At first glance, the main difference between indie pop and pop boils down to one of the two being more popular as a genre than the other. However, as evident by the many unique songs featured in our best of, indie pop goes beyond its vague classification. Encompassing a wide variety of sounds often marked by experimentation, unlike traditional pop, it doesn’t aim to appeal to the mainstream; instead, it celebrates genre fluidity and music artistry. With the advent of TikTok and social media at large, more indie pop artists are rising to the level of pop stars, carving spaces in two different worlds while staying true to their roots. With so many of these burgeoning acts breaking through or in the process of crossing over, there was a lot to pick from, making our selection for the best indie and dance-pop songs of 2024 all the more special.

This feature was written by David Sosa, Sandra B. Olinger, and Steven Ward.

Aaron Frazer “Pay Back”

On this new album Into The Blue, Aaron Frazer steps into the spotlight with a collection that masterfully intertwines classic soul with modern flair. Known as the dynamic drummer and co-vocalist of Durand Jones & The Indications, Frazer has always shined with his unique ability to simultaneously play the drums and sing with that delicious falsetto of his. The album stands out from Frazer’s debut with polished confidence despite opening his heart with lyrics that gleam with raw vulnerability. While much of the album’s sound is smooth, like hot butter dripping off a stack of hotcakes, the record also chops in some groovealicous tracks that will make you cut a rug. “Pay Back” stands out with its irresistible rhythm and upbeat energy. Still giving all that delicious soul, there’s definitely a heavy indie pop element to this vibrant track. It’s a bop that’ll get your feet moving and your spirits lifted, embodying the infectious groove that Frazer does so well. 

Allie X “Galina” featuring Empress Of

On this updated version of “Galina,” Allie X teams up with Empress of for a throwback to the club. The two take listeners back to the 80s dance floor with an insatiable dance-pop track. The nostalgic sound reminds of the days in Los Angeles when folks would cruise Whittier BLVD blasting their favorite oldies or parking and dancing to the synth-drenched, beat-driven sounds of Debbie Deb. With the added vocals, the song is elevated to maximum Galina vibe.

Beabadoobee “Coming Home”

beabadoobee shares a gently yearning message of homesickness in her single “Coming Home,” the second song revealed from her new album, This Is How Tomorrow Moves. “Coming Home” bears all the openhearted intimacy of the album’s lead single, “Take A Bite,” except this time, beabadoobee syncs her loving recall of familiar environs to a delicately gauzy, spellbinding melody. Guided by a soft tangle of strums and her glowing vocals, you’re given a tour of her home that touches on how nostalgia and longing can make you pine for peculiar things—from daily chores usually dreaded to otherwise ordinary moments that, because of distance, are imbued with an elusive but tangible emotion. The song’s lyricism articulates the bittersweet melancholy and loneliness endured on the road. The ebb of its needful rhythm, made all the more beguiling by the call of a muted trumpet that wails in the background, lends “Coming Home” the feel of a heartwarming lullaby. 

Brijean “Euphoric Avenue”

At first, nearly consuming the listener through the chiming of a guitar and fluttering electronic keys in the background, “Euphoric Avenue” by duo Brijean takes you to somewhere “familiar yet strange.” The fantastical atmosphere, coupled with the still apparent instruments, make for a genuinely euphoric combination that’s the equivalent of a 20-foot-long banquet for the ears. Lead songwriter and namesake Brijean Murphy ties the entire picture together, softly detailing the sights and sounds of “Euphoric Avenue” as if it were a real, tangible place. The evolving arrangements further cement the track as a vivid setting, populated by a penchant for experimentation, considering the variety of instruments heard in less than four minutes. The lush, flute-dominated climax is just the cherry on top of a bountiful song that’s perhaps the best from their new album, Macro.

Chappell Roan “Good Luck, Babe!”

2024 was the year of Chappell Roan. Despite her debut album, The Rise and Fall of a Midwest Princess, released in September of 2023, it was “Good Luck, Babe!” that catapulted her into the masses (that and her epic Governor’s Ball performance). The deliciously infectious song shines with all the Chappell hallmarks: steamy sensuality, honesty, and absurdly energizing anthems wrapped in queer and camp splendor. The specific agony of catching feelings while ensnared in a “sexually explicit kind of love affair” never sounded so painfully blissful.

