The Best Albums of 2026—So Far

Kiss Big, Ailbhe Ready
Release date – January 30

Written at the end of a long-term relationship, Irish indie folk artist Ailbhe Reddy’s latest album, Kiss Big, is a whirlwind of emotions, most notable among them is heartbreak. Much of the album focuses in on Reddy’s lyrics, voice and an acoustic guitar, and it doesn’t need much more, thanks to Reddy’s evocative diaristic songwriting. There are also spots throughout the album that showcase impressive musicianship, like at the end of “That Girl,” which builds into something really exciting, and the emotional outburst of the chorus in “So Quickly, Baby.” Kiss Big also excels in how concise it is. At just nine songs, Kiss Big is only 34 minutes long, a perfect amount of time for Reddy to showcase her finely-honed songwriting skills, share her heartbreak, and leave listeners wanting more. – Erin

Everywhere Isn’t Texas, August Ponthier
Release date – February 13

It’s safe to say that the process of making Everywhere Isn’t Texas, August Ponthier’s debut studio album, wasn’t what the singer-songwriter was expecting. After releasing three EPs, Ponthier was dropped by their record label, Interscope, while starting to craft the LP. Then, a few months before the album was released, Ponthier announced that they’re non-binary, and was changing their name to August. Although it was created during this intense period of transition, it’s not referenced too frequently in Ponthier’s lyrics, except in songs like “Handsome,” where the songwriter sings about how they don’t know if they “wanna be with you, or be you” about a handsome boy. It’s a well-crafted, well-written album that I’ve turned to time and time again throughout the year, and I’m sure that I will continue to do so for the rest of 2026 and beyond as well. – Erin

Wuthering Heights, Charli xcx
Release date – February 13

While the current focus is understandably on Charli xvx’s upcoming album Music, Fashion, Film, her companion soundtrack for Emerald Fennell’s Wuthering Heights shouldn’t be overlooked. Created alongside longtime collaborator A.G. Cook and Finn Keane, the project marks Charli’s first full dive into film scoring, and it’s thrilling to watch an artist continue to expand her creative world in real time. One of the things I’ve always admired most about Charli is how transparent and genuinely enthusiastic she is about her artistic process, making every new era feel like an invitation into her evolving vision. The soundtrack also produced some of the year’s biggest viral moments, beginning with its lead single featuring John Cale of the Velvet Underground, a dream collaboration for the lifelong fan. “Dying for You” ultimately became the breakout favorite, but the entire soundtrack stands on its own as a cohesive listening experience. It’s far more than a companion piece to a film; it’s an album I’ve returned to long after the credits rolled. – Jesse

The Refrigerator, Remember Sports
Release date – February 13

From the first minute of The Refrigerator, Remember Sports’ fifth studio album, I was hooked. The album’s first track, “Across the Line,” is an instant ear worm, and leads into “Bug,” one of my favorite songs of the year with an addictive chorus that’s so hard to not sing along to, or air drum to on your car’s steering wheel, which I’ve done far more than I’d like to admit since the album dropped in February. Please don’t judge me if you see me in Chicago traffic screaming along to this energetic album, you’d do it too if it was blasting through your speakers. Almost instantly accessible, The Refrigerator is a pop punk gem, but it’s so much more than that—with audible influences from everything ranging from twangy country to fast and hard punk classics, it’s not only one of the most fun albums of the year, so far, it’s one of the best. – Erin

luck …or something, Hilary Duff
Release date – February 20

I’ve been a fan of Hilary Duff as long as I’ve understood what it’s like to idolize someone. Posters from the Lizzie McGuire era adorned my walls as a child, and I was truly obsessed with her debut album, Metamorphosis, when I was nine. So it’s safe to say I’ve been a fan of hers for basically all of my conscious life. But to be totally honest, I didn’t expect her new album, luck… or something, to hit me as hard as it did. Whether it’s because she decided to collaborate with her musician/songwriter/producer husband, Matthew Koma, or because she was hungry for a big return following 11 years off from music, or maybe a bit of both, this new project and subsequent world tour has become a triumph of Duff’s career. Tackling tough topics like family estrangement (“We Don’t Talk,” “The Optimist”) the ups and downs of marriage (“Roommates”) or simply coming to terms with aging (“Growing Up,” “Adult Sized Medium”), Duff navigates difficult, vulnerable topics with an ease and gracefulness, never revealing too much but still being the effortlessly relatable icon that millennials have adored for decades. – Kristin

