CD Radio's Top 50 Songs of 2024 (Part 1)

Oh my god? What a fucking year. Excuse my french, but this year is more deserving of un peu français than anything else. It was a year full of uncomfortable situations, disquieting news headlines, rapid change, development, growth and somehow within it all, a painful stagnation. Media and entertainment has settled into the most bizarre, regressive and, once again, stagnated place it’s been in a very long time. Innovation is out, IP and AI are in…and it’s becoming harder and harder to make a living and stand out in the music industry especially. Not to mention—our digital world is in complete shambles, riddled with misinformation and the most aggressive and tactless advertising and e-comm strategies that are truly like, thee latest stage of capitalism. 11:59pm on 12/31/999999 capitalism.

But within such a fucked up, hyperconsumptive, completely oversaturated, revenue driven, and creatively bankrupt music industry, artists pushed boundaries in ways never seen before and helped make 2024 my favorite year of music this decade (so far). Being a listener is tough nowadays because there’s so much bullshit competing for your attention—not just bad or, much more commonly, milquetoast ass music but also distractions from the music itself—that it can be easy to be dismissive of modern day music. But, a bit of digging will reveal that artists are creating incredible music—technological advancements have unlocked levels of creativity and music accessibility that would’ve had Bach, Beethoven, and Aretha all GAGGING. But that’s why I’m here—to help you cut through the noise, skim off the top, and stay up to date with how much good ass music is still being created in these trying times! Let’s get into it.

Wait. First—shoutout to all my guest writers. Amara Austin Cedoni Gabriel Gio Hannah Logan Michael Mo Nate River Simi Skylar and Tsebi ily ily ily THANK YOU for lending your time, expertise and voice.

First, honorable mentions. These are additional stellar tracks that I loved this year—but we can’t include everything! As usual, I also limit how many songs an artist can have to avoid the list just being full of songs by Normani, Beyoncé, Doechii, Ravyn Lenae, Tyla, Leon Thomas, Willow, and Fousheé. So, a lot of this playlist is cuts from their albums that I also love but opted to leave off.

[**SPOILER ALERT** - TOP 50 PLAYLIST HERE]

50. Ruined Me - Muni Long

There’s a theatrical element to Muni Long’s songwriting that makes all of her music feel like an ode to classic R&B with its own unique contemporary twist. On “Ruined Me,” dramatic storytelling sits at the heart of the track, evoking a mid-20th century, soulful jazz sound. Written on the heels of her separation from her husband of 9 years, Muni very purposefully weaves her personal life into the entire concept and its accompanying album, Revenge (which is up for Best R&B Album at the upcoming 2025 Grammy’s). “Ruined Me” is a power ballad about the ugliness of pain, and Muni’s viral Jimmy Kimmel captures all of those elements: the messiness, the self-destruction, the self-hate; the stream of tears, the martini glass, the gown. This is a commitment to storytelling, the same one we consistently see and feel in her writing. — Cahleb Derry

49. Pluto - Raveena

Raveena has an undeniable knack for making music that heals, just like the icons who she emulates like Corinne Bailey Rae and India.Arie. Her music soothes and wraps around you like a hug even if the topic is heavy or grim. “Pluto” is no different—Raveena wrote the track after a friend opened up to her about someone close to them passing away young. “Trying not to cry, it's been a few years/Since we had to say goodbye/But you reappear as a butterfly.” There’s something especially impressive about writing a song on the topic of mourning and grief that is still poppy, upbeat and uplifting–but it reflects the memory of her friend’s story from where she pulls inspiration. How nature—or in this case, a butterfly—can reflect the light of (a lost) love back to us– “I don't need proof that angels exist/You showed me how nature is the proof of bliss.” — Cahleb Derry

48. Farewell To Ghosts - About You feat. Elliot Skinner

Outside of the pop-punk and indie rock bands my older sister showed me growing up, my first experience listening to a full-body, electrifying Rock song that moved me to chills and shook my spine was “Rhapsody of Youth” by Sambomaster, one of the theme songs of Naruto. “Farewell to Ghosts” has the same epic energy–it’s carried by raspy howls from About You’s lead singer Max Poscente and feature artist Elliot Skinner, paired with growing and cacophonous instrumentation. Those heroic hits on the chorus as the word “please” is sung out with the utmost desperation underscore the high stakes energy of the song—the story matters and will be heard. The momentum built throughout is unleashed in those screlted “yeah yeah yeahs” in the 2nd chorus leading into the guitar solo—this track is nothing short of cinematic and if you haven’t heard it, go listen to one of the best tracks released this year. — Cahleb Derry

