Top 25 Pop Albums of the 2010s, photos by Philip Cosores and Heather Kaplan

Join us all month long as we celebrate the best music, film, and television of the decade. After revealing our Top 100 Albums of the 2010s, we’re now getting a bit more specific with genre-by-genre breakdowns. Next up, our Top 25 Pop Albums of the 2010s.

Nailing down the defining sounds of a decade is a hell of a lot easier once you’ve actually left it. It’s through the absence of certain sounds in the present that our image of the past forms — the ‘80s became the Eighties in our cultural rearview once everyone stopped pouring gated reverb and seven layers of synth on every single track. See, pictures of the past get colored in by whatever crayons were popular and critical fashion has left outside the box.



That’s one of the reasons why this decade’s pop music has been so hard to pin down. The 2010s was the era where nothing got left out. Maximalist pop, trap, country, electro, indie, funk, Nancy Sinatra-style torch singing: Everything got swirled together into singularity and fears around major labels versus indie labels and authenticity in comparison to the contrived ceased to exist. The rockists became poptimists while the poptimists mourned the death of the monoculture. All the while, everyone sat online, furiously firing off their opinions about the same 10 things at the same time while (by some kind of Satanic pact) Ed Sheeran became a household name.

Grimes, photo by Heather Kaplan Lorde, photo by Ben Kaye Taylor Swift, photo by David Brendan Hall Janelle Monáe at Lollapalooza 2019, photo by Heather Kaplan Katy Perry, photo by Gretchen Bachrodt

Looking back on the biggest and best pop albums of the last decade, it’s clear that female artists dominated the landscape, both commercially (Hello, Adele!) and critically (Grimes, before she got Elon’s musk on her). And while the ladies have long been the face of pop music, in the last decade, artists like Janelle Monáe, Lorde, and Taylor Swift made a case for themselves as auteurist musicians in the molds of, say, Prince and/or Joni Mitchell. In other words, they were fiercely in control of their artistic vision.

There’s more than just gender that unites our top pop albums of the decade. What these musicians share is a willingness to play with contradictions: to make music that’s deeply personal and insular yet speaks to millions of strangers (Robyn, Lorde); to write quiet songs that bang as hard as club anthems (Billie Eilish, Grimes); to weave different genres together to create a distinctive sound (Rihanna, Taylor Swift); to play with different personas and identities (Janelle Monáe, Lana Del Rey); and to go for broke with big anthems (Katy Perry, Lady Gaga).

Billie Eilish at Austin City Limits 2019, photo by Amy Price Lana Del Rey, photo by Philip Cosores Lady Gaga, photo by Philip Cosores Robyn, photo by Philip Cosores Paramore, photo by Ben Kaye

The pop music of The 2010s was both retro and futuristic: You could picture Lana Del Rey crooning for a crowd of holograms in a William Gibson novel while Art Angels and Dirty Computer both sound like the sort of music that people in the ’80s thought we’d be listening to in the year 3000. These are albums with hooks so big you need to drive with the top down while listening to them. What’s more, each of these records pulls off the magic trick that all great pop albums do: They were made to be consumed by everybody, only they feel like they were made just for you.

–Ashley Naftule

Contributing Writer

Click ahead to see our Top 25 Pop Albums of the 2010s…

25. Tegan and Sara – Love You to Death (2016)

From the Archives: “Love You to Death trucks in the kind of synth-washed confessionalism that powered Heartthrob. These are tight pop cuts that pack a swift punch before disappearing in a cloud of glitter confetti, showcasing ’90s keyboard sounds and drum machine beats. These indie pop stars didn’t sell out. They were just waiting for the mainstream to catch up.” Read Katherine Flynn’s full review.

24. Kate Bush – 50 Words for Snow (2011)

From the Archives: “That voice soars once more on ‘Among Angels’, noting Bush’s deeper register, and along with the glassy, frail piano, she sings of seeing angels shimmering ‘like mirrors in summer.’ Her own dazzling existence is contained within that poetic line, but it also serves to remind that words mean just as much to her as the musical atmosphere she creates. While looking for 50 Words for Snow, she has found 50 other original ways to express herself effortlessly, creating another intriguing piece of work. In 1980, she sang that ‘December Will Be Magic Again’; in 2011, she has made it so.” Read Siobhán Kane’s full review.

23. Julia Holter – Have You in My Wilderness (2015)

From the Archives: “Whether building off of torch songs (‘Betsy on the Roof’), galloping country (‘Everytime Boots’), or jazz fusion (‘Vasquez’), Holter takes on each style’s trappings (a smoky tone, a smirk, a clipped syllable) to dive into unique, personal depths. She doesn’t convey specific messages or exhaustively detail narratives, but to listen to each song on Have You in My Wilderness is to inhabit a feeling in all of its pain and all of its glory.” Read Adam Kivel’s full review.

