From left: Kneecap, Rachel Chinouriri, Lola Young and English Teacher.
Illustration by Lyanne Natividad
What does it take to deliver humanity, wonder and passion at a time when music is being released at a greater pace and volume than ever before? For emerging artists, many of whom are still finding their voice and way in the world, it’s a question that has potential to become a heavy burden, a reminder that navigating the industry itself can often feel like a minefield.
But, despite it all, these acts continue to shine in the face of adversity – and 2024’s musical output is dazzling proof of that. In the U.K. and Ireland, it felt fitting that three quarters of the nominees for the prestigious Mercury Prize were for debut albums. It’s been a year where, more than ever, music felt like a space where newer talent could share the spotlight with their heroes, if not give them a run for their money when it came to breaking trends.
Memorable statements were made. Lyrical declarations of hope for the future were backed by multidimensional pop arrangements; poignant reflections on modern life served as a means for catharsis; visions of contemporary pop leapt to new heights. The likes of English Teacher, Griff, Berwyn and Rachel Chinouriri all made confident bids to capture the hearts of new audiences.
These progressive, sonically experimental names challenged listeners to pause the world around them and embrace the feeling of finding a new record to savor and return to. In their fearless ambition, a slew of breakthrough LPs set the tone for where British and Irish music might go next.
Here are the 10 best U.K. & Ireland debut albums of 2024, presented alphabetically by artist.
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Berwyn, Who Am I
Occasionally, listening to Who Am I felt like hearing a loud alarm with a signal you couldn’t escape. This sprawling collection was zoned in on Berwyn’s lifetime of struggle (immigration issues, a disruptive upbringing) and how he hoped his pain might dissipate, the sound of his voice rich and powerful over bassy arrangements – music that rewards close attention in a time where that is increasingly rare. – SOPHIE WILLIAMS
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Big Special, Postindustrial Hometown Blues
The Midlands duo isn’t the first on these shores to tackle the abject apathy of our political situation and detail the brutal impact on the working classes, but Big Special’s debut taps into new ideas and sounds. There’s dashes of the blues and soul in these anthems of frustration and dejection, notably on “Desperate Breakfast.” – THOMAS SMITH
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English Teacher, This Could Be Texas
In September, the Leeds group did a rare thing by scooping the prestigious Mercury Prize. An indie band hadn’t won the prize since Wolf Alice bagged the award in 2018, but there were similarities: Both gigged hard and built meaningful communities during the early stages of their journeys. This Could Be Texas, English Teacher’s debut LP, is one of the finest the scene has produced in years, and showcased imaginative, emotive lyrics by lead singer Lily Fontaine. Start with the sharp “The World’s Biggest Paving Slab” and burrow in further from there. – T.S.
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Griff, Vertigo
Conformity is boring, and Griff wants no part of it. The rollout for her debut album Vertigo saw the Hertfordshire-born pop artist release the record as a string of EPs in the build-up to the full LP, reflecting her need to release and frame the records as she deemed fit. Vertigo examined her professional ascent amidst personal growth, and is best captured in “I Miss Me Too,” the album’s dizzying highlight. – T.S.
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Kneecap, Fine Art
This Irish rap trio toiled for years to become an near-overnight sensation. While its 2018 debut project 3CAG largely remains a cult concern, gleefully unfiltered follow-up Fine Art saw the group storm into mainstream consciousness, cartwheeling and cavorting its way to critical acclaim. Both the sound and subject matter of this thrilling LP held the ability to leave any fan, new or old, feeling ready to take on the world. – S.W.
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NewDad, Madra
The feeling of release – of clenching your fists and singing along with a soaring chorus – is an eternal pleasure, one rarely conjured better this year than by NewDad. The quiet power of this young Irish band’s celestial, distinctly shoegaze sound has only deepened with age and maturity, a fact amplified by Madra and its embrace of enthusiastic-yet-angsty guitars. – S.W.
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Rachel Chinouriri, What A Devastating Turn of Events
With a glittering pop sensibility and an assured, playful ’00s aesthetic, Croydon’s Rachel Chinouriri has grown up before our eyes. This glorious debut saw the singer-songwriter expand her sound in service of her ever-growing ambition, incorporating bright melodies in place of cool, muted electronica. The album’s grounding in some hard-won emotional truths made it accessible and immediate. – S.W.
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Nia Archives, Silence Is Loud
For the past few years, Nia Archives has been banging the drum – very loudly – for the U.K’s jungle scene, with the Bradford-born, Leeds-raised DJ and producer championing its inclusivity and reflection of underground culture. It might appear a risk that her debut LP Silence Is Loud appears so heavily influenced by pop and rock songwriting structures, but it’s one that has paid off. “Cards On The Table”, “Out Of Options” and “Unfinished Business” suggest that a happy medium can be reached, giving the LP both broad appeal and credibility within the scene she loves so much. – T.S.
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Sprints, Letter To Self
Sprints made its name with a live show that is both ferocious and joyous; the Dublin band puts the work in early to refine its craft and bring its A game to every performance. Letter To Self is a rare debut that retains its energy in the recorded form, largely led by Karla Chubb’s candor as a songwriter and vocalist. “Cathedral,” for example, tackles the complexity of reckoning a queer identity with an upbringing in the Catholic church, and Chubb delivers each line with heart and compassion to the listener and its subject. – T.S.
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Whitelands, Night-bound Eyes Are Blind to the Day
On the glorious debut from London shoegazers Whitelands, surprises could be found around every corner – from moments of pulsating, harsh noise to bubbling dreampop flourishes. The record arrived as a capper to a recent period of resurgence for the genre, and deftly showed that still so much life and color can be drawn from any complicated pedal set-up. – S.W.