Kiss All the Time. Disco, Occasionally., Harry Styles
Release date – March 6

Harry Styles has reached the rare point in his career where there’s an incredible amount of trust between him and his audience. Every release feels like an event, not because fans expect perfection, but because he’s consistently delivered thoughtful, rewarding albums that continue to evolve his sound. Kiss All the Time, Disco Occasionally. keeps that streak alive. Reuniting with the same close-knit collaborators behind his previous record, Harry leans into shimmering disco, soft rock, and irresistibly danceable pop without abandoning the warmth and intimacy that have become his signature. While the sonic direction isn’t a dramatic departure, it feels like a natural next step, capturing an artist who seems more comfortable in his own skin than ever before. The album radiates a sense of freedom, celebrating nights out, connection, and living in the moment. Listening to it, I couldn’t shake the feeling that Harry made this album as much for himself as he did for his fans. That joy is infectious, and it makes Kiss All the Time, Disco Occasionally. one of the year’s most re-playable pop records. – Jesse

Cruel World, Holly Humberstone
Release date – March 10

There is a big chance that, no matter what incredible releases come our way this year, I will continue placing Holly Humberstone’s Cruel World at the top. Timing was definitely a key factor in me absolutely falling in love with this album, but that can only happen when there is enough to love and enough to relate to in a project. Holly’s journey to healthy and secure love has been documented through her discography, with her first two albums working as proof of the growing pains (and just pains in general) of falling in and out of love as a young girl, and Cruel World is the culmination of her, now 26-years-old, figuring out what real love is, and how she was never the problem. Throughout her discography, there’s been a switch in style and lyricism, as Holly and her long-term collaborator and producer Rob Milton experimented and figured out her sound. In this third album, they seem to have found their own sweet spot between alt. pop and indie rock, making Cruel World work as the beginning of what I think will be Holly Humberstone’s most impressive and fascinating era yet. – Javi

Little Sticky Pictures, Girl Group
Release date – March 20

I feel like no matter what project Girl Group put out this year, I would want to add it to this list. They’ve become one of my favorite bands in the past year or so—their upbeat, electric, hyper-pop sound that makes their still short discography feel timeless, and Little Sticky Pictures is a perfect sample of their range and consistent message of both vulnerability and empowerment as young women in the industry Maybe due to the lack of a typical Hollywood-esque journey, or just the fact that they’re physically far away from the North American industry, there is a level of familiarity and sincerity that make listening to European indie artists feel more genuine for me. I know the men in suits and record labels are still a part of it all, but acts like Girl Group seem less synthetically embellished, and I think the all-female five-piece have mastered the aesthetic of something right in between DIY and simple, and perfectly curated both sonically and visually. Although Little Sticky Pictures is short, with tracks that were mostly already released, I think it earned its place on this list as it continues to establish Girl Group as one of the most exciting bands today. – Javi

F.I.G, Naomi Scott
Release date – March 20

As someone who grew up watching the Disney Channel, it’s pretty odd that I was not even slightly familiar with the lore behind the TV movie Lemonade Mouth, which aired on Disney Channel in 2011 and featured prominent tween figures like Bridgit Mendler, Hayley Kiyoko, and Naomi Scott (Scott later gained a leading role in the 2024 horror movie Smile 2, giving her credibility as an actress outside of working on several PG and PG-13 movies). F.I.G. is Scott’s debut album, and honestly one of the most impressive, fully realized debuts I’ve heard in awhile. Produced by Lido (Halsey, Ariana Grande) and Dev Hynes (Blood Orange, HAIM), F.I.G. is a sonically cohesive body of work that incorporates the shimmer and sensuality of ‘80s soft ballads and R&B, channeling Michael Jackson and Lionel Richie, and heroes of Scott’s youth—Robyn and Jessie Ware. Whether it’s the dreamy opener “Hellbent,” the synth-y “Sweet Nausea,” or the undeniably catchy, sticky sweet “Cherry,” Scott has proved herself as a worthy child star-turned-musician on F.I.G. – Kristin

