Chude Uzoka-Anofienem, Staff Writer

5. Kendrick Lamar – “Not Like Us”

Kendrick Lamar’s “Not Like Us” is more than just a song—it’s a cultural moment, an undeniable statement that redefines what it means to clash in the rap game. The track’s intensity comes from Kendrick’s ability to address beef head-on while weaving it into a broader narrative about dominance in hip-hop. The song is rooted in a deep sense of rivalry, calling out an unnamed target with sharp, deliberate lines. But it’s not just about throwing shade; it’s about Kendrick positioning himself as the one who’s standing tall and confident in his spot at the top. 

The beef with Drake looms large over this track, and it’s clear that Kendrick is taking shots that are both personal and public. When he says, “Say, Drake, I hear you like ‘em young,” it’s not just a throwaway line—it’s an attack on Drake’s past controversies, particularly his alleged predilection for younger women. Kendrick doesn’t shy away from addressing issues head-on, making sure that every jab lands with precision. 

The reference to “cell block one” is a pointed reminder of the drama and the accusations that have dogged Drake, something Kendrick is all too willing to bring into the conversation. This isn’t just about beef for the sake of beef, though. Kendrick’s verses serve as a commentary on the state of rap, making it clear that while others may get bogged down in the drama, he’s focused on the bigger picture. There’s a certain arrogance in Kendrick’s delivery, but it’s earned arrogance, based on a legacy he’s spent years building.

The underlying power of “Not Like Us” is that it frames this beef as more than just a personal conflict—it’s about hip-hop culture itself. Kendrick’s delivery on this track is a testament to how he’s not just a player in the game, but a force that shapes the rules. He’s calling out his competitors, but in doing so, he elevates the entire genre. Kendrick’s confrontation with Drake isn’t just a one-on-one—it’s a broader commentary on what it means to be a true artist in a saturated industry.

It’s the kind of song that’ll be remembered long after the beef fades into history, a snapshot of a pivotal moment in the evolution of hip-hop. This might’ve been the song of the year, or maybe next year after the Super Bowl performance. Also, I love that Drake was making fun of Kendrick for having no bangers, only for Kendrick to drop an album of bangers that tied Drake’s commercial records and had a meme bigger than anything Drake has had in years. Let that sink in.

4. Shaboozey – “A Bar Song (Tipsy)”

The success of a track like “A Bar Song (Tipsy)” feels like a perfect example of how an artist can blend genres in ways that feel fresh and authentic. It’s hard not to draw parallels to other genre-bending moments, like when Lil Nas X first made waves. But even though Shaboozey’s trajectory might not have been as initially explosive, it still feels just as important. 

The odds may not be in his favor for another crossover hit, and it’s a tough pill to swallow considering how deserving he is of more recognition. His breakout album this year was excellent, and it’s frustrating that it didn’t get the attention it deserved from a broader audience. If there’s any silver lining, it’s that his music is still gaining traction, even if it’s within smaller circles. 

Tracks like “Good News” are starting to catch on, and if that momentum builds, there’s still a chance Shaboozey could have another moment. The fact that his label situation seems complicated is unfortunate because his sound and style should have made him a household name by now. The combination of country and rap, especially on “A Bar Song (Tipsy),” could have been a novelty, but Shaboozey managed to turn it into something more. 

His take on J-Kwon’s “Tipsy” was nostalgic, but with a twist that didn’t feel like a gimmick. The country spin with fiddles and live instruments gave it a unique flair, and that’s what made it stand out in a good way. It may have had a little of that Postmodern Jukebox vibe, but that’s not a criticism—it’s an example of genre-blending done right. What makes Shaboozey truly stand out, though, is how much respect he shows for both hip-hop and country. Shaboozey has the potential to be a lasting, positive influence on both genres, even if mainstream success doesn’t always follow the way we hope.

3. Tyler, The Creator ft. GloRilla, Sexyy Redd & Lil Wayne – “Sticky”

Tyler, the Creator’s “Sticky” is a track that perfectly embodies the unpredictable genius of Tyler’s evolution in the rap game. While I never thought I’d be talking about Tyler as a mainstream hitmaker, here we are. And let’s be clear, Tyler’s “Sticky” doesn’t fit the mold of what you’d typically expect from a top 10 radio hit. It’s messy, complex and full of beat changes that, on paper, shouldn’t work, but somehow, Tyler makes it feel seamless. 

The track starts off with GloRilla’s unmistakable energy, and from there, it builds. GloRilla and Sexyy Red bring their A-game, creating an all-star ensemble with Lil Wayne coming through with a verse that reminds you why he’s still one of the best in the game, a veteran whose guest verses feel like clockwork. The whole vibe of “Sticky” is one of carefree chaos, with Tyler pulling off this wild balancing act of blending genres, defying expectations and still creating something that somehow fits into the wider radio landscape. 

