The 25 Best Canadian Songs of 2024 — Staff Picks

When it comes to Canadian music, it's hard to define a single sound. The country's artists have a cultural fluidity that allows many styles to coexist at once and sound totally natural together. That's why these songs — chosen not just for their popularity or chart success, but for their cultural impact and innovative approaches — cover so much musical territory. It's a music landscape that can be as diverse as the country itself.

Canada has become a second global hub for Punjabi music, it's growing as a Latin music mecca, there's a French rap scene that's burgeoning overseas, and Indigenous artists are propelling multiple different genres forward while gaining overdue recognition for their contributions. There are many female artists recognized as both pioneers and rising breakthroughs. And there are some bona fide pop stars pushing cultural contributions and making their presence felt on the charts.

Listen through our favourite songs of the year below, and check out our breakdown of the year-end Billboard Canada charts here for more on some of the biggest songs and artists of 2024.

Mustafa, “Gaza Is Calling”

Singer-songwriter-poet Mustafa’s Dunya confirms him as a real force on the global stage. As an artist and activist, his star-studded Artists For Aid concerts made him a crucial voice of empathy in a year that needed a lot of it. The compelling “Gaza is Calling” is a powerfully human depiction of Mustafa’s life-changing friendship with a boy from Gaza at his Toronto housing project. "Not even this love was a match for the violence we were up against," Mustafa said at the time. The song, sung partially in Arabic, evokes Palestine and his homeland of Sudan by featuring a signature instrument of both nations, the Oud. Assisted by imaginative production touches, his haunting and gentle vocal digs deep into the soul of the listener. — Kerry Doole

Cindy Lee, "Kingdom Come"

Cindy Lee broke all the rules this year. Lee — aka Patrick Flegel, of the cult Alberta post-punk band Women — released the two-hour Diamond Jubilee in the spring via a single, unbroken YouTube stream and a GeoCities download. Flaunting all conventional wisdom about distribution and building buzz, the album garnered a rave Pitchfork review and immediately rocketed Cindy Lee to a new level of popularity — only for Flegel to cancel his sold-out tour dates and retreat from the limelight.

With so much hype around the album, some indie music fans started to wonder whether it was that good, but Flegel’s opus really is a diamond in the rough. Flegel blends ‘60s radio pop song structures with experimental tones and textures, creating a record that seems both haunted by the history of rock and roll and beamed in from an alien planet. “Kingdom Come” is a showcase for the album’s best qualities: Flegel’s virtuosic guitar playing, a groove that recalls classic Motown, and lyrics that paint a picture of Cindy Lee as queen of the drifters. “I could’ve sworn a heard you call my name / over the melodies of yesterday,” Flegel sings in a sweet falsetto, and he could be singing about his own music — an angelic reworking of pop gone by. — Rosie Long Decter

Sidhu Moose Wala feat. AR Paisley and MXRCI, “Drippy”

Sidhu Moose Wala made international news by charting in the top 10 of the Billboard Canadian Hot 100 with "Drippy," one in a series of posthumous songs released this year, two years after his tragic murder in India. The formerly Brampton, Ontario-based artist was a key figure in the scene that evolved into the Punjabi Wave, which is making an impact worldwide, and this song fits right in. Over a hard-hitting trap beat from producer MXRCI, Sidhu and Canadian rapper AR Paisley (a signing to the Warner Music Canada/India imprint 91 North Records) trade verses in English and Punjabi and craft an energetic anthem that feels as fresh as any music released this year. It’s hard not to wish the artist was around to see it. — Richard Trapunski

Remastered feat. Halo & Mandyspie, “A.D.N”

Earlier this year, Montreal producer Remastered dropped SYMBIOSE, an album that lit a fire under the local music scene, showcasing a host of talented emerging artists. One of its standout tracks, "A.D.N," features Halo and Mandyspie, who bring their unique styles together for a collaboration that hits hard. With a forward-thinking beat and sharp lyricism, the track blends Halo’s introspective flow with Mandyspie’s fierce energy. It’s a reminder that Montreal’s French rap game is on par with anything happening internationally. Mandyspie is carving her space in an industry dominated by men, while artists like Halo keep pushing the envelope. — Yasmine Seck

Nemahsis, “Coloured Concrete”

Nemahsis’ full-length debut, Verbathim, is as confident as they come. With a distinct alt-pop style that showcases the Palestinian-Canadian’s formidable vocals, the album (produced in part by Drake's right-hand man Noah "40" Shebib) establishes her as a force in the pop landscape — one who can blaze her own trail after being dropped by her major label last year, as she has said in interviews, when it became politically inconvenient to have a vocal Palestinian artist on their roster. On album standout “Coloured Concrete,” Nemahsis sings about her ideal middle school bedroom, the one she would have decorated if her family had enough money. Nemahsis’ soaring chorus vocal reminds herself to slow down. Paired with a driving beat, “Coloured Concrete” gives the sense that she’s on her way to where she needs to be. — RLD

