2025 in Music: The Billboard Top 100 Reviewed
Ultimately, by revisiting BillBoard’s 2025 chart through a more critical lens, it becomes clear that the year's biggest hits were not successful by accident, but because they reflected the moods, conflicts, and identities of the people listening to them. Although popular music is often dismissed as shallow or manufactured, many of these songs demonstrate a genuine sense of emotional honesty.
I’ve looked forward to Billboard’s end-of-year list every year since 2022. I’ve always enjoyed comparing year-end rankings, seeing what was popular at the time, which songs I recognized, and which one slipped past me. I love statistics, rankings and music, so it's no surprise that this straightforward way of measuring the most popular songs in America has always clicked with me. While I was still curious to check out the 2025 list, my excitement wasn’t quite the same as in previous years. That was partly because I hadn't listened to many 2025 releases, and partly because the Billboard year-end charts often include songs that weren't released that year. Because of that, I didn’t feel particularly eager to dive into the top 100. Recently though, my perspective shifted. Instead of assuming these songs wouldn’t interest me, I realized it could be genuinely engaging and riveting to revisit both familiar hits and songs I’d never heard before, spanning genres I don’t usually explore like country. More than simply ranking recent hits, this review is an attempt to understand what these songs reveal about trendy music, and its listeners in 2025. By examining that year’s chart toppers, I aim to explore how they may shape the sound and direction of music in the years to come. With that in mind, this piece reflects my thoughts on the most popular songs according to Billboard’s charts in 2025.
Before diving in, It’s important to explain how this review is structured. I will be selecting what I believe is the strongest track from each category. Considering factors like emotional impact, originality, production, and replay value. I’ll share brief thoughts on every song, while giving detailed commentary to standout tracks from each ten-song range (100-90, 89-80, and so on), allowing space to highlight what truly sets them apart in each paragraph. Ultimately, this isn’t about declaring definitive winners, (though I will highlight my favorite track from each segment), instead it's about revisiting a year in music through a more thoughtful, critical lens examining how these tracks succeed or fall short artistically, regardless of their popularity.
#100–90 Rankings:
100. Loco — Neton Vega
99. Superman — Morgan Wallen
98. Folded — Kehlani
97. No Pole — Don Toliver
96. Dark Thoughts — Lil Tecca (Favorite Song)
95. House Again — Hudson Westbrook
94. Heart of a Woman — Summer Walker
93. Takedown — KPop Demon Hunters Cast
92. Free — KPop Demon Hunters Cast
91. Rather Lie — Playboi Carti & The Weeknd
90. 20 Cigarettes — Morgan Wallen
“Loco” by Neton Vega is a weak opener. It aims for a carefree party ready tone that never fully lands, largely because the vocals feel flat and drained of energy. The track tries to balance emotional depth, with a “don’t care” attitude, but that sense of freedom never resonates. If you're looking for a song that truly captures that carefree spirit, “I Don’t Care, I Love It” by Icona Pop and Charli XCX delivers the excitement this track lacks.
“Superman” by Morgan Wallen isn’t worthy of much attention either. I genuinely have nothing to say about this song. It is built on a lazy self comparison that feels ironic given Wallen’s public controversies, and the song offers little lyrically or musically to justify its placement on this list. I don’t get why it's here. Superman represents integrity and accountability, qualities this comparison simply doesn’t hold up to.
“Folded” by Kehlani, is the first real highlight of the list, as we get a genuinely catchy melody. The R&B track uses the act of folding an ex’s clothes as a metaphor for care mixed with emotional exhaustion. She’s worn down by indecision and clearly ready to move forward. The melody is consistently engaging, the metaphor lands effectively, and unlike earlier entries, it holds attention without overstaying its welcome. I never felt the urge to skip this one.
“No Pole” by Don Toliver comes next, and it's the kind of song that goes in one ear and out the other. It’s fairly catchy, and I can understand why it gained popularity, but it just doesn’t resonate with me. Lyrically, Toliver reflects on a woman attempting to leave behind her stripping lifestyle while Toliver reflects on his own problems with drugs, a thoughtful message but it is undermined by a repetitive delivery that keeps the track from fully holding my interest.
“Dark Thoughts” by Lil Tecca is easily the standout of this segment. While the vocals are solid, The production is the real star of the song. It reminds me of Pharrell's production and it completely carries the song, pairing a smooth chorus with a sound that is crispy and refined. Lyrically, Tecca offers reassurance to a partner battling with emotional struggles and I appreciate the vulnerability here. This is easily one of the best Lil Tecca songs I’ve heard and it deserves a much higher spot on this list.
“House Again” by Hudson Westbrook is a solid country entry, even for someone generally disengaged from the genre because of the vocal style. Inspired by his parents’ divorce, the song leans into nostalgia and heartbreak with appreciating exposure, though the instrument break near the middle feels underdeveloped which is especially disappointing because it could have elevated the emotions of the track.