47. Vintage - Moses Sumney

Moses Sumney delicately unravels longing for the past in “Vintage” from his latest ep Sophcore. “Vintage” is both an homage and a twist to classic, 90s R&B sounds (think “Soul Sista” by Bilal), charting a slight departure from the experimentation of græ. It opens with a shimmery and warm piano looped over a relaxed beat and indiscernible background chatter before Moses cuts in, disarmingly asking, “Do you ever wish we’d redone it?” With lyrics referencing nectar, sweaters, Ouija boards, and spirits, Moses’s portrait of memory is both tender and treacherous, and the undulating, triumphant chorus paired with the off-kilter outro and its eerie pleas capture the honey of sentimentality–its sweet, sticky, and precious satisfaction which can quickly become a sickly mess when overindulged. — Gabriel Wadford

46. Love Me JeJe - Tems

In a year of tumult, songs like “Love Me JeJe” are a necessary escape to a slower, sweeter and softer place. The second single off of Tems’ debut album Born In The Wild (which follows a few very iconic EPs), “Love Me JeJe” is a song designed for the summer. Tems’ gorgeous tone feel exactly like the love the song describes. “Love Me JeJe” roughly translates to ‘love me gently and softly’, and the picturesque, warmly lit video envelops you in that same feeling. The repetition in the lyrics and BGV is purposeful and anthemic: “Love me jeje, love me tender/Love me jeje, love me tender/You’re my sugar my honey my tender lover/You’re my sugar my honey my tender lover.” It’s an affirmation we could all use. — Cahleb Derry

45. AMERIICAN REQUIEM - Beyoncé

Nothing really ends; for things to stay the same they have to change again”.  Beyoncé opens the patchwork quilt that is Cowboy Carter with a lyrical unveiling— the layering of her alto harmonies serve as a lifting of a curtain, an emergence of peach-pink at dawn, and a re-introduction to the insidious and mundane profundities of life. The sitar strums reverberate from the mantras that create this hymnal. Her re-appropriation of psychedelic folk funk asserts Black American music as the fabric of this nation’s creativity, vitality, and drive. — Amara Granderson

44. ¿Cómo Así? - Kali Uchis

Kali Uchis’ ORQUÍDEAS, which arrived at the top of the year as a fast follow to her 2023 album Red Moon In Venus, is her most musically adventurous project to date. On her 2nd Spanish language album, she ventures into darker, sweatier territories with club ready records that sound best on speakers in foggy rooms. I love several of the tracks on the album but “Cómo Así” is the star of the show. It’s about dancing with temptation: “Cómo diamentes/I’ll wear you round my ring.” The song weaves through several vocal placements and changes in production (it cycles through at least 6 distinct beat patterns), and makes fantastic use of Kali’s operatic, falsetto tone. There’s a recurring sensor-like beep (that is maybe a voice?) that reoccurs throughout underneath the hunky bass beat, creating a beautifully overstimulating groove. It’s an undeniably sexy song that is a welcome break from the equally embellished but more Pop forward world Kali usually lives in, and I would love to hear more of this sound from her. — Cahleb Derry

43. Back To Life - Rizwan, A Song For Life

“Back to Life,” from Let Her Rock: A Love Letter EP, a compilation project from NYC women via the organization A Song For Life, is a sweet and lush mid-tempo ballad about restarting, stripping oneself back to factory settings. “Back to Life” feels like a classic that we’ve been listening to for generations—despite being released in January. Rizwan mixes a Stevie Wonder like whimsy, with power akin to “Halo” and delivery reminiscent of Yolanda Adams to powerfully declare herself reborn: “There’s no one else I’d rather be/I’m learning to love myself/I’m perfect the way I am/I wake up, thankful that I’ve come back to life.” She wails every word with a peaceful conviction, and while thematically straightforward, everything she says feels storied and infused with an achy complex, optimism—you can tell she fought to sing these words. — Cahleb Derry

42. Edible - Flo Milli feat. Gunna

In 2024, Flo Milli experienced a long overdue breakout with her first Hot 100 charting hit “Never Lose Me” (which I reviewed last year), but it feels like its accompanying album Fine Ho, Stay flew under the radar. Rest assured, it is surely not due to quality. The evolution of her sound–which has been so bold and effective from the moment she popped with “Beef FloMix”—is so palpable on this project and “Edible” is a prime example. Complemented by a Gunna feature (a trend for 2024 bangers I have to say…), the song has an indelible groove and nasty guitar lick that echoes the same breezy, Southern pocket that helped “Never Lose Me” take off (which she references all over the song—victory lap shit.) The hook is just deliciously clever: “I ain't had no good dick in some months, should I be scared of you?/Know the cookie good, but it's gon' hit you like an edible.” I hope we continue hearing more and more of Flo Milli’s melodic rap voice because she struck gold. — Cahleb Derry

Also, stream Tell Me What You Want from Fine Ho, Stay. My other fave!