Snotty Nose Rez Kids feat. Electric Fields, “Red Future”

Haisla Nation hip-hop duo Snotty Nose Rez Kids, the musical pair of Yung Trybez and Young D, made their major label debut with Red Future on Sony Music Canada this year. Already a force of witty and incisive hip-hop, they used the new platform to craft something bigger and more epic than they ever could before, an ambitious new style of Indigenous Futurism brought to life. "I think that Red Future, to us, it just means being able to see yourself in the future," Yung Trybez said in a recent CBC interview. "For Native people, you have to think seven generations down the line. You got to think about your lineage." Many albums into an already exciting discography, the song also feels like a glimpse of SNRK's bright future. — RT

Celine Dion, “Hymne à l'amour” (Live aux Jeux Olympiques de Paris 2024)

It wasn’t certain we would ever see Celine sing again, but this year, the Canadian queen of triumphant ballads made a stunning comeback in true Celine fashion. Not only would Celine return to the stage amidst a gruelling battle with Stiff Person Syndrome — she would do it from the top of the Eiffel Tower, during the Paris Olympics opening ceremony, with millions of eyes on her and expectations as high as a historic skyscraper. Of course, she delivered with a virtuosic performance, performing French icon Edith Piaf’s “Hymne à l'amour.” Celine transformed that song, an ode to lovers, into a celebration of the passions that keep us alive and give us strength to keep going. The single version of Celine’s performance, released this fall, contains the power of that moment — when the instrumental cuts out and she goes for the high note, it’s hard not to get chills. “God reunites those who love,” is the English translation of that final lyric — and in this case, it’s a reunion between Celine and audiences across the world. — RLD

Les Cowboys Fringants, “La fin du show”

In 2023, Quebec lost a songwriting hero in Karl Tremblay, frontman of Les Cowboys Fringants who died at the age of 47. In 2024, his bandmates — including his wife Marie-Annick Lépine – worked hard to honour his legacy. Les Cowboys released a full-length, Pub Royal, which featured the posthumous vocals of Tremblay on several songs, most notably on the seven minute epic “La fin du show.” The song serves as a summation of Tremblay’s career and as good a send off as can be. Across its four verses, choruses and bridges, and several groove changeups — from a straight-ahead plucked guitar intro to a swung first verse and refrain to an urgent double-time climax — the song gives a sweeping sense of the ups and downs of a musician’s life. Tremblay reflects on an exhausting life well-lived, and what comes next. “I’m leaving out the back door,” he sings, “to be swallowed by the universe,” in a quiet conclusion to a rollicking ride. — RLD

Tate McRae, "2 hands"

Tate McRae affirmed her status as a new Canadian superstar this year, joining the likes of Drake and The Weeknd as a chart mainstay and finishing at No. 14 on the Canadian Artists year-end chart. And she’s just getting started. Her third album, followed by a world tour, is coming in February and single “2 hands” is among her best releases so far. Based around a gleeful breakbeat, the song clarifies what McRae does and doesn’t need from a lover. With a catchy falsetto hook on the chorus, a glittering breakdown on the bridge, and a pitched up vocal sample that recalls Frank Ocean and Calvin Harris’ “Slide,” “2 hands” carries the burning sense of excitement to see your new crush the whole way through, practically bursting with anticipation. — RLD

Drake, "Family Matters"

The dust hasn't quite settled on the Drake and Kendrick Lamar feud, but enough time has passed that we can look back at the musical output and reevaluate. "Family Matters" got swept up in the mania of the beef's busiest days in May, followed less than an hour later by Kendrick's "Meet The Grahams" and covered in dirt by "Not Like Us" just the next day. But this was one of the densest and fieriest diss tracks, accusing his rival of performative activism, false paternity, and some even uglier personal stuff too. You can tell Drake put some serious work into this one, with a full-scale video shot in part at New Ho King, the Toronto Chinese restaurant that Kendrick earlier referenced in "Euphoria." It's really three songs in one, with multiple beat switches and shots thrown at all of his "20 v 1" rivals, including fellow Toronto artist The Weeknd. The song was a big part of the most exciting few days in music this year. — RT

Isabella Lovestory, “Puchica”