“Heart Of A Woman” by Summer Walker is smooth but ultimately underwhelming. The production is pleasant, yet it feels underutilized, as if the song never reaches its full potential. I think this track being under 3 minutes hurts its staying power and emotional payoff. I do like the themes of strength and identity. I just wish it could have been more explored.
The two tracks from KPop Demon Hunters, “Takedown” and “Free” both fall short. “Takedown” suffers from dated, grating production that feels stuck in 2015, with an obnoxiously repetitive chorus. “Free” shifts towards a ballad style, but the male vocalist’s strained delivery pulls me out of it entirely, so it struggles to land emotionally. Neither track justifies its inclusion beyond the movie context.
“Rather Lie” by Playboi Carti and the Weeknd is carried almost entirely by The Weeknd’s performance for me. His vocals elevate the chorus, and the production is great, but I get nothing from Carti’s performance which is upsetting since he dominates the majority of this song. The track overall remains serviceable rather than memorable.
Closing the segment, we have “20 Cigarettes” by Morgan Wallen, and it ends things on a dull note, offering little reason for repeated listens. The chorus is unbearable and laughable, and the song ends so quickly. It's a complete snoozer. I’ll be skipping any additional Morgan Wallen tracks that appear later on the list as I don’t want to give this guy any more of my attention.
#89-80 Rankings:
89. NUEVAYoL — Bad Bunny (Favorite Song)
88. After All The Bars Are Closed — Thomas Rhett
87. Tu Boda — Oscar Maydon, Fuerza Regida
86. Liar — Jelly Roll
85. SOMEBODY LOVES ME — PARTYNEXTDOOR, Drake
84. Hard Fought Hallelujah — Brandon Lake, Jelly Roll
83. What It Sounds Like — KPop Demon Hunters Cast
82. Revolving Door — Tate McRae
81. Jingle Bell Rock — Bobby Helms
80. Backup Plan — Bailey Zimmerman, Luke Combs
The first song from this batch of tracks marks a noticeable step up in energy and identity, as this is one of the most culturally vibrant tracks on the list. “NUEVAYoL” by Bad Bunny is a standout not just within this segment, but across the entire chart. Built around a classic El Gram Combo salsa sample, the song doubles as both a dance album and a celebration of Puerto Rican heritage in New York City. Its production is lively and confident, blending tradition in a way that feels effortless. More than just a party track, it captures a sense of community and pride that makes it endlessly replayable, irresistible and confident. Easily a favorite.
By contrast, “After All The Bars Are Closed” by Thomas Rhett feels stuck in the past. Its familiar structure and repetitive chorus could have been pulled from early 2010s country radio, offering little innovation or emotional depth. While the idea of extending a perfect night with a new love interest is harmless enough, the execution is so formulaic that it becomes grating rather than charming.
“Tu Boda” by Oscar Maydon and Fuerza Regida stand out for its narrative ambition especially for a BillBoard song. The song follows a deeply heartbroken narrator attending his former partner’s wedding, leaning into themes of obsession and despair. While the instrumental remains largely unchanged throughout, the storytelling is compelling enough to sustain interest. Its controversial subject matter makes it one of the more memorable tracks in this segment, even if the production itself is minimal.
“Liar” by Jelly Roll aims for an emotional and dramatic tone but overshoots its mark. The song’s substantial percussion and overblown chorus make it difficult for me to connect with it, despite its themes of self-confrontation and inner struggle. There are glimpses of good in the pre-chorus and guitar solo, but overall, the intensity feels forced rather than earned.
That same problem carries into “SOMEBODY LOVE ME” by PARTYNEXTDOOR and Drake, which suffers from bland production and unremarkable songwriting, PARTYNEXTDOOR’s vocal delivery is particularly grating here, and while Drake sounds more comfortable, he brings little personality to the track. The result is a song that feels hollow.
“Hard Fought Hallelujah” by Brandon Lake and Jelly Roll stretches its welcome. At over 5 minutes, the track leans heavily on an overused chorus that quickly becomes tiresome. While its themes of faith, perseverance, and redemption are clear, the lack of variation and constant repetition drains the song's impact.
The KPop Demon Hunters soundtrack on this list improves slightly with “What It Sounds Like.” The slow build toward the chorus is effective, and despite generic lyrics, the melody is infectious. A late switch-up introduces a promising idea, though it lacks creativity and sounds generic, thankfully the subdued ending helps bring the song to a satisfying close.
“Revolving Door” by Tate McRae is a strong pop entry, using its central metaphor to explore the cycle of unhealthy relationships. The glitchy warped production complements the song well, and the chorus grows more addictive with each listen. It’s polished, catchy and sometimes that is all you need.