With an indie synth-pop sound full of dance-pop nostalgia, this is the song that got our attention. And we’re so happy it did because we all dove headfirst into the entirety of her debut album and fell head over heels for Chappell Roan.

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Clairo “Sexy to Someone”

It might not seem like it based on how Clairo always remains a prevalent topic of conversation within music, but it’s been three years since the indie-pop singer-songwriter dropped her sophomore album, Sling. Now back with her incredible new album, Charm, the enchanting artist has garnered a whole new fan base, especially with the album’s lead single, “Sexy To Someone.” Sliding on 70s instrumentation effortlessly, Clairo flourishes in the middle of a musical banquet, surrounded by horns, sonorous synths, and a piano crisp in sound. And while the bop is an offshoot of indie-pop, we can’t deny its soul. Clairo and soul music might not have been on your 2024 bingo card, but there’s no denying it’s a welcomed endeavor for an artist who’s only ever grown with each passing release.

Empire of the Sun “Cherry Blossom”

Empire of the Sun is responsible for one of the enduring summer anthems—“Walking on a Dream”—so it should come as little surprise that in previewing their new album Ask That God, they’ve unleashed another energizing soundtrack. With “Cherry Blossom,” the duo once again proves that giddy romance and glittery electro-pop make a radiant pair. All hail Emperor Steele and Lord Littlemore for gracing us with a heavenly bit of musical magic.

Estevie “Corazón Tatuado ”

Matching her astronomic rise that keeps rising with each passing release, Mexican-American singer Estevie continues to come into her own, albeit this time reckoning with newfound fame through her song and video, “Corazón Tatuado,” one of her best songs to date. The gorgeous ballad, sung entirely in Spanish, stays true to Estevie’s cumbia trademarks and enchanting vocal style. With an incredibly somber melody that explodes with genuine passion at the chorus, Estevie takes listeners on a heartfelt serenade where she sings her heart out about a love lost: “Cierro los ojos y te vuelvo a sentir, cierro los ojos y es como si estas aquí.” The touching lyrics translate to: “I close my eyes, and I feel you again, I close my eyes, and it’s like you’re here.” The raw emotion is felt through every word she sings, and you can’t help but let the feels envelop you and possibly shed a tear. It’s one of those songs you love because it makes you so sad.

FKA twigs “Perfect Stranger”

Ahead of her third studio album, EUSEXUA, which arrives on January 24, 2025, FKA twigs shared “Perfect Stranger.” A sexy and empowering dance-pop number, twigs leaves fans craving for more with this spicy album preview.  The song calls for “melding into one being with the perfect stranger you’re making out with” and losing yourself on the dance floor,” two freeing themes surrounding her new album, EUSEXUA. It gives Millenium Kylie Minogue vibes, but with the added boundary-breaking shock that Madonna was known for in the 80s and 90s. Seducing the senses with every evocative breath twigs bestows on her listeners, the track may start slow and steady, but it takes an exciting turn as it closes with a spectacular climax. And if you think the song is captivating, wait until you see the cinematic music video, directed by Jordan Hemingway and featuring cameos from BAFTA Award-winning actress, writer, and producer Phoebe Waller-Bridge and music artist Yves Tumor. 

Fousheé “rice & peas”

The Jamaican-American singer-songwriter returned in 2024 and went against all preconceived notions of what she might do with her new album, Pointy Heights. “rice & peas” might be the album’s most unique track, sucking you in through the glossy synths from which Fousheé glides over effortlessly. The thudding drums give the song an added kick, keeping the album’s bounce alive while doing its own thing for the most part. One of the least popular tracks on her new album (according to Spotify streams), we think it’s one of the best. The song speaks to Fousheé’s genre fluidity and how every sound she touches turns into gold. With intergalactic electronic sounds guided by Fousheé’s velvety vocals, the track takes listeners on what feels like a journey through time, jumping through various wormholes in the hopes of catching that insatiable vibe that Fousheé gives with “rice & peas.”

Future Islands “King of Sweden”

For their seventh album, People Who Aren’t There Anymore, Baltimore-born Future Islands take another bold step inward, unearthing their most vulnerable and visceral album to date. One that finds the indie quartet grappling with solitary yearning and reeling through the atomization of relationships stretched to their limits. The album’s lead track, “King of Sweden,” is a jaunty romp through effervescent synthesizers that plunge you into this inescapable riptide of heartache. The song speaks to the soul in true Future Islands fashion while making your feet shimmy across the floor. You can feel his passion even when you can’t understand what singer Sam Herring is so vividly singing through his signature vocals. That raw vulnerability is what always keeps us coming back for more.