Ü, Underscores
Release date – March 20

Underscores’s third album U is pure pop perfection. Underscores, or April Harper Grey, lays out a meticulously built world through her music, and it’s very reminiscent of fellow producer-musician extraordinaire PinkPantheress. I anticipate her trajectory to stardom following a similar path. In Chicago, I was lucky enough to be an attendee of, in Grey’s words, her “biggest show yet” at 4,000 people. While Grey has just wrapped the North American part of her album’s tour, Galleria, she’s set to be the opener for Charli xcx’s US Music, Film, and Fashion Tour in the late summer/fall. My expectations were exceeded at the show—a seemingly simple set-up of Grey herself and a video backdrop. While Underscores can be categorized broadly as hyperpop, her innovative experimentation and her finesse across genres make her someone to watch. Her tickets won’t be affordable for long. – Mendy

THIS MUSIC MAY CONTAIN HOPE., Raye
Release date – March 27

When you actually think about the scope of RAYE’s fantastical sophomore album THIS MUSIC MAY CONTAIN HOPE, it’s actually the antithesis of what’s “popular” in contemporary music. But that’s exactly what makes this body of work so impressive: it’s entirely its own thing, spanning genres of jazz, pop, and R&B: it features a full orchestra, cameos from THE Hans Zimmer, and even a bit of scatting from Raye herself: whose influences surpass her age at just 28-years-old. “Nightingale Lane” is the kind of song that sounds like a memory—the kind you can’t quite place, but sits in your chest anyway, even if it’s describing an experience you’ve never been through. “I Know You’re Hurting” is the kind of song that makes you wonder how she got access to a feeling you thought was entirely your own. And then there’s the song that DID go viral—”WHERE IS MY HUSBAND!”—which was RAYE’s first chance to get fans intrigued by this project when she chose it as the lead single—done exceptionally well. In a world where artists are constantly told they have to be signed to major labels for any chance at success, RAYE’s choice to release independently is why it’s so impressive: a project of this scope, which has been critiqued for its excessiveness, would have a tough time getting approval from the label execs who care more about TikTok metrics and less about an artists’ vision. – Kristin

Sexistential, Robyn
Release date – March 27

At this point, I hope it’s obvious to everyone that Robyn is one of pop music’s greatest living artists: you don’t become the blueprint for artists like Charli xcx, Zara Larsson, Tove Lo, and countless others by accident. So when she finally returned with Sexistential, it immediately became one of the year’s most anticipated albums. The title track perfectly introduces the record, pairing an irresistibly danceable beat with lyrics that capture the absurdity of modern dating and the complicated realities of womanhood. That’s always been Robyn’s gift. Few artists can write songs that are this emotionally precise, whether she’s singing about the joy of going dancing or the deeply personal experience of becoming a single mother through IVF, while somehow making you want to throw your hands in the air at the same time. Longtime fans were also rewarded with the fully realized version of “Blow My Mind,” a song that had lived in Robyn lore for years before becoming the theme for Margot’s Got Money Problems. Seeing Robyn open for Harry Styles’ Together Together Tour only reinforced how timeless her music is. Sexistential proves that no one balances vulnerability and euphoria quite like Robyn. – Jesse