22. Kali Uchis – Isolation (2018)

From the Archives: “Uchis builds off a classic foundation of soul, R&B, funk, and blues, bursting outward in dozens of innovative contemporary directions. On Isolation, she never sounds trapped in another era; she sounds free and inventive. And with nary a dud to be found among its 15 tracks, Isolation deserves a spot in the dance pop and neo-soul pantheons.” Read Kayleigh Hughes’ full review.

21. Perfume Genius – Too Bright (2014)

From the Archives: “Despite its heightened complexity, Too Bright still fosters an intelligible world where Hadreas can bridge the distance between his vulnerability and self-assuredness. ‘Heart long desperate for just a little bit,’ he sings on the album’s closer, ‘All Along’. I don’t need you to understand,’ he goes on. ‘I need you to listen.’ How could you refuse?” Read Zander Porter’s full review.

20. Miley Cyrus – Bangerz (2013)

From the Archives: “Miley is digging to define who she is, and like any 20-year-old woman, she’s going to fuck up. Like any 20-year-old, she’s also got the urge to pretend that none of this is affecting her and to refuse to apologize or even take a step back. But, making this the focus detracts from the album. Too many critics are caught up in the media instead of the music. Sure, she’s tapping into hip-hop, but with Pharrell and Mike Will Made It, she’s also just employing the best producers in the game right now. Be more focused on that even at 20, Miley can open her scope to encompass country, hip-hop, ballads, and even the electronic impulses of today’s pop. She’s looking beyond herself, and though her steps may be gawky or unwieldy, the strides she’s taking still suggest a woman with fierce, interesting instincts.” Read Caitlin White’s full review.

19. Lykke Li – I Never Learn (2014)

From the Archives:“Most of the affecting moments on I Never Learn don’t really depend on the arrangements but tighten their grip with just the fingers of sentiment and conviction. “Love Me Like I’m Not Made of Stone” is almost tearful in its titular plea, with Li somehow able to hold the sorrow back from swallowing the song before it ends (the singer even loses some of the lyrics for the final chorus, as if she just can’t get all the difficult words out of her throat). It’s not the kind of song that makes you feel sorry for her but angry at the cause of her pain, while Li sings the song with the futility of a scream into the Grand Canyon, backed by the sparest arrangement on the album, aided by a tunnel of reverb that makes her sound omnipresent. It’s just perfect, and maybe Li’s best song yet.” Read Philip Cosores’ full review.

18. Ariana Grande – thank u, next (2019)

From the Archives: “These days, Ariana Grande’s worldview seems to be a little more messy; or at least she has allowed her public image to get messier. Of course, the album is a highly polished product and not some diary page. But it feels lived in, truthful, authentic. thank u, next is a personal statement from a generational talent who is still only 25 years old. And maybe that’s the most exciting part: Ariana Grande is just now entering her prime.” Read Wren Graves’ full review.

17. Carly Rae Jepsen – Emotion (2015)

From the Archives: “Few artists have taken a logarithmic hit like ‘Call Me Maybe’ as a sign to push even further, to make something better, more human, and more electric. But Jepsen is the kind of singer who thrives on the stakes that unapologetic pop music offers. Everything lives or dies on a glance or a kiss; desires grow tall and come crashing down hard. Whether she gets what she wants or she goes home broken, Emotion finds life in the wanting itself.” Read Sasha Geffen’s full review.

16. Rihanna – ANTI- (2016)

From the Archives: “Anti is an example of one of the biggest pop stars in the world subverting expectations by releasing an album of disparate styles, ranging from old-school soul and dancehall to funk and psych rock. Few tracks seem tailored to the radio. There’s nary a ‘Diamonds’ or ‘Love the Way You Lie’, let alone a ‘Bitch Better Have My Money’. Instead, Rihanna made an album with a minute-long approximation of the most recent Thundercat record and a cover of a Tame Impala song not six months old. Up to 2012, Rihanna released albums almost annually. Now that it’s been over three years without her, she has made it clear how vital she is to the current state of pop music. Anti takes risks and disregards convention in a way that only a true superstar like Rihanna could pull off.” Read David Sackllah’s full review.

Click ahead to see more of our Top 25 Pop Albums of the 2010s…

15. Christine and the Queens – Chris (2018)

From the Archives: “Chris makes my passionate queer, little heart beat wildly. It’s groovy and funky and sultry, and it takes things seriously while still being joyful. It encourages freedom of form, in the sense of both body and art. It’s the perfect second album for Christine and the Queens, and I can’t wait to see what Letissier does next.” Read Kayleigh Hughes’ full review.