Gossip “Real Power”

 The vibrant song stays true to Gossip’s sound of creating sultry indie pop made for the dance floor with a side of thrash. Directed by director Ssion (Perfume Genius, King Princess), the video was shot in an abandoned elementary school, taking fans back to the indie sleaze era where underground indie rock and punk shows ruled the scene.

At its superheated core, Real Power surges as a triumphant ode to the formidable ways music and camaraderie can bolster the heart in the face of innumerable changes. Peering back at the gulf of time that recedes behind them—an abundance of personal loss and growth in tow—Gossip confirms that it is never too late to successfully rally oneself for a new phase of life.

Helado Negro “Best For You and Me”

From the first piano keys that lightly open up the deep contemplation Roberto Carlos Lange, better known as Helado Negro, finds himself in, “Best For You and Me” is a subtly profound depiction of a person rethinking their relationships in real-time. By establishing “Mom’s asleep” and “Dad’s not home,” Lange draws a line between our upbringings and what may or inevitably go wrong with our intimate connections when “What’s best for you and me is all wrong.”

His voice, as smooth as velveteen, complements the lush electronic production, never creating a disruption in the perfect harmony he retains from start to finish. To the ears of someone who may have given Lange’s previous work a passing listen, “Best For You and Me” might come off as treading familiar territory. But what it instead shows is how he captures complex experiences and condenses them into universal messages that are, above all else, calming to the soul.

Henry Morris “Taste of Metal”

Henry Morris kicked off 2024 with the heady and breathy “Taste of Metal.” Here, yearning sensuality and smokey atmospherics merge to create hypnotic alt-pop tinted by a darkly enticing romance in a similar vein as The Neighbourhood. It’s the kind of hot and heavy slow burner that parks out in that liminal tension between anticipation and desire and fogs up the window panes. “Taste Of Metal” is an enthralling track we’ve come to expect from Morris. It’s one of many insatiable songs featured on his debut album, Jawbreaker.

Kelly Abarca “Waves”

True to its title, LA-based singer-songwriter Kelly Abarca’s new single “Waves”coasts along a breezy indie-rock guitar washed in woozy vocals. Within the first 30 seconds, the track seemingly peaks, with Abarca impassionately acknowledging herself as a sensation, raising the tide as the song goes along. The Spanish lyrics on their own are liberating in nature, matching the sense of finally setting yourself free present in the infectious vocals. Around the halfway point, the instruments roar out as if mimicking a whale call before momentarily disappearing. Only the drums are left behind, with the rest of the instruments eventually crashing back into play when Abarca slides in as the last piece missing from the engrossing opening. While the song itself captures the sight of waves crashing onto a beach, the music video offers a colorful visual to the song, with the sight of Abarca walking into the ocean after dancing along the shore second only to the elation evident in the indie-rock swirl of “Waves.”

The Marías “Run Your Mouth”

Cloistered in a velvety intimacy The Marías resurfaced with the lead single from their hotly anticipated sophomore album Submarine with the release of “Run Your Mouth” (out now). Guided by the dreamily lucent words of María Zardoya, the track was written as a reflection of a tendency to emotionally retreat in the face of confrontation. “You’d just call me out / Call me when I’m distant,” she sings with suave candor. “Always run your mouth / I don’t wanna listen.” 

Between intoxicating rolls of bass are woven lucid confessions that reveal the simmering anger that comes with being forced to do so. Take a peek at the mind-boggling and equally transfixing music video for “Run Your Mouth,” directed by Bethany Vargas, down below. Both are an exquisite preview of the forthcoming LP and prove that the Los Angeles band has plenty more jams hidden up their satin sleeves.

Magdalena Bay “Image”

In all the best ways possible, “Image” from alt-pop duo Magdalena Bay could have fit right at home with bands coming up in the early 2010s. Although the duo didn’t unleash their debut, Mercurial World, until 2021, their blend of indie rock, synthpop, and dance music continually stuns for how it somehow creates an entirely new genre with each release. “Image” is no different, elevating the foundation set by forefathers like Passion Pit and Grimes (who appears on the remix) — coupled with a chorus that’s perhaps the best from this year. The subtly distorted climax serves as the match that engulfs the already gasoline-soaked production, 

Mk.gee “DNM”

What can be said about Mk.gee, the overnight indie rockstar who stunned the world with his unique guitar sound, that hasn’t already been said? His latest album, Two Star & The Dream Police, is a revolutionary project that’s bound to inspire more than a few cheap imitators in the next few years. But songs like “DNM” distinguish Mk.gee from anyone before or after him, with his reliance on analog technology giving the live instruments he employs a refined lo-fi quality that glimmers on every track.