41. Sweet - Teezo Touchdown feat. Fousheé

Bouncy, unadulterated joy and perfectly saccharine. On “Sweet,” Teezo Touchdown evokes a 2000s punk meets Travie McCoy realness that feels like a reincarnation of everything we loved about 2007: “Everything you say is funny/Girl it feel like I’m a datin a comedian.” The laugh track after that line and Teezo’s cartoonish, stereotypical punk boy phrasing (“Do you really think I’m cute?”) makes your ears perk up but the song’s really made complete by the switch from the cartoonish rap to Teezo’s raspy, “sweeeeeet” falsetto on the chorus.

Fousheé is the other highlight of the song, matching his playful boyish energy with her distinct fairy-like flutter: “If the clothes fit/We should wear em though I’m not so keen to sharing.” She slides effortlessly over the beat and helps solidify this as a perfect Pop song. — Cahleb Derry

40. Saturn - SZA

“Saturn”, the pained and more inquisitive older cousin to SZA’s “Good Days”, landed in our laps like a journal entry from a tormented orator. The only preview ahead of SZA’s SOS deluxe: LANA, "Saturn", is a nihilistic and meditative bat-signal. “Stuck in this paradigm/ don’t believe in paradise/this must be what hell is like/there’s got to be more” she vulnerably shares, praying that Saturn will be better than any earthly affair she’s faced. Regardless of its lyrical existentialism, "Saturn" is a respite in spite of itself; its choral oohs pour over the twinkling synth arpeggio, quelling the unease like a morphine IV drip. With “Saturn”, SZA reminds us that two years after her groundbreaking SOS, she remains our generation’s wisest yet deeply distressed pop star, able to turn our deepest anxieties into lush melodies and earwormy hooks at the drop of a hat. — Gio Santiago

39. sweeeet - Amaarae

Like a siren’s call, the opening track of Amaarae’s Roses Are Red, Tears Are Blue — A Fountain Baby Extended Play shimmers, luring us back into the sultry, aqueous universe she perfected on Fountain Baby.

Sexy, sexy, sexy, sexy, sexy, Amaarae coos, her unmistakable, honey-soaked voice cascading over a sparse, swinging beat, casting a spell that feels hypnotic and familiar. But in “sweeeet,” Amaarae peels back another layer. Gone is the unshakable femme fatale; in her place stands a vulnerable, yearning temptress, caught wrapped around the index of her darling. She aches for connection, her voice tender and pleading as she implores, pick up the phone. It’s Amaarae in soft focus—a tender contrast to the self-assured sensuality of Fountain Baby–offering a glimpse into the cracks beneath her glittering exterior — Simi Odugbesan

38. Eusexua - FKA Twigs

Eusexua, which is a neologism, the lead single, and the title of FKA Twigs’s upcoming fourth album, is an artistic manifesto, an exploration of yearning and release, and an ode to the sweat-soaked early morning hours of the rave.

Born out of her experiences raving in Prague, the track opens with the instantly recognizable four-on-the-floor thump of a techno bassline, dulled and filtered, as if heard through a fog or down a flight of stairs. In contrast, her vocals are clear and close: “Do you feel alone,” she says, “you’re not alone.” What “Eusexua” understands well is that the real draw of the dance floor is our desire for intimacy and connection. The feeling we yearn for is there, she says, in the darkness, alongside a swell of bodies familiar and foreign. To feel eusexua, she argues, is to recognize loneliness and forge a positive perspective within it. It is not a gift given, but an intention practiced. It does not shy away from the darkness, loneliness, or insecurity of the experience. Nor does it promise an unqualified release from those difficult emotions.