14. HAIM – Days Are Gone (2013)

From the Archives: “Inevitably, that’s what Days Are Gone comes to represent: an outfit who’s only now figuring out its already-sold brand. It’s a conflict that’s challenged this year’s other hyped rookie outfits, like Disclosure, CHVRCHES, and AlunaGeorge. What separates the coven of sisters from their UK contemporaries, however, is that their debut doesn’t define them explicitly. It balances expectations with mystery, aligning their identity with a roulette of vantage points. They could still go anywhere, do anything, and be anyone — proving that days aren’t gone, they’re just beginning. How exciting is that?” Read Michael Roffman’s full review.

13. Katy Perry – Teenage Dream (2010)

From the Archives: “Like 1989, Teenage Dream became a lifestyle album. It was everywhere then, it’s everywhere now, and Katy Perry has yet to truly follow it up. But really, how could she? The juggernaut blockbuster became the first album in history by a female artist to produce five No. 1 singles, the third album in history to produce eight top-five hits, it won the International Juno Award, it was repeatedly certified Platinum, it’s a colossal achievement. Today, people tend to forget that — particularly after her recent spate of singles (and albums, all things considered) — but all it takes is one listen to any of its handful of singles. This is anthemic pop, the stuff for the rafters, and these songs are never coming down.” –Michael Roffman

12. Paramore – After Laughter (2017)

From the Archives: “The truly interesting conflict for Paramore on After Laughter comes not in there being yet another lineup change, but rather the band’s juxtaposition of angsty lyrics and cheery pop. ‘Throw me into the fire/ Throw me in, pull me out again,’ Williams sings atop the insistent bass drum and slinky bassline on the bridge of ‘Told You So’. No matter its rocky moments, After Laughter exhibits the enduring trait that makes Paramore so appealing: Even when the situation is dire and emotions are running high, they tell it like it is with smiles on their faces. You’d be forgiven for missing the seriousness on After Laughter for just how much damn fun it is.” Read Brice Ezell’s full review.

11. Lady Gaga – Joanne (2016)

From the Archives: “Gaga isn’t naked on Joanne, but she has stripped off the flank steaks and Auto-Tune. The result is a work that may not close any circles, but instead start the pattern of a new shape: something weird, but compelling, and largely authentic. Gaga may have an Artpop in her catalog, but now she has a Joanne too, and that’s a good thing.” Read Zack Ruskin’s full review.

10. St. Vincent – MASSEDUCTION (2017)

From the Archives: “The sense with MASSEDUCTION is that Annie Clark puts all of herself into her creations. It was easy before to associate this with a face. It was enough that a video clip of her telling whoever watching that she loves them could go viral. But slowly we’ve associated St. Vincent with all of the complexity that is Annie Clark, turning her into one of the most complex, challenging, and fascinating figures in contemporary music. It’s not her goal to show that she’s worthy of being spoken of in the same breath as the great masters. But it’s her willingness to follow whims, to push herself, and to take her audiences along for the ride that does it for her.” Read Philip Cosores’ full review.

09. Sky Ferreira – Night Time, My Time (2013)

From the Archives: “Back in 2013, I literally wrote in our year-end write-up for Night Time, My Time: ‘In a year’s time, I’ll probably mutter something like, ‘You know, we really should have put Sky Ferreira’s album higher.’ To quote Jeff Goldblum, ‘God, do I hate being right all the time.’ For that list, we ranked it at No. 49, which was a pandering way to suggest it was important without doing any due diligence to truly support it. Seven years later, it’s never left our rotation, Ferreira’s brand of alternative pop sounding better and better as ’90s nostalgia takes over our 20-year obsession with the ’80s. A Rubik’s cube of influences, ranging from Suicide to Bauhaus, Siouxsie and the Banshees to Blondie, Ferreira’s debut remains a gateway to the fringe and an introduction to an enigma. So, if you haven’t caught up, better late than never.” –Michael Roffman

08. Lana Del Rey – Ultraviolence (2014)

From the Archives: “That negative space is its own kind of violence. Lana Del Rey steps into the shadows it leaves. She has power there, whispering old secrets, giving voice to characters who never got to speak for themselves. She counters a world in which “rape” is not even considered in the same category as ‘ultraviolence’ by dragging up the second word and blaring it in capital letters below a photo of herself gazing enigmatically at the camera. She does her violence to the last century’s culture as we’ve rendered it in pixels the second time around. She is exactly the villain our history needs.” Read Sasha Geffen’s full review.

