2023's mass musical culture was defined by spectacle, superfandom, and songs with enormous afterlives. Taylor Swift's Eras Tour became the central pop-cultural event; Beyoncé's Renaissance World Tour extended her 2022 record into a fully realised 2023 cultural phenomenon; and Barbie turned soundtrack placements into an event again. Morgan Wallen's "Last Night", Miley Cyrus' "Flowers", SZA's "Kill Bill", and Taylor Swift's "Anti-Hero" were among the defining unavoidable hits. Globally, SEVENTEEN's FML illustrated K-pop's formidable scale.
SZA's SOS is part of this landscape only. Although "Kill Bill" and "Snooze" were ubiquitous in 2023, the parent album belongs to 2022 for a year-by-year map. Some year-end critics' lists used different eligibility windows and accordingly included it in 2023.
Below the mass-market layer, 2023 album culture was unusually strong: dark experimental folk, spectacularly detailed art-pop, psychologically sprawling songwriter records, auteur rap, guitar music with grime and regional specificity, post-club R&B, globally fluid alternative pop, and abrasive internet-native hip-hop. The major durable conversation converged around Lankum, Caroline Polachek, Lana Del Rey, billy woods & Kenny Segal, boygenius, Sufjan Stevens, Wednesday, Kelela, Amaarae, and JPEGMAFIA & Danny Brown.
This landscape is context rather than a claim that popularity alone earns a place in the canon.