The track mirrors that. Two-thirds in, we get the sonic release that Twigs knows the listener expects, but true to its meaning, it lasts only a moment. The climax never comes, and instead she pulls back, leaving us yearning again, back in our heads. In the end, after Twigs turns her stethoscope on her own struggle to embrace the feelings she calls for, she repeats the word one final time, stretching out its last syllable into the void. It sounds like a call as much to herself as it is to us: To accept the darkness, and let it guide you to light. —Austin Tuan

37. IMAGINARY FRIENDS - Tierra Whack

“IMAGINARY FRIENDS” reflects what the year was really giving sans escapism. It’s breezy, melancholy and relaxing—so relaxing that you may almost miss Tierra Whack’s vivid description of what it would be like to hang herself: “When I grow up I want to hang from the ceiling/The roof is leaking/The roof is leaking teardrops.”

The track comes off of her long-awaited full length debut WORLD WIDE WHACK, which arrived in March nearly 6 years after her debut mixtape WHACK WORLD set the world on fire and was named 2018’s best album by Dazed. Depression, death and loneliness are consistent themes throughout the project as Whack announces her long-awaited return, and why it took longer than planned.

This orchestral but heartbreaking rap/sung anthem about a friend that only you can see paints a picture of how austere your loneliness can get when the mind goes astray. For many, the past several years have been characterized by pain, hurt, or loss that only our imaginary friends have truly witnessed. ”IMAGINARY FRIENDS” and the entire WORLD WIDE WHACK album provide refuge to those who may feel isolated or alone in that feeling. — Cahleb Derry

Contrarily—SNAKE EYES will have you throwing it. One of my faves too 🙂 

36. Bed Chem - Sabrina Carpenter

Freaky, but make it demure. Sabrina Carpenter’s “Bed Chem” is pure pop magic: playful, catchy, and undeniably provocative. Known for her razor-sharp wit, Sabrina levels up here, delivering a track that feels as addictive as it does effortless. Over shimmering synths and a pulsing bassline, her vocals shift between sultry whispers and lively melodies, capturing the thrill of instant chemistry - the spark, the sly smiles, and stolen moments. She’s not just flirting with the concept of owning her prowess in the bedroom, she’s commanding it. “Bed Chem” proves Sabrina has found her pop lane and is cruising quite comfortably. — Cedoni Francis

35. NERVOUS - KAEDI feat. Wolfrum

“Waiting for you by the phone/How could you leave me alone?” Kaedi Dalley–the indisputable star of powerhouse girl group sensation Citizen Queen, released her debut lead single this year and it's an electric ode to jersey-club, clad with glistening and sophisticated references to Drake’s “Hotline Bling” and Janet Jackson’s “Someone To Call My Lover.” KAEDI’s vocals fuse with Wolfrum’s production to create a labyrinthine but still coy mosaic of harmonies and corporeal sounds —its a masterclass in layering that builds on her a cappella beginnings while serving as a stark departure from the croony and perfect-Pop records we hear Kaedi carry alongside Citizen Queen. “NERVOUS” delivers the same honey-like thickness but leaves much more room to age like wine, perfectly harnessing the spine-chilling warmth and depth that make Kaedi’s voice unrivaled. I believe “NERVOUS” is just a taste of what’s to come from a true generational talent. — Cahleb Derry

34. Soft - FLO

“Soft” is a sonic boudoir, a soundscape marked by the irresistible whispers of the three souls pulling you in and summer rain pattering romantically nearby. It’s an inviting place to rest your head after the four-song endorphins feast that opens FLO’s debut album Access All Areas. The track was produced by Darhyl Camper, the low-profile genius behind other sonically lavish records including Coco Jones’ ICU and Brandy’s album B7. Those who stumble on “Soft” will first notice FLO’s call-and-response enticements, paired with their masterful use of negative space, which reminds us that there is god in the silence. Those who return to the song will be whisked away by the unsung star of the show: an orchestral arrangement with cello, viola, and violin performances fit for a concert hall. Those lucky enough to discover the "Unlocked” remix will be spellbound by Halle Bailey’s skyward vocals (while she sings of very earthly desires) and gagged when Chloë Bailey brings back the bass, with both sisters fitting neatly into FLO’s perfect vocal blend. — Logan Lewis

33. Here We Go (Uh Oh) - Coco Jones

The release of “Here We Go (Uh Oh)” marks Coco’s return after a brazen and long overdue 2022-23 comeback, clad with Grammy wins for the already-modern classic “ICU” (a top-5 song on last year’s list), a return to the big screen in Peacock’s critically acclaimed Bel-Air, and performances with legends like SWV. Like “ICU,” “Here We Go (Uh Oh)” had a slow start but steady promo and an incredibly effective song structure have led the track to be her biggest since “ICU.” Now, Coco and the song are up for two more golden trophies at next year’s ceremony for Best R&B Song and Best R&B Performance.

