Last week, we travelled back in time to 2016 and revealed the albums we were listening to in the first half of the year.
So before you read this you can catch up on Part 1 here: Music in 2016: 10 Year Album Anniversaries (Part 1 – January to June) – Northern Chorus.
There are plenty more records celebrating 10 year anniversaries in 2016, including more Mercury nominations, an array of indie releases, and a huge popstar (when you probably didn’t know who she was!)
So it’s time to revisit now, starting with July and running month-by-month through the rest of the year to reminisce on the albums of 10 years ago…
By July, 2016 was showing no signs of slowing down. In fact, this was the month that quietly gathered a remarkable cluster of Mercury Prize nominees. Bat for Lashes’ The Bride was a haunting, conceptual triumph, weaving grief and fantasy into one of Natasha Khan’s most ambitious statements. Michael Kiwanuka’s Love & Hate cemented his status as a generational soul voice, pairing intimate songwriting with widescreen production.
Elsewhere, Metronomy revisited their past on Summer 08, balancing nostalgia with subtle reinvention, while Biffy Clyro’s Ellipsis pushed their arena instincts further than ever, featuring stand-out tracks such as Wolves of Winter and Rearrange. The Avalanches’ long-awaited return with Wildflower felt like a small miracle. It was joyful, restless and packed with ideas after sixteen years away. Snoop Dogg’s COOLAID and Good Charlotte’s Youth Authority then showed veteran acts finding renewed purpose in very different ways.
Finally, July saw the release of Viola Beach’s self-titled debut in tragic circumstances following the band’s passing earlier that year. It was received as both a celebration and a tribute, and ensured their name would live on in the world of music.
August saw the arrival of Stockport quintet, Blossoms, whose self-titled debut captured small-town romance and jangling indie hooks with precision, quickly establishing them as UK indie mainstays. Wild Beasts sharpened their electronic edge on Boy King, while Giggs’ Landlord reflected the growing confidence of UK rap in the mainstream.
Frank Ocean dominated the month with a rare double move: the visual experiment of Endless, followed almost immediately by the deeply personal Blonde. Together, they reinforced his reputation as one of the era’s most elusive and influential artists. Glass Animals’ How to Be a Human Being completed August’s run with a colourful, character-driven take on modern pop.
September was one of the year’s most intense and emotionally charged months. Bon Iver’s 22, A Million shattered expectations, filtering folk roots through fractured electronics and cryptic symbolism. Nick Cave & The Bad Seeds’ Skeleton Tree arrived in the shadow of personal tragedy, its raw honesty making it one of the most affecting records of the decade.
Elsewhere, Pixies continued their post-reunion chapter with Head Carrier, Slaves (now Soft Play) delivered snarling urgency on Take Control, and Twin Atlantic’s GLA embraced polished pop-rock ambition. Mac Miller’s The Divine Feminine revealed new emotional depth, while Travis Scott’s Birds in the Trap Sing McKnight reflected hip-hop’s shifting mainstream sound.
Danny Brown’s Atrocity Exhibition stood apart from everything else – abrasive, brilliant and uncompromising, and remains one of 2016’s most critically celebrated releases. Bastille‘s strong comeback with Wild World, and returns for Feeder, Yellowcard, and M.I.A, ensured the month remained densely packed across genres.
October leaned heavily into reinvention. Green Day’s Revolution Radio reconnected with political urgency, while Kings of Leon’s Walls stripped back their stadium sound in favour of vulnerability. Kaiser Chiefs attempted a reset with Stay Together, and Two Door Cinema Club’s Gameshow explored slicker, more electronic territory.
Leonard Cohen’s You Want It Darker, released just weeks before his death, felt like a quiet farewell – stark, spiritual and devastatingly direct. Lady Gaga’s Joanne revealed a more stripped-back, roots-influenced side, Empire of the Sun’s Two Vines indulged in technicolour escapism, and Madness’ Can’t Touch Us Now proved that veteran bands could still sound vital.
Closing out the month was the criminally underrated Wirral group, Hooton Tennis Club, with Big Box of Chocolates, and a certain Sabrina Carpenter with sophomore album Evolution, almost a decade before her global pop breakthrough.
November brought together pop dominance and critical acclaim. Jamie Woon’s Making Time and Jaws’ Simplicity offered reflective, understated alternatives, while Robbie Williams’ The Heavy Entertainment Show and Emeli Sandé’s Long Live the Angels returned established stars to centre stage.
Bruno Mars’ 24K Magic channelled classic funk and R&B with modern polish, and The Weeknd’s Starboy confirmed his position as one of the decade’s defining pop figures. A Tribe Called Quest’s We Got It from Here… Thank You 4 Your Service arrived as a triumphant and poignant comeback, reconnecting hip-hop’s past and present in extraordinary fashion.
Even in its final weeks, 2016 refused to ease off. December saw Childish Gambino’s Awaken, My Love! mark a dramatic stylistic shift into psychedelic soul, expanding Donald Glover’s creative reach once again. The Rolling Stones returned to their blues roots on Blue & Lonesome, offering a reminder of their enduring chemistry.
Post Malone’s Stoney laid the foundations for a new wave of melodic hip-hop, while Pete Doherty’s Hamburg Demonstrations provided a fragile, intimate moment from The Libertines and Babyshambles frontman.
By the end of December, it was clear that 2016 had delivered an extraordinary run of albums. From long-awaited comebacks to fearless reinventions and deeply personal statements, the second half of the year matched, and often surpassed, the intensity of its opening months.
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