Another year has gone by, and that means it’s time for my annual list where I rank every song that hit the Billboard Hot 100 Top 10 this year. Naturally, many ardent Billboard followers will know that the tracking period ended months ago (something I don’t love about Billboard), but I don’t rank based on that, I just rank the songs that hit the charts that are dated during the 2025 calendar year (and yes, I know that there’s still one more week that will be dated in 2025, but it’s Christmas music season so since there won’t be any new entries next week, I think I can release this now).
Last year was a pretty fantastic year in terms of charting music in my opinion, but this year was...strange. In hindsight, it wasn’t really a BAD year (this is the first year in the history of these lists that I didn’t consider any song “horrible”), but it was, again, strange. After being away last year, the “I’m Cheating If I Put That At #1” tier came back because there were two songs that felt a bit unfair to rank as this year’s best hits, but otherwise, the 62 songs I ranked this year (a number that excludes Christmas songs) was a bit of a drop from last year’s 73. It seems that, with a few rare exceptions, album bombs were nowhere near as big this year as they were last year.
As far as the quality, I still added 26 songs to my “Loved” tier (which is still half of the amount of last year, which had a whopping 52 tracks reach my highest tier), but in a feat I don’t think I’ve ever experienced before, nine of my Top 10 songs to hit the Top 10 this year were songs I’d already listened to last year, whether they made the Top 10 or not (in fact, 12 of my Top 14 were songs I’d already heard last year). And honestly, had it not been for a last-minute change where a song just outside of my Top 10 made it in, the entire Top 10 would’ve been comprised of “older” songs. I feel like that helped contextualize the consistent theme I was seeing on Twitter where people were saying that it felt like 2025 didn’t have a “song of the summer,” because the year’s best Top 10-peaking singles (in my opinion) were songs that have been around for a minute. Truly the oddest year I’ve had following the Billboard Top 10 yet.
But let’s tackle that weird year with a new list. As always, if you’re new here, I’m gonna divide this list into five (well, actually eight) “tiers,” place each Top 10-peaking song into a tier and try to rank them as best as I can. Usually, the number rankings aren’t super rigid outside of maybe my Top 2-5 or so, and a lot of these can interchange, so don’t take the number rankings too seriously. Each song will also have about a paragraph or so where I give more detailed thoughts on it. Of course, this list is just my opinion. I appreciate it if you disagree, but if you do, please try to express that civilly in the comments section below.
Also, forgive me in advance if my write-ups for this year are shorter in some cases than last year. Last year’s list, excluding headers and song titles (yes, I went in and counted), was 19,619 words, and the full piece was over 20,000 words. I’m sure you’ll understand why I wanted to avoid that this year (which I did, because this year’s list, without headers and song titles, was a much more tasteful 13,345 words. Go me). Anyway, let’s jump in:
THE CHRISTMAS SONGS TIER
Sleigh Ride by The Ronettes / Feliz Navidad by José Feliciano / Let It Snow! Let It Snow! Let It Snow! by Dean Martin / It’s The Most Wonderful Time of the Year by Andy Williams / A Holly Jolly Christmas by Burl Ives / Rockin’ Around the Christmas Tree by Brenda Lee / All I Want For Christmas Is You by Mariah Carey / Jingle Bell Rock by Bobby Helms
You guys know at this point how I feel about these Christmas songs, so I’m not gonna waste my breath on them. Lucky for you, though, I was much more gentle toward Christmas music for this list because I had all my good ones charting during the calendar year.
I HATED THESE!!!
Hey, guess what? Nothing this year fell this low! Honestly, even though there were a few songs I didn’t like this year, none of them were tracks I utterly detested. I guess that’s one positive, and in a year like this, you gotta find those where you can. Anyway, let’s just skip ahead to the next tier...
I DIDN’T LIKE THESE!
62. What Did I Miss? by Drake
Give 2025 credit; bland of a year as it was for the charts, it took until July for a Top 10-peaking hit to come along that I genuinely didn’t like. “What Did I Miss?” served as the leadoff single to the as-of-yet unreleased “Iceman,” Drake’s “first” solo album following his notorious beef with Kendrick Lamar (I put “first” in major air quotes because you can’t convince me that that PARTYNEXTDOOR collab project that we’ll bring up later didn’t start life as a solo album). And maybe I’d have some different feelings on this song if I were talking about it minus any of the context of the beef, but unfortunately, Drake shoves all of the context of the beef in your face to the point where it’s hard to divorce the song from it. On its own, it’s just your average Drake song with a boastful beat, a boring hook, and a Drake performance that has a few decent flows even though it still at times sounds like he just doesn’t care, only changing that when he delivers the cringeworthy and repetitive “let’s go!” parts through the hook. But while it would probably just be “boring” on its own, the lyrical content turns the song from “boring” to “embarrassing.” Once again, because Drake simply can’t move on from the beef and just make normal hit records anymore, he has to remind us how he doesn’t have any friends in the industry and how people around him ditched him...Drake, if you smell shit everywhere that you walk, check your shoe. Of course, the biggest target is LeBron James, who was seen publicly rapping to several Kendrick songs, and Drake couldn’t have that because LeBron was his real Dad...or something like that, I dunno, he needed LeBron’s approval on whether or not to respond to “The Story of Adidon” and he had a tattoo of the guy for Christ’s sake, that’s weird. But ultimately, what really sinks this song for me is that Drake is once again trying desperately to convince us, beyond a shadow of a doubt, that he is unbothered and that the beef didn’t faze him...which I’d half-believe if not for the fact that this song released amid Drake’s attempts to *sue* over the beef, even going so far as to name Kendrick’s children in his lawsuit. What did you miss, Drake? I don’t know, but I’ll let you know what I miss: the days when you were actually capable of making *good* music.
61. Actually Romantic by Taylor Swift
Oh dear...you know it’s bad when even I, a self-proclaimed “secret Swiftie,” can’t even fully come to a Taylor Swift album’s defense. Taylor Swift surprised me when she released her new album “The Life of a Showgirl” this year, as I thought she would take some time away from music in the wake of what I’m sure was hefty fatigue after the cultural phenomenon that was The Eras Tour. Yet, she put out the album, and of course, it came with her requisite “Top 10 to herself” moment just like her last two albums, though I was a lot less enthusiastic about this album bomb compared to her others. While I loved “Midnights” and very much came to the defense of “The Tortured Poets Department,” I found this one a little harder to defend, and I felt it contained some of Taylor’s worst songs in a long time. Case in point: the conversation-defining track “Actually Romantic.” Much of the discussion around this cut was its supposed standing as a diss track toward Charli XCX (specifically being a response to “sympathy is a knife” from “BRAT”), one that I found to be a bit out of left field. Sure, there’s been rumblings of some disagreements between them, but they both have generally swept it under the rug and it seemed everything was cool. So why the sudden diss track? And for an artist like Taylor who’s usually really good at the whole “kill them with kindness” thing (unless it’s at a truly deserved target, like Kim/Kanye), lyrically this song felt so...mean. And childish. And frankly, below-the-belt for someone like Taylor. And even if it wasn’t a diss track...yeah, I still don’t like it very much; the bouncy electric guitar tries to go for fun but just ends up feeling tired, and the hook doesn’t stick as well as some of Taylor’s bests. Yeah, this one was pretty weak, and it wasn’t the only Top 10-peaking song on “The Life of a Showgirl” that I found weak. As a matter of fact...
60. CANCELLED! by Taylor Swift
Okay, look, if any popular mainstream artists are equipped to talk about “cancel culture,” I feel like Taylor is definitely one of them; she literally did go into hiding for about a year after the smear campaign Kim and Kanye put out, so in some kind of way, she knows what it’s like. The problem is that she’s about eight years late to the train; Taylor doesn’t need to make a “fuck cancel culture” track in the big 2025, not just because the subject matter has been outplayed to death, but because Taylor is FAR past that, and she’s pretty much at the “too big to fail” point right now. She feels like she’s damn near uncancellable at this point, so hearing her talk about cancel culture NOW just feels weird to me. Now, I know, the song is more tied to her friendship with Blake Lively and her controversies with Justin Baldoni over the troubled production of the film “It Ends With Us,” but that doesn’t suddenly make me want to listen to the song more, especially given how it’s reignited the conversations surrounding the people that Taylor surrounds herself with now, whether intentionally or by happenstance. And no matter the context, I can’t say I like it much more. While I understand the song’s attempt to kinda be a slightly softer take on the darker edges of “reputation,” the production feels pretty flat, especially given that she brought back Max Martin and Shellback here. And while Taylor’s vocals are fine here, the hook is weak and some of these lyrics are absolute cringe. But hey, I guess a song like this is what happens if you “girlboss too close to the sun.”