And among many reasons, it’s because she’s filling an R&B gap that we are solely missing. “Here We Go (Uh Oh)” evokes the high energy and undeniable conviction of a scorned lover, conjuring Mary J. Blige, Melania Fiona, Chrisette Michelle, and Fantasia and evident by it’s current multi-week reign at number one Adult R&B radio (shout out to everyone who grew up on their mama playing those stations in the car). The “10 Seconds” by Jazmine Sullivan coded anthem, dressed in a tasteful sample of Lenny Williams's "'Cause I Love You (1978 Version)" demonstrates how much appetite there is for all types of R&B sounds in today’s industry. — Cahleb Derry

32. still around - Fousheé

Fousheé has had one of the most interesting, self-written paths of any artist on the scene right now —and she’s no stranger to my year-end lists. Since “Deep End” blew up in 2020 and hit heights on Billboard’s R&B and Alternative charts, she’s signed with RCA Records and ventured into punk, alt, R&B, hip-hop, folk, electronic and pop across singles and albums like time machine and softCORE (all while being the co-pen on almost half of the tracks on Steve Lacy’s breakout solo album Gemini Rights, on which she opens ”Bad Habit”, one of the decade’s biggest hits so far.)

Now, with her 3rd studio album Pointy Heights, she’s released her most cohesive and effective project yet, blending classic rock sounds and Ska, the Jamaican-born genre which combines Trini calypsco folk and Black American jazz and R&B sensibilities. “still around” is one of my favorite tracks off of the project. It’s delightfully and wistfully longing, and follows the Ska tradition of walking bass lines, dynamic percussion, heavy guitars and infectious melody. There’s a raw, soulful pain in how she sings the refrain: “This could be the biggest hurdle I've had/But to love is so much greater than to have.” Steve Lacy strikes again with incredible production that places you on a hypnotic loop–the song feels like a future journey to a universe from the past, whatever that means. And also, it sounds like the mf Peanuts Theme…can it get any better than that? — Cahleb Derry

31. PUSH 2 START - Tyla

Tyla came in at the right time, breaking the monotony of trap drums and overproduction. Her album “Tyla+” was near perfect, evoking the fresh ocean breeze we all needed—cohesive, fun, free, sexy, youthful, and effortless. Fresh off the global success of the TikTok hit turned global smash “Water,” it’s hard to establish yourself as an album artist, but “Water” does not eclipse the bangers this album has to offer and “PUSH 2 START” is the latest highlight. While tracks like “Truth Or Dare," “On and On,” “Breathe Me,” and “To Last” were all faves from the album, the recent release of the deluxe has given us the fantastic “SHAKE AH” and now, perhaps Tyla’s strongest solo effort yet, “PUSH 2 START.”

The song leverages all of the Tyla signatures: a choir of children’s voices talk-singing a refrain, hypnotic anthemic chants that pan to and from the ear, and not just an infectious chorus but an infectious post-chorus that ensures the song will burglarize your mind: “Mm, pushin' on my buttons with no hesitation Gas me up, give me motivation.” When this song goes top 10 next year, check back! — River Moon & Cahleb Derry

30. Same Lingerie - Chloë

Chloe’s second studio album Trouble in Paradise features some of the strongest artistic choices of her solo career yet, like “Same Lingerie”. The circular keyboard refrain operates like a clock and is reminiscent of R&B classics like Keyshia Cole’s “Love,” featuring lyrics that leave no room for guessing as to the role of lovemaking in it all, yet hit just as romantically, dramatically, and desperately. The vocal performance is what makes such nasty writing so convincing. But like “Love,” it’s the bridge that takes the song to uncharted heights. The metronomic clock production halts for the first time, suspending you into a cloud of harmony the serves as the perfect bed of sound for Chloë’s falsetto flutters with an exasperated breathiness as she fends off memories and sex flashbacks like violent déjà vu: “Sweat/Panties wet/Melting like ice cream/Lace/Down/Bra slip/Make me think about.” It all comes to a boil but fizzles out just as quickly as the final notes are sung a cappella, coated in heavy, longing reverb. It’s this type of perfectly crafted pop R&B that never gets old when you have the vocal ability Chloë has. —Cahleb Derry

Also, this is one of Coco Jones’ faves so…taste.