07. Grimes – Art Angels (2015)

From the Archives: “’Every morning there are mountains to climb, Grimes sings on a reworked version of ‘Realiti’, which first saw the light of day in demo form earlier this year. ‘When I get up this is what I see/ Welcome to reality.’ Her lyrics stretch broad enough to curtain anything, but the fractured wisps of her voice coil around one feeling in particular: the wonder at being subsumed into something bigger than yourself. After Visions, the only thing Grimes could do was to grow as big as the landscape around her. Here’s her mountain.” Read Sasha Geffen’s full review.

06. Taylor Swift – 1989 (2014)

From the Archives: “Now, Swift has moved from Nashville to New York City and shed every last country gene she had left. 1989 is a glitzed-up pop powerhouse about living in the big city, leaving old selves behind, and, yes, dating people you probably really shouldn’t be dating. It’s not that Swift is making the same mistakes she promised herself she’d stop making in ‘Trouble’; it’s more like she’s accepting that making mistakes is a necessary part of the fucked-up charade we call adult life.” Read Sasha Geffen’s full review.

Click ahead to see the very best of our Top 25 Pop Albums of the 2010s…

05. Adele – 21 (2011)

From the Archives: “Songs about love and its subsequent demise are hardly a thing of rarity, but nonetheless Adele’s sophomore album, 21, breathed new life into the category. 21 is a sobering, yet crucial, reminder that it’s normal for the grieving process of a lost love to last before, during, and after the official severing of ties. Throughout each of the album’s 11 tracks, Adele (then at the tender age of the album’s title) reassures us all that it’s okay to feel messy, mournful, wrathful, and downright blue when things don’t go the way we hoped with a certain someone. Through her lyrical rawness, Adele has created a catharsis that has stood the test of time.” –Lindsay Teske

04. Billie Eilish – When We Fall Asleep, Where Do We Go? (2019)

From the Archives: “Whatever missteps there may be, Eilish’s commanding, yet vulnerable, performances easily overcome them to create one of the best debut albums of the young year. When We All Fall Asleep, Where Do We Go? is the tongue-in-cheek bad-guy album Taylor Swift wished she had made with Reputation. While she hasn’t quite inherited the pop monarchy from Swift and the other elites, Eilish’s debut makes a strong case that it won’t be long until we see her in a crown.” Read Christopher Thiessen’s full review.

03. Janelle Monae – Dirty Computer (2018)

From the Archives: “Monáe is, as always, a true master of melding genres, influences, and styles. Her central themes of identity and internal conflict are as tangible on Dirty Computer as they ever have been. Songs like the eponymous ‘Dirty Computer’, ‘Pynk’, ‘Don’t Judge Me’, and Make Me Feel alternate between sex-positive bravado and more intimate confessions about fearing intimacy and vulnerability. Dirty Computer is a call for all of us to be our true and authentic selves, but especially women, queer people, and people of color. Monáe doesn’t want to eliminate the oppressor, but rather, help them understand why their views are wrong. Are parties more effective than protests in changing public opinion? Dirty Computer thinks they might be.” Read Katherine Flynn’s full review.

02. Robyn – Bodytalk (2010)

From the Archives: “Pop music has always made people move, but Body Talk saw Robyn officially bring the genre to the club. Whether heartbroken or simply operating with heart-on-the-sleeve candor, she made the dance floor a sanctuary and safe space. Under the strobe lights, the emotional outpouring was physical — in the sweat and in the tears, in the way our figures twist and dip. Beneath the glittering disco ball, we can ruminate in isolation, in the homes of our own bodies, and yet still feel part of a larger community of humans just looking to shimmy the night away. In a decade that’s been marked by an influx of both communication breakdowns and advances — we’re all hyper-connected through the Internet but still so damn lonely — Robyn taught us to listen to our hearts and find comfort in its rhythmic pulse.” –Lake Schatz

01. Lorde – Melodrama (2017)

From the Archives: “On Melodrama, Lorde turns that eye-rolling sophomore wallflower into something more grandiose, like a dryly funny sitcom narrator or the musical equivalent of the record-scratch/freeze-frame “Yup, that’s me. You’re probably wondering how I got into this situation” meme. The 11-song album is more “drama” in the screenplay sense than anything else, probably because as Frank Ocean is for R&B, Lorde aspires to be pop’s poet laureate more than anything else. Closing her teeth around a liquor-wet lime on ‘Sober’ or overthinking a paramour’s punctuation use on ‘The Louvre’ (as in ‘They’ll hang us in the…’), she reaches out to the dour-pop audience with images and details they can actually recognize. After all, who hasn’t second-guessed a dreaded period in a one-word text they received?” Read Dan Weiss’ full review.