This year, Isabella Lovestory kept the energy high with a string of bold releases, capped off by her unapologetic single, "Puchica." The Montreal-based Honduran artist continues to push boundaries, turning the vulgar exclamation ‘puta’ into something playful and empowering. Produced by Chicken and Kamixlo, the track is a vibrant collision of maximalist reggaeton beats and punchy pop elements, dialing up Lovestory’s signature neoperreo style. More than just a song, it’s a declaration of freedom, sass and rebellion. Accompanying the track is a DIY video that matches its chaotic brilliance. A fast-paced collage of moments, it swings between Lovestory’s Montreal living room, high-energy shows in Chile and Argentina, and a wild New York party. It’s everything fans love about Isabella Lovestory: bold, cheeky, and undeniably fun. The track cements her as a disruptor in Latin music — and proves that Montreal just might have a seat at the table in the global reggaeton scene. — YS

Dorothea Paas, “Locked”

Dorothea Paas’ second record, Think of Mist, provides another dose of her lush folk songwriting, with some more experimental leanings added into the mix. On album closer “Locked,” she steps into an altogether different sonic palette, trading her guitar for mellow '80s synths, pulling her voice back a touch so that it sounds like she’s truly gliding above the keys. It’s a gorgeous choice from the Toronto artist, who sings of a connection that couldn’t stick: “I have no idea why I’m waiting around / desire locked in time.” The meditative atmosphere is pierced by occasional stabs of dissonance, suggesting the anguish that ebbs and flows through any kind of interior reflection. — RLD

Sadboi & Smiley, “Fashion Week”

This addictive track features two exciting voices in Canadian hip-hop at their peak. Produced by Grammy-nominated Tay Keith, "Fashion Week" is a perfect showcase for Sadboi (formerly Ebhoni)’s effortless and chameleonic flow, which can shapeshift to fit styles from drill to dream-pop. OVO rapper Smiley joins to add to the Toronto flavour, where the slangy Arabic loanword “wallahi” shares space with references to Miu Miu and New York Fashion Week. There are so many ideas crammed into it, it’s hard to believe the song is under two minutes long. — RT

PartyNextDoor, "Family"

PartyNextDoor returned with his fourth LP this year, PartyNextDoor4, a record jam packed with punchy beats and indelible melodies. On an album focused on Party’s lovers, “Family,” the penultimate track, takes a moment to put the spotlight on a different kind of relationship. “I miss my brother / I miss my family,” Party sings as the beat drops, opening the track with raw emotion. Over a sparse, melancholic instrumental, he sings about his beginnings in Mississauga, Ontario and people he’s lost along the way, insisting that they haven’t left him. “I miss my dogs, when the nighttime calls / I see my dogs, I mean it,” he tells us, on a chorus so hard-hitting that it’s impossible not to sing along. — RLD

Claudia Bouvette, “Call Me Back”

Montreal alt-pop princess Claudia Bouvette has had a big year, garnering buzz with her latest LP Diary For the Lonely Hearts. It feels like she could be the city’s next Charlotte Cardin, who has broken out in a major way on the international stage, and songs like “Call Me Back” prove she’s got the chops for it. The song starts out with a laid-back acoustic strum as Bouvette reflects on a lover who let her down, before a four-on-the-floor enters, building to a chorus that erupts with energy and an expertly groovy bass line. — RLD

Shawn Mendes, “Heart of Gold”

Shawn Mendes put everything on hold in 2022. He cancelled his world tour to focus on his mental health, and returned this year with Shawn, an album that finds him more vulnerable than ever with a stripped-back sound showcasing his reflective songwriting. That openness lends itself well to the bittersweet single “Heart of Gold,” on which Mendes pays tribute to a friend who died suddenly of a drug overdose. The song took on a new layer this year on the live stage, where Mendes dedicated it to the recently departed pop star Liam Payne. Musically, "Heart of Gold" has a lovely light touch. It’s more upbeat than you might expect, with a bright guitar strum that emphasizes Mendes’ celebration of his friend and the time they shared. — RLD

Houdini feat. Pressa & Fivio Foreign, “Do It”

Toronto rapper Houdini was tragically killed in 2020, but his long-awaited 2024 album Hou I’m Meant To Be kept his legacy alive, with proceeds going to his young son. “Do It” features fellow hometown artist Pressa and Fivio Foreign from New York, which brings together Houdini’s sing-songy Toronto flow with the hard-hitting brashness of drill. The hooky sound hints at the heights Houdini – who has two Gold-certified songs in “Light Nights” and “Levels” – might have hit. The videos for “Do It” and “Own Your Masters” feature footage of the rapper himself, keeping him present in a way you can still hear in the music. — RT

Enima & Gapman & VT, "B.A.B" (REMIX)

This song perfectly captures the raw energy of Montreal's rap scene, fusing local and international hip-hop with a contagious vibe. "B.A.B." (Remix) features French rapper Gapman from Lille, France, bringing a fresh edge to the already fire combination of Montreal’s Enima and VT – two artists whose controversial rises have only fuelled their growing popularity. Enima, a.k.a. Samir Slimani, has faced major legal hurdles, including a cancelled expulsion reprieve and three arrest warrants in Canada, but he’s still making waves here. Just recently, Enima was revealed as one of the most streamed Quebec artists on Spotify this year. What's even more impressive is that Enima achieved this without a label or financial backing, something he proudly highlights. This remix from his 2024 album Dz d'Amérique showcases the evolution of both Enima and VT, with their flows blending Montreal slang and European influences into a trap-infused banger. Each rapper completely owns their verse. — YS