THESE WERE OKAY
59. Beautiful Things by Benson Boone
I barely noticed it, but “Beautiful Things” by Benson Boone returned to the Top 10 early in 2025 on account of the Grammys. Sometimes, I forget that popular songs from the early parts of the previous year can get a second wind thanks to the Grammys...helps that I don’t pay attention to the Grammys, even though this year’s show was actually pretty good! Nevertheless, pretty much everything I said about the song last year could be said this year; if anything, I might’ve enjoyed it even less this year than last. I really think it’s that chorus: I don’t like what he does vocally there, and I spent a lot of my year making jokes about it. Otherwise...I guess it’s listenable.
58. NOKIA by Drake
Drake’s new album featuring PARTYNEXTDOOR – because calling it a “collab” album is charitable here – did actually land two songs on the Top 10 this year (both solo Drake songs...again, “collab?” Charitable), showing at least some level of survivability in the wake of the Kendrick Lamar battle. Thankfully, it was only two, which is much less of a back-breaker than previous Drake album bombs. That, and I also really didn’t enjoy the album, so I’m glad I didn’t have to go back to too many tracks. I was kinda surprised to see “NOKIA” be one of the album’s bigger success stories, but then again, it’s definitely one of the most danceable, so it makes sense. Even still...yeah, I didn’t care much for this track. I’ll give it points because, in the wake of everything that happened with him in the last year, I’d rather hear a Drake who’s just kinda having fun and not taking himself seriously versus the one who’s throwing sideline shots while standing behind his bodyguards (more on that in just a moment). But otherwise, while the song brings a somewhat fun electropop style and dance-y feel to the table, I feel like it falls off in the second half. At least the first half had its entertaining moments, and Drake rides the beat well (I do think the “who’s calling my phone” is catchy enough even though it gets grating very fast), but when we get to Elkan singing “BABY GOUUUUURL,” I check out. Honestly, this album was called “$ome $exy $ongs 4 U,” but I feel like if I heard that in the bedroom, the mood would be destroyed, and it’d probably kill my buzz. His hook on the second half is also very grating, and while Drake’s performance isn’t bad, it just doesn’t stand out to me. Compared to everything else on the album, it’s listenable, but it’s just not interesting. What’s slightly more interesting, though perhaps for the wrong reasons...
57. GIMME A HUG by Drake
Now “GIMME A HUG” was singled out by many as a favorite from the album, but honestly – and I mean this with no disrespect to anyone who genuinely enjoyed the song because I’m glad you did – I truly wonder how much of that love was BECAUSE it was the one straight rap song on the project and BECAUSE Drake was kinda flowing on it, as opposed to what he was ACTUALLY saying on the track. Because yeah, the beat is cool and all, and Drake does actually sound genuinely energized and hungry in his performance (again, that’s the bare minimum but given how bored Drake sounds on most songs these days, I’ll give it praise). But honestly, the writing is where the song really falls apart for me; naturally, Drake is up his own ass and calling himself a “visionary” but given that his last five albums have been varying degrees of underwhelming...I don’t know, man, I think you need to go to the eye doctor before you call yourself a “visionary.” And it’s especially bizarre seeing him try to duck the Kendrick beef while simultaneously taking weak sideline shots. I mean, I could go on a diatribe about the bars here: the “twerking with a dictionary” line? Who needs a dictionary to decipher “squabble up” or “tv off?” Dissing Joe Budden through his girlfriend? Drake, big dog, wasn’t keeping the names of people’s girlfriends/wives in your mouth how “The Story of Adidon,” “meet the grahams,” and “Not Like Us” happened? Maybe you should stop going to that well. “We be dropping harder shit?” I know opinions are subjective but you didn’t drop for MONTHS before this album and there is genuinely NOTHING on “$ome $exy $ongs 4 U” that is “hard” outside of this one...unless you mean “hard to get through,” in which case, yes, you are correct. And then Drake becomes the type of dude to ask “where my hug at?” because he screams it repeatedly...wait, is he asking strippers for a hug? How corny of a human being do you have to be that strippers are the people you go to asking for a hug...at 38, by the way? I mean, look, we know Drake’s the type of dude to kiss strippers on the forehead and tell them “this life isn’t for you,” so maybe a hug isn’t as weird as I’m making it out to be, but you know what is weird? The ending of the song. Look, I think the sample of “I Miss You” by Aaron Hall is good and all, and Drake’s singing at that part is nice, but...Drake, man, you literally got called a pedophile in front of the entire world multiple times; in what universe was it a good idea to sample an artist who was accused of sexually assaulting a 16-year-old alongside Diddy? I thought Drake was known for being self-aware; what the fuck happened? Okay, sorry, I said I’d be shortening this but I had a lot to say here. Hell, you’re probably even surprised that this song is in the “Okay” section. Again, the song SOUNDS good, and Drake’s definitely flowing on it; the problem is just that nothing he says on here is good. And it makes the song hard to return to for me. Hey, it’s kinda like 2025’s version of Eminem’s “Houdini,” where it’s a fairly alright song outside of, you know, the very thing that hip-hop music is built on: lyrics. Ah well, rather this than “MEET YOUR PADRE.” *gags*
56. Just In Case by Morgan Wallen
*gasp* Do my ears deceive me? Did Morgan Wallen have another album cycle for another overlong album of bland, repetitive country music that led to a crapton of songs hitting the Top 10 on the Billboard Hot 100? Great! My shit-giving organs have been giving a shit too much lately; they needed a moment not to give a shit. So yeah, “Just In Case” was one of the many songs from this new album that hit the Top 10 of the Billboard charts, and...yeah, it’s whatever. Basic instrumental, Morgan’s vocals are fine, I’m sure someone enjoys the writing...yeah, it’s a Morgan Wallen song. You’ve heard it a million times before, and you’re gonna hear it a million times later. Next.
55. I Got Better by Morgan Wallen
...you know, I think I might have to fight you on this point, because I’m not quite sure I agree. I feel like the music hasn’t improved or gotten worse over the years; it all just feels like one long song...oh, he’s not talking about the quality of his music in this song? Ah, okay, I thought he was just bragging. But yes, another Morgan Wallen song, and at this point, I’m practically just throwing them in here because this wouldn’t be a complete list without them. Standard country instrumental, fine vocals, Morgan talks about how he’s gotten better since a breakup...sorry, I’m hardly paying attention to these Morgan Wallen songs at this point, I’m too busy staring at my bedroom window curtain to care (no lie, I literally typed that sentence while staring at my curtain). It’s a really nice curtain; it’s dark blue, which helps kinda keep the sun from shining too bright in my room, but the light still gets through at just the amount I like...oh what? I’m supposed to be talking about these Morgan Wallen songs? Well, I’ve got nothing more to say about this one, so...next!
54. Superman by Morgan Wallen
Actually, I’m gonna take a break from making jokes about Morgan Wallen for this one because, despite this song being among the least interesting things to happen involving Superman in 2025 (though certainly better than a former Superman actor becoming an ICE agent), this actually is a pretty touchingly written song by Morgan. The song is written to his son, Indigo, and already, it’s hard for me to be overly cynical of a song like that so score one in the “emotional points” department for Morgan. And I do think Morgan takes a pretty good angle with this one: he ponders what his son’s perception of him will be when he grows up and has to grapple with his Dad’s past controversies, and while he notes that he’ll continue to do everything for his son, he lets him know that “Superman is just a man sometimes.” Now, if I wanted to be nitpicky, I could ponder his decision to claim that Superman is “just a man” when that’s canonically not true, but I’m gonna let it slide because I appreciate the sentiment of the song and I think the writing is very nice. I just wish the rest of the song around it was as interesting as the lyrical content. Sorry, Morgan, but the instrumental definitely gives off “just another song in his catalogue” vibes, which is disappointing considering that the writing is so good. Ah well, if Indigo loves the song, that’ll be all that matters.