For “DNM,” the thick drums contrast the shiny chords, laying down a foundation for Mk.gee’s voice to glide over effortlessly. But what hits long after the runtime is over are the lyrics, capturing a relationship in flux that’s plagued by miscommunication. Despite the crumbling situation, the song comes out on the other end a beautiful testament to Mk.gee’s evolution as an artist.

Munan “GAENARI”

Munan is back with another deliciously groovy single. The Korean-Australian singer-songwriter and producer will have you moving that body to his joyful 70s-inspired soft rock, a style that has become a signature to his sound. And with the breezy sounds of “GAENARI,” we’re feeling a modern-day Bee Gees sound with a psychedelic jangle. The warm single arrived with a celebratory video. Follow the shadowboxer for a good time.

Nao “Wildflowers”

As sweet as the scent of wildflowers, Nao‘s dulcet single shares the same name as the gorgeous florals that grow in the wild. A soaring pop number that would even make the very bees who pollinate wildflowers dance, Nao is back with bop, and we can’t get enough of it. The song is part of her upcoming album Jupiter, out February 21, 2025.

 “A Wildflower symbolizes falling in love—it’s wild, carefree, and you want it to last forever. But life and time have other plans. ‘WILDFLOWERS’ invites listeners to explore the highs and lows of love while embracing vulnerability.”  ~ Nao

Nemahsis “Coloured Concrete”

Canadian-Palestinian singer-songwriter and social activist Nemahsis‘ stunning single and video, “Coloured Concrete” is an absolute gem. The cathartic track was shared in anticipation of her debut album, Verbathim, released independently on September 13th on her own imprint under the same name. If you’re a fan of the dazzling vocals of Kate Bush and Florence and the Machine, which have the ability to get you through tough times and invoke a near-spiritual release, you will love this track. The song is a slow burner that billows with her soft-spoken yet raspy storytelling before bursting into an anthemic indie-pop rush of release. A song about self-reflection and resilience, “Coloured Concrete” is the kind of song you cry to and sing at the top of your lungs.

Omar Apollo “Less of You”

When IVORY, the debut studio album from Indiana-raised singer-songwriter Omar Apollo, took pop and R&B by storm, a question quickly arose amid the acclaim and awestruck surrounding the project: Where does he go from here? The answer: God Said No, a many-sided collection of vivid testimonies on an R&B vessel flying over genre classifications in search of the revelation that is Omar Apollo, the trailblazer. With the pulsating synth-pop track “Less of You,” Apollo unpacks the need for closure over a heavy synth line straight out of the early 80s. In other words, there’s no shortage of sounds at his disposal that he makes all his own. And this bop, in particular, takes us to the club, where we can shimmy across the floor in full diva mode.

Portraits Of Tracy “The Afterparty – Disco Version”

“The Afterparty,” a standout song/quasi-sequel to singer-rapper and multi-instrumentalist Portraits Of Tracy’s breakout single “The Party,” has been reimagined as a disco remix, as well as a French house instrumental. While the original is an atmospheric piano ballad boosted by bass pulses and somber cries to the void, “The Afterparty – Disco Version” builds upon the cinematic outro for a race-against-time odyssey. The dynamic vocals are similarly taken to another level, with a plethora of effects making Tracy’s voice sound like an entire choir when layered atop the intensifying production. Without holding anything back, the guitar at the climax fires off like a laser ray, triggering a sonic explosion amplified by the glittery synths and fast-paced drums. Although there are some glossy disco elements, particularly in the first half, the remix is more than just a simple edit, transforming an already impressive song into something that shows off Tracy’s ability to glide through genres.