Middle of Nowhere, Kacey Musgraves
Release date – May 1

In my review of Middle of Nowhere, I wrote that this is Kacey Musgraves at her most grounded, and after months of living with the album, I only believe that more. Rather than chasing another Golden Hour or reinventing herself for the sake of it, Kacey leans into the kind of songwriting she’s always done best: honest, observant, and quietly profound. While the album is rooted in country, she continues to weave in the folk, pop, and subtle Mexican influences that have shaped her sound over the past several years, making it feel both familiar and refreshingly new. Songs like “Dry Spell” showcase her signature wit, while tracks like “Loneliest Girl” reveal a vulnerability that never feels performative. The collaborations with Gregory Alan Isakov, Miranda Lambert, Billy Strings, and Willie Nelson all feel purposeful, enhancing the album without ever distracting from Kacey’s voice. More than anything, Middle of Nowhere celebrates the beauty of life’s quieter moments, reminding us that growth doesn’t always come with fireworks. In an era where so many artists are trying to outdo themselves, Kacey succeeds by trusting herself, delivering one of the year’s warmest, wisest, and most rewarding albums. – Jesse

Midnight Sun: Girls Trip, Zara Larsson
Release date – May 1

Remix albums are nothing new, but Zara Larsson proves there’s still plenty of room to reinvent the format with Midnight Sun: Girls Trip. Rather than simply adding guest verses to familiar tracks, each collaboration feels intentional, giving the songs new energy and, in many cases, entirely new identities. Whether she’s teaming up with global icons like Shakira or introducing listeners to exciting newer voices like ELI, every feature feels carefully matched to the song. Standouts like “Blue Moon,” featuring Kehlani, don’t just revisit the original, they elevate it, bringing out emotions and textures that weren’t there before. Instead of feeling like a post-release victory lap, Girls Trip expands the world of Midnight Sun and gives fans another reason to stay immersed in it. We’re still very much living through a Midnight Sun summer, and this remix album only reinforces how strong and versatile the original project really is. Zara could have taken the easy route, but instead she created a companion album that stands confidently on its own and further cements Midnight Sun as one of the defining pop releases of the year. – Jesse

Dancing On The Wall, MUNA
Release date – May 8

MUNA has cultivated one of the most devoted fan bases in modern indie pop, and Dancing on the Wall is exactly the kind of album that rewards that loyalty. While the trio has always had a knack for writing emotionally sharp songs wrapped in irresistible hooks, what impressed me most this time around is just how much they’ve grown as producers. Every synth, guitar, and vocal layer feels intentional, creating a record that’s expansive without ever losing the intimacy that makes MUNA so special. The title track is an immediate standout, capturing the euphoric feeling of letting go while still carrying the emotional complexity that’s become the band’s signature. Elsewhere, “Eastside Girls” serves as both a love letter to and a snapshot of Los Angeles’ queer community, celebrating the people and spaces that have shaped MUNA’s identity without feeling overly nostalgic. Throughout Dancing on the Wall, MUNA continues to blur the lines between indie rock, synth-pop, and dance music, proving they’re just as comfortable crafting an arena-sized chorus as they are writing devastatingly personal lyrics. With each release, the trio becomes more confident in every aspect of their artistry, and this feels like their most fully realized album yet. – Jesse

counting horses, Tom Siletto
Release date – May 8

As in every list Staged Haze has ever made that includes me, I am here to fulfill my sad indie boy quota. This time around I bring you California-native Tom Siletto and his debut EP counting horses. I can no longer relate to sad breakup music (huge personal accomplishment that I will brag about) but I am nothing if not a sucker for hearing others use beautiful words and melodies to describe some of the most horrible emotions most of us know too well.

In the style of some of my all time favorites like Del Water Gap and Jeremy Zucker—and every other indie white boy to have ever released any song that I most certainly saved to my library—Tom’s acoustic guitars and indie pop production, along with his soft but emotionally powerful vocals, make counting horses a beautiful introduction into the flourishing world of Tom Siletto. His voice and songwriting skills shine through the entire EP, and I am so glad I kind of accidentally met him right before this release, because it led me to find one of my new favorite artists and one of my favorite projects of this year. – Javi