53. What I Want by Morgan Wallen ft. Tate McRae
Among the many Morgan Wallen songs to hit the Top 10, this was one of the bigger ones and it also stirred up a bit of online controversy, with some netizens taking umbrage at a singer like Tate McRae, who stands up for several social justice causes, collaborating with a controversial artist like Morgan Wallen who has obviously been caught very publicly using racial slurs in the past. Now I’m not here to police Tate and decide if there should’ve been due diligence or anything like that in this situation, mostly because the song isn’t really worth much to me. I mean, the bright sound of it is kinda nice (even though, again, the trap drums drive me up the wall), but Morgan and Tate don’t really have much vocal interplay here (which given that she revealed that she’s never met Morgan in person, it pretty confirms my suspicion that these two may not have even been in the same hemisphere when it was recorded). I kinda see how it became a hit, but I get the vibe while hearing it that Tate was really only here because the label wanted to cash in on the hot year she’s having by combining her with a superstar. And she does a decent job vocally, but I just get the sense that she should’ve never been on this song in the first place, and not for the reasons Twitter was talking about. Otherwise, it’s a Morgan Wallen song, it’s bland, you know how this works. Next!!
52. I Ain’t Comin’ Back by Morgan Wallen and Post Malone
From...where? You’ve barely even left; we haven’t gotten a break from you, Morgan. You put out a 32-song album in 2021, a 36-song album in 2023, and a 37-song album this year. It’s not like you’ve taken a “break,” so where do you even have to come back from? You really are the problem...okay, sorry, that was a bit mean, but yes, Morgan Wallen? More like MOREgan Wallen, because we got another Top 10 hit of his to talk about, this one another collab with Post Malone. Seems like it’s just kinda returning the favor for “I Had Some Help” last year. And look, I can see this being a nice song to listen to while you drive down a back road with the roof missing while a girl with a white sleeveless shirt, jean shorts and boots on lays her foot on your leg, but why does it literally just feel like Morgan trying to make another “7 Summers?” Maybe not in a lyrical sense, but instrumentally, this feels exactly like that song. I mean, hey, when you put out 105 songs across three albums in five years, copying your own homework seems like a near-guarantee. I mean, yeah, Morgan and Post’s vocal interplay is good and all, but yeah...it’s any ol’ country song you’ve heard before.
51. EVIL J0RDAN by Playboi Carti
Playboi Carti's long-awaited album “MUSIC” was finally released early in 2025, and it was a big enough success to see a pair of Top 10-peaking singles on the Billboard Hot 100, a first for Carti as a lead artist. Now, I myself kinda blanked the album from my consciousness almost immediately after I reviewed it, so I was okay with the fact that it only had two songs reach the Top 10. One of the two songs to hit the Top 10 was “EVIL J0RDAN,” a track I thought was...fine. I do like the intro to the song, which samples Playboi Carti's collaboration with The Weeknd and Madonna (and a song I quite love), “Popular,” but not much else about the song really sticks out to me. The production goes hard, and it's pretty awesome when the beat eventually drops, but most of the song feels like dime-a-dozen rage music to me and doesn't stand out from any of Carti’s other songs. I guess there were worse options to reach the Top 10, but this one didn't stand out to me. In fact, the other Top 10-peaking single interested me more, if only a little bit...
50. RATHER LIE by Playboi Carti and The Weeknd
The only reason “RATHER LIE” hops a spot above “EVIL J0RDAN” for me is because of the feature appearance from The Weeknd. His hook is very addictive, as you would expect from an artist like The Weeknd who knows his way around a great chorus, and it pretty much makes the song for me. I do like the somewhat brighter feel of the instrumental, but otherwise, the rest of the track does frighteningly little for me. It doesn't help that, while Playboi Carti's performance is pretty fun at points – especially when he changes his voice – this was one of a few tracks on “MUSIC” that received controversy for allegedly using AI vocals. Do I believe it? Eh, I kinda doubt it (as I previously doubted on his other collab with The Weeknd, “Timeless”), but regardless, the track just doesn’t stand out to me outside of Abel’s contribution.
49. Love Somebody by Morgan Wallen
Another song I didn’t even initially notice landed back in the Top 10 early this year, “Love Somebody” was one of the pre-release singles from Morgan Wallen’s album that returned after initially hitting the Top 10 last year...and yeah, like I said about it last year, it wasn’t anything that special to me. I mean, yes, I like the interpolation of Dua Lipa’s “Training Season,” but otherwise, like much of Morgan’s discography, this does nothing for me. Speaking of Morgan Wallen, again...
48. I’m The Problem by Morgan Wallen
Well, at least you said it this time so I don’t have to. The title track from his album “I’m The Problem” didn’t annoy me as much as some of his other tracks, but I didn’t care much for it. It’s very standard Morgan Wallen stuff, but the song is at the very least sonically listenable. The guitar-plucking instrumental is fine and Morgan’s vocals are solid enough, but the writing does nothing for me. The overall emotional crux of the song being “If I’m the problem then you’re the reason why” just feels like gaslighting, and it doesn’t sit right with me. Also – I don’t think he was going for this but I’m only bringing it up because I saw this perspective – if he’s somehow not talking about a girl but if this song is an allusion to anyone who’s criticized him...hey man, I’m not the reason you’re the problem, I just didn’t want you to say the N-word, dog. That’s, like, racist, ya know? Like I just didn’t want you to be racist or be a bad person; my bad, bro. Either way, pretty whatever song, not the worst thing I’ve heard from him, but nothing I’ll come back to in the future.
47. 4X4 by Travis Scott
It sounds odd to say, but I first heard this song in some capacity because Travis performed it during the Halftime “Show” at the 2025 College Football Championship Game...family had it on and I happened to be watching, so I caught his “performance” of it...I put “show” and “performance” in quotes because the show was only this song and it happened so quickly that I thought it was just a commercial. Either way, that performance didn’t really sell me on “4X4” as a song, and after hearing it when it was released, I wasn’t too crazy about it. I mean, the rage-influenced beat is pretty nice and I don’t mind Travis’s vocal inflection, but the track as a whole feels very standard for Travis and doesn’t feel like something “huge,” so to speak. It feels like this track was just put out as something of a holdover for Travis’s next album (be that “JACKBOYS 2” or his next solo project), and while it’s not a bad listen, it definitely feels very inessential compared to some of his best songs.
46. Lose Control by Teddy Swims
“Lose Control” returned to the Top 10 in 2025 after being 2024’s #1 Billboard hit, and unfortunately, my opinion didn’t change much on it. I still love Teddy’s vocals, but the song as a whole felt very standard to me, and it didn’t really help that I’ve had to hear this one a few too many times on the Amazon Alexa in my house.
45. Father Figure by Taylor Swift
Now look, Taylor Swift’s new album is not loaded with absolutely horrible songs; rather, it just has a few more misses than usual, and several songs are more “forgettable” than “good.” “Father Figure” is an example of this; there are things I like about the song, but it escapes my memory too quickly to really blow my mind. Utilizing an interpolation of George Michael’s “Father Figure,” Taylor basically uses this song as a way of laying out her struggles with the industry. I’ve seen some people posit this being a diss track toward Olivia Rodrigo, and if it is...ugh. More likely, the song is referring to her struggles with Scott Borchetta and his sale of her masters to Scooter Braun; we know how messy that situation was. I do like Taylor claiming her power here, but there’s not much of a great hook, and this is another one of those tracks that I feel like is missing the “Showgirl” vibe I was expecting from the album. Not terrible, just not great. But on a similar Taylor-related note...
44. The Life of a Showgirl by Taylor Swift ft. Sabrina Carpenter
The self-titled closer to the album sees Taylor teaming up with her apparent heir, Sabrina Carpenter, on a song that, with its brighter country-pop vibe, feels reminiscent of Taylor’s older hits but without the punch, fun, or catchiness that makes them so good. I mean, I don’t mind the “mentor-protégé” storyline where an artist named Kitty is practically warning the narrator, “you don’t want the famous life,” but by the end of it, the narrator is proud to have gone into it despite its warts, but the song really lacks any sense of flair to me. Taylor and (especially) Sabrina do sound very good on the track, but it just feels a little too sentimental, and while that’s not a problem in theory, Taylor has done sentimentality a lot better than this (see “Long Live” as a perfect example; that song still gets me to this day). And while the song ending with actual audio from the last show of The Eras Tour is very nice (and fitting to the song’s story), it does kinda add to my theory that “The Life of a Showgirl” feels like an album that can only be fully appreciated by those who have swam to the very bottom of the Taylor Swift iceberg. And even then, some of those very people were put off by this album, which I think speaks volumes.