Orville Peck & TJ Osborne, Waylon Payne & Fancy Hagood, “Rhinestone Cowboy”

Orville Peck got to collaborate with some major names, from Willie Nelson to Beck, on his 2024 album Stampede, but this track might be the purest encapsulation of the album’s vision. Similar to how Beyoncé's Cowboy Carter shows the Black roots of country music, the album presents a vision of country music that has always been present but hasn't always been embraced by the genre’s establishment or gatekeepers. This version of “Rhinestone Cowboy” brings together four openly gay country singers on a Glen Campbell country classic, turning it into what Peck calls “a gay dream come true.” “Especially after 9/11, there are some people who think country is about patriotism, specifically American patriotism, being white and heteronormative and living in the South,” Peck said in an interview with Billboard Canada. “I don't remember the old school country being so limiting. It had more balls than that. It was adventurous and creative and diverse.” Point proven. — RT

Lubalin, “Bullet Time”

Charlotte Cardin collaborator Lubalin, who contributed to much of her 2023 breakout album 99 Nights, stepped out on his own this year with a debut full-length haha, no worries. Single “Bullet Time” is a further testament to Lubalin’s winning partnership with Cardin, who has a writing credit on the track. It’s a propulsive pop banger with an infinitely hummable chorus about taking a walk around the block to see things a little clearer. — RLD

Jane Penny, "Beautiful Ordinary"

This year, Montreal's Jane Penny released the solo EP Surfacing, a deeply personal project written and recorded between Berlin and Montreal. Known as the lead vocalist, flutist, and co-founder of the beloved indie pop band TOPS, Penny's solo work offers a fresh sonic evolution. "Beautiful Ordinary," is a stunning ballad with a synth-pop edge, showcasing her signature voice in a more atmospheric and experimental electronic light than her work with TOPS. Penny’s journey with TOPS, co-founded with childhood friend David Carriere in 2011, saw the band quickly rise from Montreal's DIY scene to international acclaim, earning praise for their unique sound and high-energy live shows. With Surfacing, Jane Penny proves she can be just as captivating on her own. Of note: TOPS is one of only two Canadian acts playing Coachella in 2025, along with The Beaches, who had their own milestone this year selling out their hometown Budweiser Stage. — YS

Sunnsetter, “I Feel Everything”

Sunnsetter is led by multi-instrumentalist-composer Andrew McLeod, a key contributor to Zoon and OMBIIGIZI, leaders in their termed “moccasin gaze” genre of new Indigenous shoegaze. "I Feel Everything" comes from Heaven Hang Over Me, and it features a repetitive ambient drone embedded with gently affecting vocals. Bringing Sigur Rós to mind, its sound washes feel like a cleansing. — KD

Bambii feat. BEAM & Lady Lykez, “Spit”

This single comes on the heels of Bambii’s 2023 mini-album Infinity Club, which with its forward-thinking, fluid blend of dance music styles earned the Toronto DJ and producer a spot on the Polaris Music Prize shortlist this year. “Spit” is a firecracker of a follow-up, a frantic and immensely sexy dancehall track that creates an intense ambiance of sweat-drenched dancefloors. The track’s high-intensity pulse is fleshed out with gasping vocal samples in the background, while Lady Lykez and BEAM drop sleek bars up front that’ll get your heartbeat racing. — RLD

Caribou, “Broke My Heart”

The prolific Dan Snaith returned this year with a hype dance record under his Caribou persona, Honey, designed to get the blood flowing. Single “Broke My Heart” is a crisp dance music dispatch with a dose of U.K. garage. But the central synths and percussion are so clipped that there’s almost a sense of restraint, too, matched by Snaith’s manipulated vocal performance. The track’s catnip is its vocal hook, borrowed from Suzanne Vega and then tweaked: Snaith turns her low-key vocalizing into a recipe for raver’s hypnosis. — RLD

Tia Wood, “Catch & Release”

Plains Cree and Coast Salish singer Tia Wood is still at the beginning of her career, releasing her first EP Pretty Red Bird on Sony Music Canada this year, but she has the aura of a seasoned R&B star. Wood performed multiple songs as part of Billboard Canada Women in Music, and she captured the room’s attention each time. The lush and assured "Catch & Release" is “about breaking toxic cycles and moving forward with more lightness and confidence,” Wood says – and you can feel that in her cool and soulful delivery. As for 2025, as she sings here, Wood might just elevate. — RT