk roots. Opening track “Cannonball” crashes onto the soundsphere with rollicking production, and collaborations with the likes of tourmate Machine Gun Kelly (“Bois Lie”) and blackbear (“Love It When You Hate Me”) both add more edge and an update on Lavigne’s signature sound. It’s a throwback to the sonics of 2002’s Let Go, but songs such as tender ballad “Dare To Love Me” highlight how Lavigne’s artistry has evolved since her debut. She’s wiser, tempered but still more than capable of unleashing all sorts of attitude. — Mike Nied
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Columbia Records U.K.
30, AdeleAdele arguably made one of the biggest returns to music in history this year with 30, an album which allows her millions of fans to follow her intimate life journey since she released her 2015 record, 25. While 30 does touch on her divorce from Simon Konecki, the record is all about declaring her independence and self-worth with honest, no-holds-barred lyrics paired with soaring vocal runs. The album has a different tone and perspective from her past work, yet still showcases what listeners first fell in love with. — Jacklyn Krol
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88rising Records / Warner Music
Magic Man, Jackson WangThe 10 tracks on Jackson Wang’s Magic Man prove Jackson is a one-of-a-kind artist. Throughout the album, the impressive Magic Man himself displays his emotions as a pop-rock superstar. (If you saw his set at 88rising’s Head in the Clouds festival this year, then you already know how much of a showman Jackson is.) Finding his niche in a blend of groovy electronic, pop and rock sounds, songs such as “Blow,” “Cruel,” and “Drive It Like You Stole It” make it clear Jackson has perfected the formula of what makes a successful pop album. — Lai Frances
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Parkwood / Columbia
Renaissance, BeyonceIn the six years following Lemonade, Beyonce released a handful of collaborative projects (Everything Is Love with Jay-Z and The Lion King: The Gift, for instance). However, fans longed for a solo album, and the one they got sent them straight to the dance floor. After years of pandemic fatigue, the “Break My Soul” singer delivered Renaissance, which resonates with lushly layered productions, sensual and at times rebellious lyricism, ‘90s-tinged euphoria and endless replay factor. From stuttering, cocky opener “I’m That Girl” to Donna Summer-sampling closer “Summer Renaissance,” the album simply goes off. Black, queer, danceable and referential while still looking forward, it’s yet another testament to Beyonce’s groundbreaking artistry. Considering the fact that it’s billed as “Act I,” there’s also the promise of more to come, all but guaranteeing her status on this same list in 2023. — Mike Nied
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YG Entertainment
Born Pink, BlackpinkBlackpink already dominated the world multiple times over with 2020's The Album, but it seems the pandemic gave Jennie, Jisoo, Rosé and Lisa some time to be introspective, resulting in another serving of delectable ear candy in the form of Born Pink. Album opener "Pink Venom" comes in hard with throwback references to The Notorious B.I.G, 50 Cent and Rihanna, but Blackpink continue to bring the energy on bangers such as "Typa Girl," "Ready for Love" and "Shut Down." Meanwhile, hidden gem "The Happiest Girl" isn't your average sad ballad — instead, it offers a glimmer of hope for anyone with a broken heart. Though the group’s members may be busy pursuing their own projects, Born Pink reminds all Blinks that Blackpink is here to stay. — Emily Tan
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Island Records
Holy Fvck, Demi LovatoWhile Demi Lovato’s dive into rock music this year may have been surprising to some, it definitely wasn’t a shock for fans who grew up with Don’t Forget. Holy Fvck takes things a few steps further, fully jumping in where teen Lovato had just gotten started. The result is perhaps Lovato’s most honest album to date — which is saying something, given their penchant for the ultra raw and real. On mid-album track “Happy Ending,” Lovato bluntly sings, “Am I gonna die trying to find my happy ending?” and admits to being “burnt out” by their role model status. Plus, there’s the song that inspired a mass healing on TikTok: the retrospective “29.” But through all the ups and downs, what makes this album different from the rest of Lovato’s soul-baring music is that it’s just Demi, existing, and that’s the real revelation. — Taylor Alexis Heady
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BELIFT LAB / HYBE
Manifesto: Day 1, ENHYPENThere’s a reason why Manifesto: Day 1’s album art features a microphone: To make sure everyone knows that ENHYPEN isn’t here to play. The K-pop boy band housed under BELIFT LAB continues to prove their versatility as young artists. And by versatility, we’re talking about the incredible range the septet has to offer. While many are familiar with their viral hit “Future Perfect (Pass the MIC)” and its aggressive pop and hip-hop undertones, songs such as “TFW (That Feeling When)” and “SHOUT OUT” are impressive b-sides that showcase Heeseung, Jay, Jake, Sunghoon, Sunoo, Jungwon and Ni-ki’s ability to adapt to different genres like pieces in a puzzle. — Lai Frances
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Columbia / Eskrine
Harry's House, Harry StylesBetween his 2017 self-titled debut and 2019’s Fine Line, Harry Styles has already shown the world that he is an undeniable star. However, his third record, Harry's House, takes things to another level. Not only does he play with fun and funky beats on "Music for a Sushi Restaurant" and the whimsical "Daylight," but he calls out bad behavior with "Boyfriends." And let's not forget his record-breaking hit single "As It Was," which features a sweet intro from his goddaughter. Harry's House proves that Styles is a master at making pop music perfection. — Emily Tan