43. All The Way by BigXthaPlug ft. Bailey Zimmerman
I’m not gonna lie, when I heard that a country-rap crossover song hit the Top 10 of the Billboard charts, I was a little bit worried. Country-rap has often been home to some big cringe, especially when hip-hop influences show up in what we now call “bro-country,” so I didn’t go into “All The Way” with very high hopes. To my surprise, it wasn’t bad, and I feel like a lot of that comes from BigXthaPlug; he’s really flowing on the track, and I think he sells the heartbroken angle of the song very well. And I do think Bailey Zimmerman comes through with a fairly decent hook here as well, with some nice enough melodies to keep it interesting. That said, I do think the song runs a bit too short, and the production is just bland enough for this song to feel a bit too much like a gimmick to me. Be that as it may, it’s a decent listen in spite of feeling like a gimmick, which is far more than I could’ve asked for considering that this style of music usually leads to torment.
42. TIT FOR TAT by Tate McRae
Tate McRae had herself quite the year in 2025 off the strength of her chart-topping album “So Close To What,” though while that album housed a few Platinum-certified singles (like “Sports car,” which I heard quite a bit of during the year), none of them landed in our Top 10 here in the United States (I say that because Tate is Canadian, and has had a fair few songs land in the Top 10 over there that didn’t make it that high here). Her big Top 10-peaking single, however, was “TIT FOR TAT,” a post-album single VERY obviously tied to her former relationship with fellow 20-something musical star, the Kid LAROI. In fact, this song was pretty much released as Tate’s response to LAROI’s own song “A Cold Play.” Now admittedly, I don’t often care to involve myself in the goings-on of celebrity relationships since I don’t know these people personally, so I don’t know much about the beef between these two other than that I believe there had been some cheating rumors lobbed at Tate and she may have been upset that LAROI either didn’t dispel them or contributed to them (fucking hell if I know), but ultimately, I just care about the music. And in this case...the song’s fine. Tate’s vocals are nice, it’s fast-paced and attitude-laden, the hook is fine, but it’s nothing I’m dying to break the replay button on. I respect that she needed to get it off her chest and it’s a decent post-breakup song, just nothing I’m absolutely in love with.
41. APT. by ROSÉ and Bruno Mars
Man, like I said last year, I really want to like this song more. “APT.” by ROSÉ and Bruno Mars returned to the Top 10 in 2025 and sadly, I found myself feeling the same way about it this year as I did last year. I like parts of the song, but other parts kinda annoy me, and it’s sad because the vocal interplay between ROSÉ and Bruno is fantastic and that pre-chorus is awesome. Sadly, it’s one of those songs I can only enjoy in pieces, and that’s the disappointing part.
I LIKED THESE!
40. Ordinary by Alex Warren
Sometimes, the “I’m white” side of me creeps in and I end up giving a bit more praise to a basic song that I wouldn’t expect to like. Now don’t get it twisted, I don’t think “Ordinary” is some masterpiece or anything like that: quite honestly, I think it’s a somewhat more mellow Imagine Dragons song that also revives everyone’s favorite not-favorite style of music, the “Stomp Clap HEY” genre. But for whatever reason, I actually vibed to it while it was on. At first listen, I did genuinely ask myself, “Oh my God, are we really bringing back ‘Stomp Clap HEY' music?” but oddly, I didn’t mind this one. It might be because I’ve been nicer to some “Stomp Clap HEY” songs in the past, but yeah, I’m down with this. I think Alex Warren has a nice voice and I think the way he writes about how out-of-this-world the love is (with uses of biblical imagery) is very vivid. Of course, it still falls into a lot of the trappings of its contemporaries, and I think the song does carry some of that “overproduced” vibe at points, but yeah, I’m actually kinda down with this. Maybe I really have become easier to please...
39. Smile by Morgan Wallen
See what I mean? I know, it can happen every once in a while. Morgan Wallen, on New Year’s Eve, surprise-dropped “Smile,” the third single off the aforementioned album “I’m The Problem” and, look, Morgan Wallen is not an artist I’m anywhere near interested enough in to check out an album of his (especially given his inability to self-edit, if I haven’t made that embarrassingly clear throughout this piece), but his songs regularly hit the Top 10 so I end up hearing quite a few of them. And I can’t lie, I actually kinda like this one; it’s a very standard, downbeat acoustic-country song, but I think Morgan’s vocals are pretty nice and the chorus sounds good, too. I also think the writing is fairly decent, and I like the song’s theme of just wanting to see a lover smile. It’s nothing groundbreaking, but as far as Morgan Wallen songs go, this is a nice one to vibe to. Speaking of Morgan Wallen...
38. I Had Some Help by Post Malone ft. Morgan Wallen
Post Malone and Morgan Wallen’s “I Had Some Help” returned to the Top 10 of Billboard after being one of 2024’s biggest hits, and...yeah, I’m not gonna rehash my opinion on Post Malone’s country album because, to my surprise, my opinion on the album (I didn’t like it very much at all) actually got some people mad so I don’t wanna do that again. I’ll instead just say that, while this song is very standard pop-country stuff, it’s miles better than almost anything else on the album and is still a fairly fun track.
37. That’s So True by Gracie Abrams
Okay...listen. Last year, Gracie Abrams got “That’s So True” into the Top 10 of Billboard, and this came amidst a lot of “industry plant” talk given that J.J. Abrams is her father. Honestly, though, a lot of that flew over my head, and I didn’t think too deeply about it because...I dunno, a lot of people make it in this industry thanks to a connection, plus I feel like I only hear that phrase thrown around about women so I didn’t want to perpetuate it. Still, I did find this single at the time to just be okay, but after it returned to the Top 10 this year...I dunno, it kinda did something for me. The hook kinda got stuck in my head, the bridge is obviously killer, and while I do think Gracie vocally may not be a “standout” just yet (the Taylor Swift comparisons are apt), this song is a nice enough vibe. It’s not incredible, but something about it kinda clicks with me. I said last year that I wouldn’t immediately write Gracie Abrams off, and yeah, here we are; this one grew on me.
36. Outside by Cardi B
Finally, Cardi B actually dropped her new album this year, and just in time for the lead-up to it, she was able to get another Top 10 hit song with “Outside.” As much as people want to astral-project the idea of Cardi B being a flop onto her, it’s super impressive to see how she’s torn down any perceptions that she’d be a “one-hit wonder” and has had the kind of longevity that she’s had with her music. And while I don’t think this track is one of her best, I do think it’s pretty good. The tip-toeing feel of the beat combined with Cardi’s solid flows and ever-powerful energy on the track makes it incredibly potent, and it’s awesome to see Cardi still sounding so fiery and hungry here. I do think the song could’ve used a slightly better hook, but all in all, it’s a pretty solid track that I did enjoy a bit more in the context of the album.
35. Anxiety by Doechii
Ohhh man, I had no idea that when I’d finally get to talk about Doechii on this list, it would be in the wake of Internet discourse. Now, make no mistake: none of this discourse is from anything Doechii herself has done, but goddamn, hearing a woman who has been making music since 2016 finally break out and then be called an “industry plant” for the umpteenth time drives me up a wall (and yes, I’m sure some of that hate may come from obsessive Internet users who are mad because she’s a Top Dawg artist who received a Kendrick Lamar co-sign, though I’m also sure some of it has to do with a word that begins with a big R...just saying). “Anxiety” bore the brunt of that backlash, and perhaps the song did become overplayed; sure, I was hearing it on TikToks quite a bit, but it’s kind of a shame it got so much backlash because I think it’s a good showcase for Doechii. I think her singing talent is shown off in a great way here, and the chorus is a nice little head-nodder. I think the only things that hold it back for me are that the lyrics, while not bad at all, don’t dig deep enough into the “anxiety” theme for me, and I think the production, which samples the 2012 hit song “Somebody That I Used To Know” by Gotye featuring Kimbra, leans a bit too heavily on the sample to the point where it doesn’t offer much outside of a quick “WOW I REMEMBER THAT SONG” moment (an all-too-common problem with sampling in music these days). Still, I think it’s an enjoyable song, and for a 2019 track that was merely polished up and re-recorded, it’s nice enough. Might not scale the heights of some of the best tracks off of her fantastic 2024 mixtape “Alligator Bites Never Heal,” but it’s a track I can enjoy spinning.