29. Love Me Not — Ravyn Lenae

To me almost every Ravyn Lenae song feels instantly familiar and like a complete invention. On “Love Me Not” she pours her smooth lounge singer type vocals over a propulsive pop rock drumbeat. It’s a charming mismatch and a fitting set up for “Love Me Not”, which is a goofy, kinda naughty, not-quite-love song.

Lenae tosses and turns on over how much she and her on and off boo like, want and need eachother. She never veers into fully sarcasm but instead flip flopping with a wink (“Oh no I don’t need you, but I miss you. Come here!”). It’s the song of the situationship era! —Muhammad Eltahir

28. HISS — Megan Thee Stallion

Megan Thee Stallion lit the world on fire this year in January with the release of “HISS.” The track is a scathing declaration of her return, a B-side to the more somber, but similarly pointed “Cobra.” She broke the internet with shots thrown all over the track, some of which presumably aimed some of Young Money’s finest. Who could’ve predicted that that very phenomenon would become the hugest topic in hip-hop and music in 2024?

Megan’s meteoric rise to mainstream frame came with a lot of visibility but not as much clarity—”HISS” is a palette cleanser for anyone whose vision was blurred by the bullshit. It’s a murderously written track that abandons any and all Pop conventions in exchange for an explosive and crystal clear delivery. It’s not written for replay value (although it was top 40 on my Spotify Wrapped) but rather to deliver a clear message: “I’m a rapper, bitch.”

In a year defined by hip-hop beef, Megan Thee Stallion was the origin of it all. —Cahleb Derry

27. Might As Well - Chloë feat. Ty Dolla $ign

I don’t know if a song better encapsulates the stride Chloë found on Trouble in Paradise. “Might As Well” is an ode to a gospel and R&B infusion that emulates artists like Kirk Franklin, The Walls Group (stream this lovely happy uplifting song that you may not know), PJ Morton, Tori Kelly, Jacob Collier and more. It’s a perfect sound for Chloë to slide into—percussive, bouncy, and spacious, designed for huge vocals, labyrinthine runs, and worship chords. The instrumentation is purposefully sugary but I love its Pop-forward infectiousness and the space it creates for vocal prowess and disgustingly satisfying chromatic harmonies. My favorite chord change is in Ty’s verse: “Keep trying to prove myself to you/It feels like you only took me back/To hold that shit over my head/Let it be over instead/Pushing me over the edge/I,” followed by dexterous riffs that remind us why Ty is the top 2 R&B feature boy and not #2 (#2 ironically: Gunna). This might be my favorite solo Chloë moment yet (besides Surprise, of course). —Cahleb Derry

26. Sideways - JT

While “No Bars” was the introduction to JT the solo artist, “Sideways” is the brush that paints the picture–brash, assured, and cunt. It’s a flawless and airtight demonstration of JT’s artistic vision, influenced by the swagger and fashion sensibilities of rappers like Foxy Brown. JT stepped out of a duo that blew up in large part due to their infectious energy, outlandish lyrics, and more ostentatious brand image. “Sideways” is JT stepping up as a serious artist. It’s not memeable, it’s not Tik Tok forward–it’s sexy, sleek and cocky, an ode to classic hip-hop demonstrative of her studied approach. The vocal fry, the hushed tone—it’s all so alluring and enticing: “Pretty in the face but my attitude stank/Either way, these niggas still goin' to the bank.” I know that’s right Jatavia! Give me more, more, more. —Cahleb Derry

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CD Radio is run by Cahleb. Cahleb is a music lover and culture aficionado originally hailing from Spring Valley, NY, where he grew up in an artistic family and fell in love with music before he could speak. This adoration as a vocalist and industry nerd developed into a passion for artist development, tastemaking, and creative producing. He got his formal starts in the industry in radio at Entercom/Audacy and later in live music at Wasserman/Paradigm, working under Head of Global Music Marty Diamond. He has since worked on the team of EMMY-award winning film composer aka Succession maestro Nicholas Britell and worked on the Music Marketing team at Spotify where he managed award-winning campaigns featuring artists like Doja Cat, Victoria Monét, Summer Walker, Doechii and Coco Jones. Cahleb now runs "CD Radio," a music and culture editorial platform and ecosystem where he curates new music recommendations, reviews tracks and consults several independent artists across LA and NYC. 

Cahleb holds a bachelor’s degree from Harvard University in History & Literature and currently resides in Brooklyn, NY.