Tyler’s line “B****, I am the better me” is like a personal manifesto for an artist who’s been at the top of his game for years now. He’s claiming his space in the rap world and asserting his dominance. And yet, despite that cocky energy, there’s also a hint of self-awareness in it—Tyler knows he’s not just another rapper; he’s a full-on force, a chameleon who can mold his sound to whatever the moment calls for.

Tyler’s evolution as an artist has been something to watch, and with “Sticky,” it feels like he’s finally cracked the formula for a hit song that has everything you love about his style but still appeals to the mainstream. It’s bold, it’s loud and it’s unapologetically Tyler— no wonder it’s become one of the most memorable tracks of the year. “Sticky” isn’t just a radio-friendly banger; it’s a declaration of Tyler’s place in the rap game, and it feels like the culmination of everything he’s worked towards, culminating in a track that’s impossible to ignore.

2. Kendrick Lamar – “euphoria” 

Sure, “Not Like Us” was what the culture was feeling, and it made for one hell of a party; but it’s the kind of party that leaves a weird feeling in my gut afterward. “Meet the Grahams” falls into a similar category for me—it has some of the most brutal moments of the entire beef, especially in the final verse, but the third verse hasn’t aged as well. Since it wasn’t technically a hit, it doesn’t qualify, and even though I respect how dark and replayable it is, it’s on the fence. But  “euphoria?” That’s a different story. 

This was the Kendrick Lamar diss I was waiting for—proof that when he steps up, he doesn’t just deliver, he dominates. He tore through his opponent without sacrificing an ounce of artistic precision. Cardo’s production is masterful, from the Teddy Pendergrass sample that kicks things off to the bold horns in the second half, all the way to that menacing beat switch that slams down like a hammer. And lyrically? This is the first rap song in years that I’ve memorized start to finish, which says a lot. The entire beef had its share of iconic moments, but “euphoria” was different—it felt powerful, sharp and undeniable. 

Kendrick packed it with quotable lines, showcased his razor-sharp wit and delivered the kind of intensity that made people rethink what a diss track could be. It was a reminder that battle rap isn’t just about skill—it’s about strategy, presence and knowing when to strike. And as someone who believes that technical ability alone isn’t enough to win a rap feud, seeing Kendrick go to war and prove every doubter wrong was exhilarating.

I could go on for hours about the layered punchlines, triple meanings and the battle rap finesse on display. And that’s not even getting into the street references—though as a Toronto resident, I know better than to spell those out. But the moment I really knew “euphoria” had shifted the culture? The night after it dropped, I went to karaoke, and someone picked a Drake song. The DJ immediately started roasting them, calling out “euphoria,” and the entire room laughed. I watched the shift happen in real time, and that’s something we might never see again. If there’s one diss track that deserves to be in the hall of fame, it’s “euphoria” —and it was so close to being my favorite hit of 2024.

1. Vince Staples – “Étouffée”

If I had to pick a number one favorite, it would be something from Vince Staples… but Étouffée is on another level. It’s the kind of song where I get why it wasn’t a mainstream crossover hit, but it still feels wrong that it wasn’t. The beat is stripped-down and ominous, built around a sparse knock and eerie synth wobbles, setting the stage after the sound of barking dogs and what could be either fireworks or gunshots—the fact that you can’t tell the difference is part of the point. 

Then it all locks into a killer groove, with a hook that grabs you instantly and only gets more addictive the more you hear it—whether it’s summer or winter, because Vince’s music transcends seasons, even with the New Orleans bounce breakdown near the end.

It’s a dark track, unsettling in a way that feels both personal and eerily prophetic. It’s deeply rooted in place, immersed in an environment filled with violence, yet it’s home—Vince knows exactly what he can and can’t change. The line “finding beauty in the darkness like Rembrandt” is one of those classical art references that hit you with the realization that Vince is almost always the smartest guy in the room, even when he keeps things understated. 

And while the song has a celebratory energy, danger lurks around every corner. He knows he could’ve easily ended up on a t-shirt, just another lost name, but he also sees the bigger systemic nightmare. One of the most striking lines is “the ghetto is a mismatch”—he loves the trap that raised him, but living there is as bleak as the hell he fears he’s bound for, especially when corporate interests profit from it while never actually understanding it. 

His label never got Big Fish Theory, but Vince stuck to his vision… at least until the system inevitably comes to tear it all down. There’s a metatextual edge to it too—Vince has always mocked the white fans who show up to his concerts without ever grasping the deeper layers of the oppression they’re complicit in. Still, he knows what it takes to survive. “Riding the stick like witchcraft” is a ridiculously clever bar, especially within the album’s themes of women and how the history of witch persecution is deeply tied to racist oppression. 

But the bigger question he poses is: when this reality starts hitting everyone, what are you going to do about it? I’ll admit that in some years, my number one pick felt like an obvious, undeniable choice. This wasn’t one of those years. And yet, in 2024, I couldn’t imagine anything else in this spot.