34. Wood by Taylor Swift
Now like I said, “The Life of a Showgirl” did have its share of songs that I actually enjoyed, and yes, I did actually enjoy “Wood.” Yes, I know that the song is easy to joke about because of its subject matter...you know, Travis Kelce’s penis. Seriously, it’s been edited since, but when I first wrote this entry, the Wikipedia page even said, “The song is about Kelce’s penis,” and just reading that made me burst out in laughter. And sure, I think the song is definitely TMI, but at least it’s kind of self-aware at how ridiculous it is (come on, “he ah-matized me” as a way to censor “dick-matized?”). And given its punchy guitar riff reminiscent of The Jackson 5 and Taylor’s vocal melodies on the hook, it’s sonically one of the more fun songs on the record. Maybe didn’t need to know all that about Travis Kelce, but...you know what, my home team beat his in the Super Bowl (Go Birds), so I guess if he needs a pump– I MEAN, “warm-up”...with a schlong– I MEAN, “song”...about his tape-measure– I MEAN...“pleasure”...that he gives you...give him head–I MEAN “go ahead”...eugh, I need a shower...
33. Wi$h Li$t by Taylor Swift
Okay, now that I’ve cleaned that off of me, “Wi$h Li$t” was another one people weren’t that crazy about, but I liked it; sure, it’s definitely got some cringe writing here and there (all the name-dropping of things like Balenciaga, the Palme d’Or, the Oscars, and Real Madrid honestly had me kinda rolling my eyes a little), but I do think the song has a very nice, light synth-pop vibe that makes it feel like a somewhat brighter version of something off of “Midnights.” Taylor’s vocals are nice (especially when she jumps into her falsetto), and I do like that this feels like a genuine “settling down” song with Travis. May not be one of her absolute bests, but it’s a nice track.
32. Manchild by Sabrina Carpenter
Getting back to artists who had to deal with bizarre, frankly undeserved backlash in 2025, Sabrina Carpenter struck while the iron was hot after an incredible year in 2024 that established her as a bona fide pop superstar. In doing so, she released her newest album, “Man’s Best Friend,” complete with an album cover that earned cries and impassioned debates over whether it was offensive or just satirical. Frankly, I’m not here to decide one way or another; I’m here to talk about the music, and the album’s leadoff single, “Manchild,” was one I enjoyed. I think it’s an interesting mix of disco, pop, and even country sounds, and I like how playful Sabrina continues to be with this track. I like that she’s delivering all these insulting lines to a gross ex-boyfriend with this very sweet, falsetto-heavy vocal tone, and I think it makes the song pretty fun. I do kinda agree with the notion that the production can kinda feel like the leftovers of Chappell Roan’s “Good Luck, Babe!,” but I think the song manages to be fun enough and carve out its own lane nicely enough, even if it’s not the absolute best thing Sabrina’s ever put out.
31. Your Idol by Saja Boys (Andrew Choi, Neckwav, Danny Chung, KEVIN WOO and samUIL Lee; KPop Demon Hunters Cast)
One of the biggest breakout stories of 2025, “KPop Demon Hunters” became Netflix’s most successful film (it’s their most-watched original film, period) and has pretty much become a cultural sensation if I’ve ever seen one. What’s more, its soundtrack has become a massive hit with SEVERAL songs hitting the Billboard Top 10, and this one even hitting the #1 spot. It’s already hard for a movie soundtrack to land a Top 10 hit at all, so the fact that this landed FOUR of them (which is the most for a soundtrack, and that’s crazy to me), and even got one to the #1 spot, is super impressive. Sony Pictures Animation, man, I don’t know how they do it, but first “Sunflower” and now this...I’m impressed. And while I wouldn’t say these songs are on loop for me, I do like the movie’s soundtrack (and I really like the movie). In the case of “Your Idol,” I like the darker pop-trap kinda vibes it has going on, and the boy group itself, the Saja Boys, has some good vocal charm, even though it could’ve used a bit of a better hook. Like I dunno, other than the little giggle I got out of the “can I get the mic a little higher?” line on the chorus, it felt like it could’ve been a bit more than what it was. Still, it was a decent song, and it was cool for the point in the movie that it played in.
30. Golden by HUNTR/X (EJAE, AUDREY NUNA and REI AMI; KPop Demon Hunters Cast)
Now “Golden,” on the other hand, was the movie’s BIG hit (no KPop pun intended) and is the song from the girl group in “KPop Demon Hunters,” HUNTR/X. It was the first song from the soundtrack to peak in the Top 10 (and it was the one that hit the #1 spot), and I liked it a bit better than “Your Idol,” even if it wasn’t my favorite song from the movie. Vocally, the three girls representing the fictional group HUNTR/X sound great, and I think that kinda carries the song a bit because the instrumental at times feels like somewhat factory-produced dance-pop/synth-pop. Like the intro sound so cool, but then when the actual beat kicks in...I dunno, it didn’t hit as hard. It did grow on me with a few listens, though, and I think it helps that I enjoyed “KPop Demon Hunters” as a movie and thereby I liked the song a bit more in the context of the film. Probably not a song I’ll throw onto my playlist or anything, but it’s good...actually, maybe I’d throw it in my playlist if there was a stripped-back version or something like that, that could be pretty awesome.
29. How It’s Done by HUNTR/X (EJAE, AUDREY NUNA and REI AMI; KPop Demon Hunters Cast)
Yeah, I know “Golden” is the movie’s biggest hit song, but I dunno, I think I actually like “How It’s Done” more when it comes to HUNTR/X’s stuff. It does kinda fit firmly in a lot of KPop tropes – honestly, if I hadn’t seen or heard of the movie and you told me BLACKPINK or K/DA made this, I’d totally believe you – but I think the girls bring a lot of attitude and vocal chemistry to the track that makes it work. It also helps that I enjoyed it in the context of the film, given that it really sets up the concept of the movie, introduces us to the characters, and the sequence with it features some badass action. It’s not something I go back to often, but it’s decent enough.
28. Soda Pop by Saja Boys (Andrew Choi, Neckwav, Danny Chung, KEVIN WOO and samUIL Lee; KPop Demon Hunters Cast)
The Saja Boys got two Top 10 hits on Billboard? And they got their second Top 10 before HUNTR/X got their second? Guys...you know they’re the bad guys, right? You know, the “demons” that are being “hunted?” I know the girls got the higher peak and all, but am I the only one finding it weird that the “demons” got two Top 10 peaks before the girls? Just me? Okay. Actually, I find it kinda funny that I liked a Saja Boys song more than the HUNTR/X song that charted, given that the Saja Boys music was intended to be the more “superficial” of the two...is that a criticism? That it *wasn’t* superficial enough? I dunno. Anyway, “Soda Pop” is the most interesting of the four songs to hit the Top 10, as the vocals are very nice and I like the bit of R&B influence kinda creeping in here. I think the only thing that holds it back from being a “replay-button-breaker” is that it just feels a *tiny* bit too bubblegum to me. I don’t mind me a sweet, candy-coated song such as this, but I think this one was just a bit too much. I know that’s kind of the point of the song, but it can be a little overbearing. Still, while I don’t think the “KPop Demon Hunters” soundtrack is anything I’ll be consistently looping and it kinda needs the context of the movie, the songs themselves are good enough and I think their integration into the movie makes them enjoyable little earworms.
27. Man I Need by Olivia Dean
It’s always fun when a singer you’ve heard in the past finally breaks out with a huge Top 10-peaking single. London-based singer Olivia Dean is an example of that, as she’s been putting out music for years now and, in 2025, finally peaked in the Top 10 with her single “Man I Need.” While I don’t have the most familiarity with her music, I have really enjoyed her 2020 single “The Hardest Part,” so I was happy to see her land this high on the charts, especially with a solid track like this. I don’t think it’s the flashiest or most amazing thing I’ve heard all year, but it’s a very smooth, easygoing and soulful song with great vocals from Olivia, and it honestly just makes me happy to hear a song like this landing so high on the charts. It feels pleasantly old-school and timeless, and it’s great to see it gaining the traction it has. I hope this is the beginning of a long run of success for Olivia Dean.
THE HONORARY “CHRISTMAS SONGS I ACTUALLY LIKE” TIER
Underneath the Tree by Kelly Clarkson
While Kelly Clarkson’s newly minted Christmas Top 10 may not be my absolute favorite Christmas song to hit the charts, I don’t mind a song that just shows off a bit of musicality, and that’s what this one does.
Last Christmas by Wham!
I feel like I don’t need to repeat myself on this one. One of my all-time Christmas favorites.
The Christmas Song (Merry Christmas to You) by Nat King Cole
Jeez, Christmas, stop making me not hate you. When this absolutely incredible song can get back in the Top 10, I’m a happy camper around Christmas time.