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Dirty Hit
Hold the Girl, Rina SawayamaSince releasing her debut album, Sawayama, in 2020, Rina Sawayama has proven herself to be a chameleon of sorts, mixing genres and sounds and essentially redefining what it means to be a modern-day pop star. However, on her most recent album, Hold the Girl, she pushes the boundaries even further, blurring genre lines until they become indistinguishable. Lead single “This Hell” is a sassy, stadium-sized Shania Twain-meets-Bon Jovi anthem, while album cut “Holy” is a delicious slice of industrial dance music. Each track offers a different layer, a new page, to a complex narrative of trauma and healing. Hold The Girl proves that pop music has found itself a new reigning queen. — Ryan Reichard
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BIGHIT Music
Proof, BTSThe global superstars’ first anthology album marks both the end and beginning of an era. From treasured fan-favorite “Born Singer” to the hopeful “Yet To Come,” Proof captures BTS’ journey from trainees to dynamic, history-making artists. It’s as much a gift for die-hard fans as it is a crash-course for brand new ARMYs, because despite the group moving toward a new chapter, the fandom just keeps on growing. The album’s third disc takes fans back to the very beginning with raw demos of BTS classics and the closer “For Youth,” which samples actual ARMYs, while new offerings such as the viral “Run BTS” explore their legacy, reigniting BTS’ signature tenacity. Proof is all the proof we need to know that BTS capture once-in-a-lifetime magic. — Taylor Alexis Heady
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Island Records
Emails I Can't Send, Sabrina CarpenterWith Emails I Can’t Send, Sabrina Carpenter proves she is destined for pop superstardom. Her fifth studio album unleashes a new grit and confidence showcased by poignant lyrics and riffs to make concert crowds scream. Each of its 13 tracks effortlessly transition into one another, and feature situations that everyone can relate to. While her first four records focused on self-assurance and independence, Emails I Can’t Send dives into the messy, unpredictable struggles of romantic relationships and family, as well as of the self, with witty lyrics only she could conjure up. — Jacklyn Krol
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RCA Records
I Used to Think I Could Fly, Tate McRaeTate McRae’s debut studio album burst into 2022 with earworm hooks, an instantly recognizable voice and poignantly angsty songwriting. Capturing today’s youth in a time capsule, i used to think i could fly is an excellent culmination of 19-year-old McRae’s reputation for producing viral hits on platforms such as YouTube and TikTok. Single “chaotic” is a candid coming-of-age exploration, while “feel like s--t” is a catchy young-love ballad. The diary-like, self-deprecating anthems are bookended by certified bops such as “don’t come back,” which interpolates Nelly’s ‘00s hit “Ride Wit Me,” and the pop-punk-tinged banger “she’s all i wanna be.” Future listeners will revisit i used to think i could fly as a defining album of growing up Gen Z. — Taylor Alexis Heady
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JYP Entertainment
Maxident!, Stray KidsMAXIDENT!, Stray Kids’ record-breaking album, solidifies the group as no longer kids but assertive young men. The group has always been outspoken, but this album shows they’re not afraid to let fans know they’re grown and more confident than ever. From the swaggy lyrics to “CASE 143” — “Why do I keep getting attractive? / …A-B-C-D-E-F-G, I wanna send my code to you” — to the lustful whispers and dark registers of Hyunjin, Lee Know and Felix on “TASTE,” the octet successfully allures listeners to take a sonic roller coaster ride with them. — Lai Frances
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Republic Records
Midnights, Taylor SwiftAfter sharing the folk-infused Folklore and Evermore during the height of the pandemic, and then embarking on her journey to re-record her first six albums, there was no telling where Swift’s Midnights album would go. Nevertheless, with the first pulse of disco synths on opening track “Lavender Haze,” Swift asserts she has returned to pop in a way that is bigger and better than before. There’s no shortage of vulnerable moments on the album. Take, for example, “You’re On Your Own, Kid,” on which Swift discusses a past eating disorder, or “Anti-Hero,” on which she sets fire to both herself and critics. Featuring candid songs and euphoric production, Midnights stands as a true return to form and further extends Swift’s legacy as one of the greatest modern songwriters. — Ryan Reichard
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Sony Japan
Bad Mode, Utada HikaruUtada Hikaru’s eighth (and first bilingual) studio album finds the Japanese music icon on the dance floor. From the driving synths of the A. G. Cook-assisted “One Last Kiss” to the euphoric grooves of “Somewhere Near Marseilles,” Bad Mode finds the artist returning to the sweeping electronic soundscapes they previously explored on albums such as Deep River and Ultra Blue, as well as jazz and R&B. But life’s no midnight disco on this record, despite its often upbeat sound. The album taps into Utada’s insecurities and journey with self-love, making mistakes and finding acceptance, as evident on tracks such as “Dare ni mo Iwa Nai (誰にも言わない)” and “Find Love.” (“So I gotta watch out who I share my affection with / Until I find love 'cause I'm way too affectionate,” Utada sings on the latter introspective song.) For longtime fans who have matured over the years alongside the artist lovingly nicknamed Hikki, Bad Mode is undoubtedly a career-scaling opus. — Erica Russell
Filed Under: Best of the Year
Categories: Lists, Music News, News, Photo Galleries
Filed Under: Best of the Year
Categories: Lists, Music News, News, Photo Galleries