The unexpected inclusion of “Jingle Bell Rock” by Bobby Helms adds a nostalgic curveball. While undeniably overplayed, its warmth, bright guitar work, and Helms’ smooth vocals still capture the joy of the holiday season, making it a pleasant revisit.
Closing out the segment, “Backup Plan” by Bailey Zimmerman and Luke Comb hints at something intriguing with its opening instrumental because it reminds me “Do I Wanna Know?” by the Arctic Monkeys, but quickly settles into mediocrity. Despite a positive message about resilience, the chorus and vocal delivery fail to leave a lasting impression.
#79-70 Rankings:
79. I Am Not Okay — Jelly Roll
78. I’m Gonna Love You — Cody Johnson, Carrie Underwood
77. EoO — Bad Bunny
76. BMF — SZA
75. DENIAL IS A RIVER — Doechii (Favorite Song)
74. Bad Dreams — Teddy Swims
73. Cry For Me — The Weeknd
72. SKIPPED MORGAN WALLEN SONG
71. weren’t for the wind — Ella Langley
70. BAILE INoLIVIDABLE — Bad Bunny
This segment opens with “I Am Not Okay” by Jelly Roll,his third appearance on the chart, and easily his strongest yet. Compared to his earlier entries, this track feels more sincere. The chorus is effective without being overwhelming, and the production complements his vocals rather than ruining them. While it doesn’t reinvent the wheel, its message of acknowledging mental health struggles while holding onto hope makes it a welcome surprise.
“Im Gonna Love You” by Cody Johnson and Carrie Underwood is a pleasant but predictable country duet. Underwood’s vocals are, as expected, are the highlight, bringing emotion to the song. However, beyond that, the track follows a familiar formula both lyrically and musically. It’s a harmless, radio-friendly love song that earns its chart position through broad appeal rather than originality.
Bad Bunny returns with “EoO”, another high energy party track that showcases his ability to dominate this space effortlessly. The song features a dynamic switch up and smooth vocal delivery that keeps it engaging throughout. While it doesn’t quite reach the high of ‘NUEVaYoL” it still captures the carefree, dancefloor ready energy that makes his music so effective.
“BMF” by SzA is lighthearted and fun, even if it isn’t one of her most ambitious tracks. The song leans into simplicity, centering on attraction and desire, and while the themes aren’t especially deep, the melody is catchy enough to carry it. It’s the kind of song that thrives on vibe alone, and in that sense, it succeeds.
One of the biggest standouts of the entire list appears here with “DENIAL IS A RIVER” by Doechii. The track bursts with theatrical personality and playful lyricism. The vocal switches, humorous self awareness, and awesome delivery make it endlessly entertaining. The third verse is particularly strong, standing out as one of the most memorable moments on the chart so far. The unconventional moments even hit, like the exaggerated breathing toward the end. Unapologetically unique.
“Bad Dreams” by Teddy Swims brings the momentum back down. Despite his decent vocal reputation, this track feels generic and emotionally flat. The chorus lacks memorability, and the song ends almost as quickly as it begins, leaving little impact. It’s easily one of the most forgettable entries so far.
“Cry For Me” by The Weeknd starts strong with an electrifying introduction and maintains that energy through the verses. His vocal performance is consistently excellent, but the chorus doesn’t quite live up to his usual standard. While still a solid track overall, it feels slightly underwhelming compared to his strongest work. The down pitched vocal elements near the end do help give the song a more distinctive finish.
“weren’t for the wind” by Ella Langley is a pleasant surprise within the country genre. Her voice carries the song convincingly, supported by simple guitar work that keeps the focus on the lyrics. Exploring restlessness and longing for stability, the track remains genuine. While not groundbreaking, it’s one of the more tolerable and engaging country entries on the list.
Closing out the segment is “BAILE INoLVIDABLE” by Bad Bunny, the longest song encountered so far, and one that fully justifies its runtime. Built around rich salsa instrumentation, the song feels immersive rather than indulgent. This song uses dance as a metaphor for lost love in a way that feels heartfelt making it one of the most emotionally and musically satisfying tracks in this section.
#69-60 Rankings:
69. Happen To Me — Russell Dickerson
68. How It’s Done — KPop Demon Hunters Cast
67. Rockin’ Around The Christmas Tree — Brenda Lee
66. Am I Okay? — Megan Moroney
65. Last Christmas — Wham!
64. SKIPPED MORGAN WALLEN SONG
63. Residuals — Chris Brown
62. Like Him — Tyler, The Creator, Lola Young (Favorite Song)
61. Soda Pop — KPop Demon Hunters Cast
60. DAISIES — Justin Bieber
This segment opens up with “Happen To Me” by Russell Dickerson, a song that feels mismatched with its own genre . The upbeat message about taking a spontaneous chance on love is appealing, and the instrumental break even hints at rock influences that work better than country. Unfortunately, the chorus leans into a childish chant that clashes with the rest of the song, overshadowing its stronger moments and preventing it from fully landing.