Santa Tell Me by Ariana Grande
My favorite Christmas song finally made the Top 10 last year, and once more, it came back in full swing this year, even reaching a new peak in the Top 5. In these moments, life is good.
I LOVED THESE!!!
26. back to friends by sombr
Pretty much the last big song to land on the Top 10 in 2025 before the usual year-end glut of Christmas songs, “back to friends” was quite the slow-burning hit, debuting at #90 on the Hot 100 in April before blowing up on TikTok and finally landing in the Top 10 in late November. sombr was a name I’d been hearing for a while throughout the year, and without realizing it, I had known this song before sitting down to listen to it fully just because of its prominence in TikToks. Listening to it in its entirety, though, I do think it’s quite a good song! For some reason, I feel like this brand of indie-pop doesn’t quite hit the charts super often, so it’s very nice when it does, and I like how spacey and dreamy the song feels up against the very wistful lyrics. I’ve heard some comparisons to mid-2010s Tumblr-era songs...but as someone who never really used Tumblr like that, I can’t possibly comment. But sombr has a nice voice and I think the mixing on his vocals adds to the trance-like melancholy of the song as a whole. It may have landed higher on this list if I had a bit more time with it, but hey, maybe that’s what next year’s list will be for if it survives the Christmas onslaught. Nevertheless, very nice song.
25. Opalite by Taylor Swift
Yes, even with my disappointment in “The Life of a Showgirl,” I’ve definitely got a few tracks I’m gonna be throwing in this tier. Before I dive deep into “Opalite,” though, am I the only one who heard this one start and thought it was “Circles” by Post Malone? I mean, come on, that’s pretty much the exact same guitar lick! But this was a very nice song; Taylor moves into a more pop-rock direction with this one in another track that kinda throws me back to some of her older hits. Her vocals are very sweet and bright, and on this very lovely song that focuses on her relationship with Travis, it’s kinda easy to see why the first three tracks on the album are widely considered the best ones: sweet as it is, it’s free of the more cringeworthy songwriting that would show up as the album moved on. It almost feels like the first three songs on “The Life of a Showgirl” were pulled from a very different project than what the final record turned out to be. And speaking of those first three tracks...
24. Elizabeth Taylor by Taylor Swift
Like I said, “The Life of a Showgirl” did have some earnestly good songs, just not nearly enough compared to Taylor’s other albums. But “Elizabeth Taylor” was one that I liked, which may come as a bit of a surprise given that this is another song on the album that feels reminiscent of “reputation,” which I’ve long held as my least favorite Taylor album (which I might still say even after my disappointment with “Showgirl”). In the case, though, I think the more booming electro-pop production mixed with some soft rock vibes works well for the song, and the hook is once again very snappy and likable. And I found the connection Taylor Swift makes to Elizabeth Taylor, another famous celeb who was very public and very scrutinized, mixed with the discussion of her desire for love amidst the massive publicity, was intriguing. A solid track, though there was another one I liked better...
23. The Fate of Ophelia by Taylor Swift
The one song on “The Life of a Showgirl” that was pretty much universally liked, I’ll be honest and say that this one needed to grow on me. It started so subdued with its light pianos that I was almost immediately like “WTF? I thought we were getting ‘Showgirl?’” But then I realized I was jumping the gun a little too quickly and with another listen or two, I definitely saw why it was one of the more liked songs on the record. Granted, maybe the fact that it was so muted was a warning sign that the “Showgirl” part of the album wouldn’t be shown in its sonic elements, but nevertheless, as it moves along, this song is definitely one of the snappiest and catchiest on the project. Strong dance-pop production, one of the album’s most immediate hooks, and some interesting literary connections (or rather, disconnects, I guess) to Ophelia from “Hamlet.” Sometimes, I find the single choices for Taylor’s albums to be questionable, but with “The Fate of Ophelia,” there probably wasn’t a better choice to kick off the album with. But there was one more song on the album I liked more, and you might be surprised at what it is...
22. Eldest Daughter by Taylor Swift
From what I saw, this was not one of the more liked tracks on “The Life of a Showgirl,” but it was actually my favorite on the album. One big reason why is that I just absolutely love it when Taylor dials things down and goes for something really emotional, which...I mean, this is literally a piano ballad that only adds an acoustic guitar lick a bit later, so yeah, about as lowkey as a Taylor song will get. But I love these kinds of songs where she just lets her vocals do the talking, and here, they sure do because they sound beautiful. I also think it’s great hearing the way she talks about taking on the “older sister” role and how she applied that to dealing with the fame, and the way she kind of dismantles the idea of “putting on a costume” or seeming like a “bad bitch” for the Internet. Some may not be fond of her slang or anything like that, but I like what she’s saying, and even after multiple re-listens, I definitely consider this my favorite track on the album.
21. Tears by Sabrina Carpenter
Admittedly, while I enjoyed Sabrina Carpenter’s new album, I was a little bit let down by it compared to “Short n’ Sweet” last year. Be that as it may, the album still had its highlights, and I was very happy to see “Tears” become a hit because this was one of my favorite tracks on the record. It’s a disco-influenced jam with major Donna Summer vibes that sees Sabrina singing seductively about how a well-mannered man makes her feel aroused. Trust me, when I saw the name “Tears” on the album, I thought it was gonna be a sad song, too; I didn’t think she meant that tears would be coming out of her...anyway. While I felt like the album as a whole was missing some things, this track really felt like it played well into Sabrina’s typical sense of humor, and her very nice singing fits well against the disco sound. It would’ve been nice if “House Tour” also became a hit alongside this, but either way, I’m glad this became the album’s big post-release hit because, any disappointment toward the album aside, this is a great jam.
20. The Giver by Chappell Roan
True story: when I wrote “The Giver by Chappell Roan” above (and in the text you just read), the Grammarly extension on my computer tried to change Chappell’s name to Lois Lowry...come to find out this is because there is a novel of the same name written by Lois Lowry (which I was only aware of because it got a film adaptation in 2014)...which I’m sure is great but the fact that Grammarly doesn’t know your favorite artist’s favorite artist is astounding. Nevertheless, Chappell returned from her massive 2024 breakout in 2025 with “The Giver,” a song that took a surprising turn into a country direction. I know I can be critical of country music, but this is some country I can definitely get behind: Chappell’s voice works perfectly for the sound, and it honestly gives me a pleasant reminder of the Shania Twain hits I grew up listening to. And I love that Chappell moved into country music while preserving the writing style she’s always been known for and creating a fantastic LGBTQ+ country anthem. I do wish the song spent a little more time in the Top 10, but nevertheless, this is a great track and an excellent move into a different sound for The Midwest Princess. Speaking of which...
19. The Subway by Chappell Roan
As soon as this song started, my first thought was “Fleetwood Mac, is that you?” The dream pop sound that Chappell goes for on this one just immediately made me think of something like “Landslide” (even though it obviously takes on a far different feel than that song). Of course, this isn’t a bad thing: I was excited to see Chappell land another Top 10 hit, and especially one with a different vibe than “The Giver.” I know Chappell has talked about how (at the time of writing this in August) she doesn’t have a second album planned yet, and I respect that she’s not just trying to strike while the iron’s hot and rush out another album out of obligation. Rather, I kinda get the vibe that she’s just letting herself play around and experiment in the studio without feeling the need to restrict herself to one sound or style, and I like that. Thus, “The Subway” came along, and I think I like this one even more than “The Giver.” The dream pop style really suits Chappell, and vocally, she shows that she’s game for something like this. It’s a very wistful song about heartbreak and trying to move on from a former lover, and Chappell’s pen is obviously fantastic so she does a great job creating a strong emotional core, tying it together on the outro with that repetitious “she’s got a way/she got away” that really got me on my first listen (and continued to on repeat listens). Chappell Roan has proven to be an incredibly versatile artist in today’s pop landscape, and even if we have to wait a long time for the album, I’ll take it if the loose singles she drops continue to be this good.
18. DAISIES by Justin Bieber
Justin Bieber returned with a new album this year for the first time in four years, and to my surprise, it actually landed a bit lighter than most Bieber albums. Now of course, “lighter” by Bieber's standards is still super successful, but it was shocking to see it debut at #2 on the Billboard 200 instead of his customary #1. In all fairness, the surprise release could’ve been a factor, but it was bested by another album that kinda came as a “surprise” (“JACKBOYS 2”), so...what do I know? Either way, probably on account of the surprise release, it didn’t land many huge Billboard Hot 100 hits, but “DAISIES” became one of them, and even with my mixed feelings on the project, I’m glad it did because I really like this song! It’s mellow but still nice with a nice R&B flavor and some super sweet guitar plucks (thank you Dijon), and Justin’s obviously a great vocal presence here. His vocals are super smooth, and the writing sees him tackling his insecurities and commitment to his wife, Hailey Bieber. It’s a very raw but beautiful track and it once again proves that, even if Bieber can be pretty inconsistent on the album front, he definitely still knows how to come through with a great single with each new cycle.
