Standout releases came from established superstars Olivia Rodrigo, Paul McCartney, Drake and Kacey Musgraves as well as artists truly coming into their own like Slayyter, Raye and Ella Langley.
By Chris Willman, Jem Aswad, Steven J. Horowitz, Ellise Shafer
Interscope Geffen A&M, Sony Music, Universal Music, Getty Dear 2026: You seem pretty rad, for a year so potentially in malaise. At least, that’s the way we feel every time we turn off the news and turn on the music that takes us away from all that. The best albums from the first half of 2026 didn’t always shut out the outside world — James Blake did title his album “Trying Times” — but we had Raye promising that “This Album May Contain Hope,” in one of many stellar releases that delivered on that happy threat. Whether it was in chart-topping efforts from Olivia Rodrigo, Drake and Ella Langley, in well-deserved breakouts from perpetually bubbling-under artists like Slayyter, Ryan Beatty and Grace Ives, or in the happy return of comeback kids ranging from Hilary Duff to Paul McCartney, we’ve had plenty of reasons already this year to celebrate the musical spirit of ’26. Here are the results of our midterm elections. —Chris Willman
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Absolutely, ‘Paracosm’ (Epic)
This second set from British singer Abby-Lynn Keen, released in March, faced two challenges out of the gate: A virtually un-Google-able artist name (a major issue in the 21 st century) and the fact that her big sister, Rachel — a.k.a. Raye — released her hotly anticipated second album just a month later. That’s a pity, as “Paracosm” deserves a big moment all its own: It’s an ambitious, cinematic, elaborately produced and fully realized album from an artist whose vision is every bit as defined and singular as her sibling’s. Comparisons are inevitable, and while Absolutely’s voice has a similar timbre to her sister’s, her style is completely different — sweeter, more straightforward and less jazz-inflected and showy, although she has a powerful belt — and although her vision is just as ambitious, it’s totally different as well: Acoustic piano, orchestras and electronics trade the spotlight, with baroque flourishes that recall Danny Elfman’s early soundtracks for “Batman” and “Edward Scissorhands.” While she worked with a raft of different collaborators — including Timabaland protégé Danja, who helmed Britney Spears’ “Blackout,” and early Kehlani collaborators M-Phazes and Jahaan Sweet — this album sounds nothing like those artists: It’s entirely Absolutely’s lush, lavish vision, which plays out like a musical. — Jem Aswad
