The best songs of 2024, in no particular order.

‘A Bar Song (Tipsy),’ Shaboozey: The cross-genre hit is not only the biggest song of the year, but one of the longest-reigning No. 1s of all time, with 19 weeks atop the Billboard Hot 100. Shaboozey’s country earworm interpolates J-Kwon’s “Tipsy” and places it squarely on the faded bar stool of a hard- working weekend warrior.

‘Not Like Us,’ Kendrick Lamar: There was a time where describing “Not Like Us” required a taxonomy of Lamar’s freshly reignited beef with Drake, a period of diss tracks. The truth is, of course, this song stands on its own: a triumphant declaration of West Coast hip-hop, funny and bombastic.

‘Like That,’ Future, Metro Boomin and Kendrick Lamar: The two have long made ideal collaborators, but this year’s joint album, “We Don’t Trust You,” felt like a long time coming. Immediately upon its release, “Like That” stood out, not only for its fiery guest verse from Lamar or its hyper-speed sample of Rodney O and Joe Cooley’s “Everlasting Bass” and Eazy-E’s “Eazy-Duz-It,” but also for its ferocity.

‘Good Luck, Babe!,’ Chappell Roan: Roan long has wielded her theatricality and sexual candor like a wand (and a rabbit) in her songs. But it’s this one that thrust her into the mainstream, a pop megahit that tackles lust, frustration and compulsory heterosexuality atop strings, ’80s synths, and a soaring vocal performance.

‘Espresso,’ Sabrina Carpenter: This emerged like all great pop hits should: Almost from nowhere, as addictive as its namesake and confounding in its lyrics, directly recalling the Y2K period of off- kilter pop songs with nonsensical lyrics atop sunny productions. It’s disco-pop when the genre was dead and buried, revitalized and made clever through Carpenter’s ever-present sense of humor.

‘Texas Hold ’Em,’ Beyoncé: When her album “Cowboy Carter” arrived, it became immediately clear that Beyoncé was dedicated to reclaiming country music as a Black woman. But it was the introduction of this new era with “Texas Hold ’Em” that solidified it — a honky-tonk stomper with a lot of western soul.

‘Nasty,’ Tinashe: This is the hit fans of her smooth R&B-pop have been waiting for years; an exemplar of her particular talents. It’s a sultry, goodtime hit — a kick, a snare, bare production and a scare beat — melodic and stacked with backing vocals. “Nasty” is for dancing.

‘I Had Some Help,’ Post Malone and Morgan Wallen: The “White Iverson” rapper has launched a successful country career. His red solo cup collaboration with controversial hitmaker Wallen has undoubtedly made waves, an immediate anthem for hanging out in the bed of a pickup truck or at a backyard barbecue.

‘Igual Que Un Ángel,’ Kali Uchis and Peso Pluma: Pluma, an artist at the center of the regional Mexican music movement, experiments with new genres entirely, and Uchis welcomes him into her world. Uchis’ glossy, shimmery disco dream-pop is the foundation, and Pluma’s stony vocal tone a smooth accent. It’s an addictive song, and a reminder of the power at the heart of inventive collaborations.

‘Right Back to It,’ Waxahatchee and MJ Lenderman: A vocal harmony between Waxahatchee’s Katie Crutchfield and MJ Lenderman is a marvel from the jump — two kindred spirits, schooled in folky Americana and raised in DIY punk — but that’s only one fraction of the magic of “Right Back to It.” The song considers long- term relationships, the kind of love that can be tested, steady, reliable and, at times, restive.