17. DtMF by Bad Bunny
Early on in 2025, Bad Bunny released his album “Debí Tirar Más Fotos” and – unsurprisingly given how much of a titan this guy is on the charts – got an album bomb out of it and saw three songs land in the Top 10 of the Hot 100. The title track “DtMF” charted the highest of the bunch, and while I’m not the most noteworthy Bad Bunny lover on the planet, I did very much enjoy the album and I do vibe with this song. The mixes of plena and reggaeton on this very smooth and low-key cut are quite lovely, and I think the song has a catchy hook thanks to its call-and-response nature. I also find the writing to be very nice, being a very nostalgic song where Bad Bunny regrets not taking enough photos with people (I relate to that in my life) and encourages listeners to appreciate the little things in life. This track definitely grew on me over the course of the year (especially after hearing the album itself and hearing it in that context), and it’s a very nice vibe that continues to establish Bad Bunny’s status as a great Latin music ambassador. Speaking of Bad Bunny...
16. NUEVAYoL by Bad Bunny
Now, this song didn’t need to grow on me in the same way as “DtMF,” because it grabbed me right off the bat. “NUEVAYoL” was the opener to the album, and goddamn, does this track BANG. Here, Bad Bunny jumps into a dembow sound, which honestly had me pretty excited. I previously got a taste for dembow in the past thanks to “La Mama De La Mama” by El Alfa, CJ and El Cherry Scom, and let me tell you, it is INFECTIOUS, so seeing the King of Latin Pop himself jump on the sound was very welcome. And beyond how infectious the song is, it also serves as a tribute to El Gran Combo de Puerto Rico and Andy Montañez’s “Un Verano en Nueva York,” a classic Puerto Rican salsa hit of the 1970s. I definitely see why this album got so much love even in comparison to Bad Bunny’s typical stuff; for the way Bad Bunny embraces his heritage and the sounds of Puerto Rico on the record (the writing on the album also digs into Puerto Rico’s political status and issues with things like gentrification, which is really interesting and it’s cool to see a global superstar like him use his platform to shed like on these things). This is definitely a great song to get up and dance to, though I think there’s one song that’s slightly better for that from Bad Bunny...
15. BAILE INoLVIDABLE by Bad Bunny
Now, of the three songs off of Bad Bunny’s new album to hit the Top 10, this one REALLY blew my mind. “BAILE INoLVIDABLE” kicks off with this really dark, synth-heavy intro, almost reminiscent of something you’d hear on a modern Weeknd song. The song takes a very quick turn after that first minute, though, jumping directly into a salsa sound. As I said earlier, Bad Bunny is a Latin music ambassador, and it’s so awesome to see him get as big as he has, but never forget his roots and continue to hone that sound. What’s more, he absolutely owns the salsa sound, making a song that’s an absolute dance-floor-ready banger! Even as a six-minute song, it never loses my interest, largely because the instrumental is so infectious and hard to resist dancing along to. Man, I don’t listen to Bad Bunny often but when his music hits, it hits HARD. Can’t wait to hear him perform some of these songs at the Super Bowl in February.
14. A Bar Song (Tipsy) by Shaboozey
Another one of 2024’s biggest hits returned to the Top 10 in 2025 and honestly, even though I heard this song a fair few times on the Amazon Alexa at my house, I didn’t mind it at all. It’s a fun country jam with great vocals from Shaboozey, and again, the interpolation of J-Kwon’s “Tipsy” is actually pretty great here. A part of me still prefers that original song, of course, but the way Shaboozey integrated it here is really solid, and it gives this a boost over your standard poppier country song.
13. Taste by Sabrina Carpenter
Following a huge year in 2024, Sabrina Carpenter’s “Taste” was able to stick around in the Top 10 early on in 2025. And I was very happy about this, because returning to it for this list, it’s still just as intoxicating as I remember. Playful with a very catchy hook and Sabrina’s vocals are excellent here. Great song.
12. Love Me Not by Ravyn Lenae
When “Love Me Not” by Ravyn Lenae hit the Top 10, I had not heard anything about it or Ravyn Lenae, so I didn’t know what to expect going in. It seems to be one of many songs in recent years to have blown up with the help of TikTok, and honestly...thank whoever you worship, because in what was such a slow year for “new” hit songs (which I guess this technically isn’t, since it came out in 2024), a song this good was desperately needed. It’s a mix of grungy pop-soul and soft-rock with some R&B vibes, and it has this really pleasantly old-school sound to it. For some reason, I get some Motown vibes out of it, and I love it. Ravyn Lenae also brings plenty of charisma with her vocals as she sings about the messiness of heartache and whether to commit to a proper relationship, and it all comes together for such a fantastic song. I feel like songs that sound like this don’t usually hit the Top 10, but I’m really glad that this one did because it is absolutely fantastic. I hope this is only the first of many hits for Ravyn Lenae.
11. Timeless by The Weeknd and Playboi Carti
I’m still a little miffed that The Weeknd’s final album, “Hurry Up Tomorrow,” didn’t land any new Top 10 hits outside of this one (this and “Dawn FM” both got snubbed so hard), and that this may have only returned to the Top 10 because of The Weeknd’s surprise appearance at the Grammys. Years after boycotting the show because they didn’t give “After Hours” any nominations (seriously, that does feel like a glaring oversight), it was crazy to see him make his return (and then get snubbed AGAIN...bastards). As for the song itself, yes, I wish other songs on “Hurry Up Tomorrow” jumped into the Top 10, but I can’t pretend this song’s hook didn’t get stuck in my head often. Banger single, and I’m glad to see The Weeknd end off the chronology with an amazing album in “Hurry Up Tomorrow.”
10. Pink Pony Club by Chappell Roan
Now this was a pleasant surprise: obviously, Chappell Roan was one of 2024’s biggest breakout stars, but after “Good Luck, Babe!” was her only Top 10 hit last year, “Pink Pony Club” actually took a huge jump into the Top 10 (which I presume may have been helped by its memorable Grammys performance?). It was also in researching it for this video that I learned this was a song released back in 2020; I had thought it was a new song for her 2023 debut album “The Rise and Fall of a Midwest Princess,” but nope, she had this one in the bag for a minute. I listened to this song late in 2024 when I finally checked that album out (fantastic record, by the way), and yeah, this is an amazing song. I love the storytelling surrounding a girl moving from Tennessee to SoCal to become a go-go dancer at a gay strip club, and how it also feels like an allegory for coming out and being able to exist in your own skin comfortably. The musicality on display here is also fantastic: Chappell is a beautiful singer, and while the song has a very melancholy start, I love how it swells into this incredibly anthemic chorus. And yeah, that guitar solo? Killer. Great to see Chappell having the success she’s had, and it’s awesome to see this song, one her label once tried to dissuade her from releasing, landing in the Top 10.
9. Espresso by Sabrina Carpenter
Yeah, “Espresso” is still my favorite single from “Short n’ Sweet.” It’s just so lighthearted and catchy and the Summer-y vibes of it are absolutely intoxicating. That hook has gotten stuck in my head too many times and it’s always a joy to go back to. Very happy to see this return to the Top 10 early on in 2025.
8. BIRDS OF A FEATHER by Billie Eilish
Last year, I actually had “BIRDS OF A FEATHER” by Billie Eilish just behind “Espresso,” but this year, I have it a tiny bit ahead. Honestly, though, don’t put too much into that: I always say that, outside of the top spot and the bottom spot, almost everything else in a given section of these lists can interchange. I think I just happened to return to “BIRDS OF A FEATHER” a touch more this year. Either way, two fantastic songs and, in a landscape where we have so many incredible ladies making great pop music, it makes me happy to see artists like Billie and Sabrina dominate as much as they have lately.
7. Die With A Smile by Lady Gaga and Bruno Mars
“Die With A Smile” by Lady Gaga and Bruno Mars returning to the Top 10 and even claiming the #1 spot in 2025 (and even being the #1 on the Year-End Hot 100) made me very happy, and while it would be surpassed by a few other songs that were in the Top 10 last year, that doesn’t mean I like it any less. Call it an “Oscar bait” song if you want to, but I love how timeless this feels and the vocal interplay between Bruno and Gaga is a wonder to behold. I’m very happy this exists; excellent song.
