Weekly Track Reviews 24/7/26: Best & Worst Songs Ranked
Both sides of this list have a story to tell — one side about artists coasting on names alone, the other about artists actually taking chances. Let’s get into it.
Both sides of this list have a story to tell — one side about artists coasting on names alone, the other about artists actually taking chances. Let’s get into it.
Charli xcx takes a bold rock gamble with Music, Fashion, Film, but lands on a middling project weighed down by repetitive hooks and filler.
Nia Archives delivers a thrilling, genre-splicing sophomore statement with Emotional Junglist, but the high-octane first half runs out of steam in the second.
Steve Lacy pulls off a bold, genre-blending reinvention with Oh yeah?, but two average tracks keep it from being a flawless follow-up to Gemini Rights.
Tory Lanez splits his comeback into a sharp cinematic rap triumph on Disc 1 and a sleepy, generic R&B disaster on Disc 2 — buried under 23 tracks of bloat.
Gracie Abrams delivers a handful of strong songs buried under a sleepy, overproduced mess that feels like a watered-down Olivia Rodrigo clone.
Kelela delivers the ultimate antidote to 2026’s bloated R&B with new avatar — a lean, futuristic shoegaze-gothic masterpiece where her heavenly vocals cut through distortion like a blade.
Future delivers a painfully bloated, unfocused solo project that feels more like a rushed cash grab than a real artistic statement.
Ken Carson drops the best-produced rage album of the year, but it’s dragged down by too much filler and unnecessary length.
Madonna delivers a fun, nostalgic dancefloor return on Confessions II, but a bloated 16-track runtime and repetitive hooks keep it from becoming the triumphant comeback it desperately wants to be.