Rachel Chinouriri “Never Need Me”

Off debut album What A Devastating Turn Of Events, “Never Need Me” is a surging affirmation dedicated to placing your well-being above someone else’s. Against a burst of effervescent melodics and pulsating rhythms, the song scrambles euphorically toward a seemingly selfish but necessary act. One that’s rooted in the recognition that your own mental and emotional stability is being drained in carrying the burdens of another. Gliding through the track’s gleaming soundscape Chinouriri alters the power dynamics by forcing the issue, separating herself from a damaging co-dependency with rapt urgency. “If you can’t change / I doubt that I can help you,” she coos weightlessly on the song’s vibrant chorus. “I’ve made plans and sorry they’re without you.”

The video for the single comes with a playfully moving music video directed by Jake Erland that also stars Florence Pugh alongside Chinouriri.

Sharon Van Etten & The Attachment Theory “Afterlife”

Closing her year with two new songs, including the insatiable “Afterlife,” Sharon Van Etten and her band The Attachment Theory have given us all something to look forward to in 2025. With “Afterlife,” we hear those signature Van Etten vocals that soar gracefully and passionately with every word she sings. Yet another heartfelt ballad that harkens feelings of nostalgia and loss, Van Etten’s words give hope. Combined with the shimmering synths and experimental sounds, the track takes you to another world where you can tune everything out, feel, and release. And I don’t know about you, but given the current times, we can all use a bit of reflection and release right now. My stars, this is a fcking beautiful song.

Sofi Tukker “Hey Homie ”

What makes Sofi Tukker unique from other duos and artists working in similar spheres is their symbiotic relationship, not just with each other but with what listeners are looking for whenever they need to dance out their worries. While their new dance-ready album, BREAD, is full of sweaty bangers, the duo still shows a sentimental side that, although in contrast to much of the album’s humor, does display a full range of emotions perhaps not expected from EDM artists. “Hey Homie” is Sophie and Tucker’s tribute to cherished friendships, acting as an overall statement and a statement about each other. Aside from the electro-pop production, which also happens to be one of many genres explored on BREAD, the apparent tenderness of the track speaks to how the two find ways to add substance to songs that are already surefire dance celebrations.

Stephen Sanchez “Baby Blue Bathing Suit”

Another head-over-heels, beach-combing romancer, this time starring Stephen Sanchez‘s crystal clear vocals as he daydreams over the heavenly wonder of a girl in a “Baby Blue Bathing Suit.” Breezy, doting, with just a tint of that vintage sound that makes his music so charming, the single carries all the sunny yearning that comes with a summer infatuation.

TwoLips “Winonha’s Daughter”

Released earlier this year and off her latest project Monogamy Heaven, TwoLips wowed us with “Winonha’s Daughter.” A thrilling ode to the care that goes into cultivating each new generation of femininity, it’s the kind of rallying indie dance-pop that finds its power in the robust ebb and flow of its passionate energy. One that’s centered around a fiery eruption of thrumming bass, stirring horns, and sizzling riffs — each imbued with the divine urgency of her adamant praise of the woman she descends from. Like so much of TwoLips’ music, its exhilarating tempo is matched only by its buoying fervor. This is dance music for physical and spiritual catharsis alike.

Wasia Project “Somebody Come Through”

Brother-sister duo Olivia Hardy and Will Gao, aka Wasia Project, released their highly anticipated new EP, Isotope, via AWAL. And with it came a gorgeous collection of songs, specifically “Somebody Come Through.” Hardy’s breathy vocals are like a warm hug that comforts with every tender word she sings. The arrangements of this delicious pop ballad keep listeners on their toes as the song climbs and dips with intensity. It takes you on a roller coaster of the most aural scenic highs and dramatic lows.

Youth Lagoon “Lucy Takes a Picture”

“Lucy Takes a Picture” from dream pop artist Youth Lagoon pulls together backing strings, croaking percussion, and genderless vocals in a collage that sounds like M83 if their love for synthesizers was more of a flirtation than a driving force. The music surrounds abstract lyrics suitable for a dying trust in the future or a newfound appreciation for life, never coming off as somber nor uplifting but instead creating a limbo between emotions more indicative of real-life experiences that happen to be filtered through a surrealist feeling in the production.

Amid creative choices simultaneously odd and endearing, Youth Lagoon offers what might be the most beautiful moment across his catalog on the piano solo towards the track’s last leg. What makes it all the more satisfying is how it segues into the outro, featuring lines like “And I feel the autumn die and the winter hold its keep / I can see it in your breath, I can taste it on your cheek” that use environmental details to communicate emotions beyond words.

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