6. MUTT by Leon Thomas
Yes. Thank you. This is one of those songs that had such a slow buildup into the Top 10, but when it finally got there late in the year, I was so happy. For those that don’t know, Leon Thomas is an R&B and soul singer who some of you may recognize from the fact that he was the voice actor who played Tyrone in Nick Jr.’s “The Backyardigans,” or more commonly, you may know him as André from Nickelodeon’s “Victorious” (best character in the show IMO, just saying). Following the show’s conclusion, Leon continued working in music, notably doing songwriting and production work behind the scenes (specifically with Khristopher Riddick-Tynes as part of their production duo, The Rascals). He wrote for artists like Toni Braxton, Drake, and of course his “Victorious” co-star Ariana Grande, and in 2024 won a Grammy as a co-writer on SZA’s FANTASTIC hit “Snooze.” All the while, Leon was obviously working on his own music, which brings us to last year when he released his album “MUTT,” a record whose title track has obviously become a viral sensation (of course, I’m talking about it now). I listened to the album earlier this year and absolutely adored it, and “MUTT” was a song I greatly enjoyed, so seeing it land in the Top 10 was fantastic news to me. It’s a neo-soul jam that is SO smooth and so classic-sounding, Leon’s vocals are incredible, and that hook has gotten stuck in my head more times this year than almost any song. Even as Leon adds vocal filters, they don’t take away from just how lovely he sounds, and in fact, they add to the all-around smooth feel of the song. For weeks leading up to its eventual peak in the Top 10, Billboard projections were saying it would get there, so when it did, you can only imagine how happy I was. Shoutout to Leon Thomas for this one; I hope it’s only the first of many that we get from him.
5. Folded by Kehlani
Am I the only one who felt a bit surprised when I found out that this is Kehlani’s first-ever Billboard Hot 100 Top 10 hit? They’ve been around for well over a decade and they’ve been plenty successful and featured on plenty of albums, yet this is the first time they’ve gotten this high on the Hot 100. Usually, I made a joke of some kind, but in this case, I think it’s just a reminder of the benefits of patience; just keep doing what you do and in time, good things will come. And thankfully, this song has plenty of good things that I really like; it’s such a smooth, spacey R&B vibe with a super slick guitar lick and fantastic vocals from Kehlani as she sings about wanting to rekindle a relationship. Honestly, I couldn’t stop listening to this late in the year; at first, this song was about to just miss out on my Top 10, but I really just had to move it up. This kind of R&B is directly up my alley, and it always makes me happy to see songs like this land so high on the charts. I’ll be a happy camper if the Top 10 continues to get great R&B like this in the future.
4. 30 For 30 by SZA with Kendrick Lamar
What a flex: “30 For 30” was a track from SZA’s “SOS” reissue “LANA,” and while it being released during the Christmas season snuffed it out from landing in the Top 10, it eventually got there thanks to Kendrick Lamar and SZA’s Super Bowl Halftime Show...even though this song wasn’t even performed during the show. That’s crazy to me, and I’m happy it ended up getting there because this song is just too damn smooth for my brain to comprehend. It’s a vibey R&B jam that these guys can absolutely own, and as is expected from SZA and Kendrick, their chemistry is incredible. They both vocally sound great, the hook is positively intoxicating, and the song is just so smooth that it’s impossible to get out of my head. Truly, I need SZA and Kendrick to drop a joint project, because I don’t think I’ll ever need any more music in my life if that happens. But speaking of Kendrick...
3. squabble up by Kendrick Lamar
As I mentioned, Kendrick Lamar’s incredible performance at the Super Bowl Halftime Show meant that several of the biggest hits on his newest album “GNX” jumped back up on the charts in early 2024. Of course, I’m happy they all did, but I’m especially glad that “squabble up” returned to the Top 10. I’m not gonna reiterate my thoughts on this (or many of the other “GNX” songs) given that I expounded so deeply on them in last year’s piece, but after hearing this previewed in the “Not Like Us” music video, I’m glad it got a proper release and a music video. It’s so bouncy and energetic, and the hook got stuck in my head more times than I could think. You may notice, though, that this actually fell behind another song from “GNX” just a little bit compared to last year’s list. To that point...
2. tv off by Kendrick Lamar ft. Lefty Gunplay
Once again, you may be surprised to see this ahead of “squabble up” given that that song was ahead of this last year, and “tv off” wasn’t even in my Top 5 favorite tracks when I initially reviewed “GNX.” To that point, though, “GNX” is one of those albums I love so much that numerous songs from it could interchange. And as it turns out, I ended up replaying “tv off” just a little bit more than “squabble up” this year. It’s such an energetic and fun banger, and as much as the “MUSTAAAAAAAAAARD” part was a meme, that always got me pumped up. Kendrick ending his Super Bowl Halftime Show with this was awesome, but speaking once more of Kendrick...
1. luther by Kendrick Lamar and SZA
To think, in my review of this album, I didn’t initially even put this song among my Top 5 favorite tracks on the album...again, in all fairness, “GNX” is so good that a lot of songs can interchange. Nevertheless, “luther” by Kendrick Lamar and SZA has become one of my most-replayed tracks on the album, as it’s just such a smooth and stellar R&B song that I simply can’t get enough of. Kudos to Kendrick and SZA for making a gem with this one, and kudos to the two of them on an incredible Super Bowl Halftime Show performance this year. Amazing to get to see these two on such a big stage dominating (and amazing to see this be 2025’s longest-running #1 song on the Billboard charts).
THE “IT MIGHT BE CHEATING TO PUT THIS AT #1” TIER
0. Not Like Us by Kendrick Lamar
Okay, look, I did have to bring back the “Cheating” tier for this year’s list and...hear me out: last year, “Not Like Us” took my #1 spot on this very same list. Even beyond the Drake disses, this is just an emphatic song that I still can’t get enough of. Yes, “meet the grahams” remains my favorite song to hail from the Drake-Kendrick beef, but “Not Like Us” is still incredible in and of itself. Now, I wasn’t expecting the song to return to the charts in 2025, but Kendrick’s Super Bowl Halftime Show – where this man stared down the barrel of the camera and said “Say Drake, I hear you like ‘em young” with the biggest shit-eating grin on his face, then proceeded to make the entire stadium yell “A MINORRRRRRRRRR” – not only got the song back in the Top 10, but even catapulted it to the #1 spot. If I’m being honest, I tentatively brought back the “Cheating” tier because of this (and later kept it because of another song), largely because this song has continuously stayed on loop for me, and it feels unfair to me to give it the #1 spot on this list two years in a row. Thus...the “Cheating” tier returns. What can I say? He’s what the culture’s feeling.
Also 0. Thriller by Michael Jackson
Given the flooding of Christmas songs that clog up the charts every year, I’ve been begging for quite some time now for Halloween to get some love on the charts, and finally, we got a song for my favorite holiday. And of course, it had to come in a year where I did nothing for Halloween because my physical/mental health were at a low enough point for me to call off Spooky SZN...yes, my luck was impeccable this year. Either way, the charts threw me a bone this year, as arguably the most iconic Halloween song returned to the Top 10. And look, you don’t need me to tell you that Michael Jackson’s “Thriller” is a classic of a song; it’s saying something that this song is the namesake of the album it hailed from (a personal favorite album of mine), and it’s probably not even close to my favorite song on said album, yet it’s still a masterpiece. The way it mixes disco and funk with that incredibly groovy bassline, Michael’s excellent vocals, and the absolutely intoxicating chorus all combine to give the song a suitably spooky vibe for such a bright, poppy song. The writing adds to that vibe as well, and the late Vincent Price’s narration on the outro, climaxing with that iconically evil laugh make this a legendary song. Naturally, it has to go in this tier, because it’s 100% cheating to put a song with this level of impact up against modern hits that have barely had time to carve a legacy. What a song, what an artist; can’t wait to see that “Michael” biopic next year.
As always, thank you to anyone who took time out of their schedules to read this list. I know my blog isn’t all that popular, but I’m thankful for anyone who cares about my silly musical shenanigans. And as always, thank you to everyone who supported me in any way in 2025; this has been by far the worst year of my life, but I’ve at least been developing healthier habits and I’m hoping those lead to some major progress in 2026. Until then, what were your favorite and least favorite Top 10-peaking singles in 2025? Let me know in the comments!!!