“How It’s Done” from the KPop Demon Hunters soundtrack continues the trend of underwhelming soundtrack entries. While the chorus is mildly catchy, the production feels dated. The rap sections and simplified lyrics make it clear the song is aimed at a younger audience, which limits its artistic impact since obviously it got dumbed down. It may work in a party setting, but as a standalone listen, it's disposable.
“Rockin’ Around The Christmas Tree” by Brenda Lee provides a contrast. Its nostalgic charm and warm instrumentation make it one of the most comforting tracks in this range. The saxophone lines and Lee’s lively vocals still hold up decades later. Unlike some Christmas staples, its familiarity only adds to its appeal, It never had that feeling of being overplayed.
“Am I Okay?” by Megan Moroney is the strongest country entry so far. Her voice carries the song with sincerity, and the verses are effective. While the chorus is less powerful, the lyrics stand out for portraying the surreal experience of being in a healthy relationship after toxic ones. The sense of disbelief and relief in her performance makes the track touching.
“Last Christmas” by Wham! Is another nostalgic high point and remains one of the most emotionally layered holiday songs ever to chart. Its euphoric chorus and shimmering production are instantly recognizable, but beneath the festive sound is a story of heartbreak and regret. George Michael’s distinctive voice gives the song lasting power, balancing joy and loss in a way few songs manage.
“Residuals” by Chris Brown is technically competent but hollow. While his vocals are polished, they lack the depth needed to make the song resonate. The track reflects on the memories of a past relationship, but it fails to create genuine sympathy because Chris Brown is singing it and Chris Brown isn’t exactly the person I would want to listen to about past relationships.
“Like Him” by Tyler, The Creator and Lola Young is the clear standout of this segment and one of the strongest songs on the entire chart. The layered production becomes increasingly rich as the song unfolds, and Lola Young vocals are hauntingly effective. Lyrically, the track explores identity and inherited trauma through reflection on an absent father and a devoted mother. The complexity packed into its runtime is impressive, and the closing spoken segment adds an especially powerful final note.
“Soda Pop” from the Kpop Demon Hunters soundtrack immediately follows and highlights the gap in quality. Its intentionally shallow lyrics and hyper sweet delivery make it difficult to take seriously. While its exaggerated pop style may be deliberate, the result is still grating rather than clever, making it one of the most irritating tracks so far.
Closing the segment, “Daisies” by Justin Bieber ends things on a more satisfying note. The swelling chorus and textured production give the song a sense of momentum, and Bieber’s vocal performance feels expressive. Lyrically, the track reflects on distance within a relationship and uses the images plucking petals to symbolize hope and uncertainty. It’s not groundbreaking, but it’s sonically pleasing, making it a solid conclusion to this portion of the list.
#59-50 Rankings:
59. All I Want for Christmas Is You — Mariah Carey
58. Burning Blue — Mariah the Scientist
57. Who — Jimin
56. Abracadaba — Lady Gaga
55. High Road — Koe Wetzel, Jessie Murph
54. Your Idol — KPop Demon Hunters Cast
53. peekaboo — Kendrick Lamar, AZ Chike
52. Blue Strips — Jessie Murph
51. DtMF — Bad Bunny
50. Please Please Please — Sabrina Carpenter (Favorite Song)
This segment opens up with one of the most recognizable songs in pop history: “All I Want for Christmas Is You” by Mariah Carey. Its annual return to the charts has become a cultural event in itself, but its success is still justified. From the bright chime like bells to Carey’s powerhouse vocals and layered harmonies, the song captures a warmth that few songs can match. Beneath its festive exterior is a message about valuing love over material gifts, which helps explain why it remains so enduring despite its overexposure.
“Burning Blue” by Mariah the Scientist follows with an intriguing instrumental that pairs well with her voice, but the track struggles to maintain momentum. While the production remains pleasant throughout, it rarely evolves, causing the song to feel static by its midpoint. The dreamy textures at the end offer a brief payoff, yet overall the track relies more on vocal performance than musical risk.
“Who” by Jimin functions as a serviceable dance track, though its heavy use of autotune dulls much of its emotional impact. The chorus stands out thanks to its catchy melody and bright keyboard lines, but outside of that moment, the song leaves little lasting impression.
Lady Gaga’s “Abracadabra” is the strongest club oriented entry in this segment. Built on vibrant synths and an infectious hook, the song recalls the theatrical energy of her earlier work while still feeling modern. Its playful embrace of escapism and self belief gives the track a sense of purpose beyond pure club appeal, making it one of the more invigorating listens in this group.
“High Road” by Kow Wetzel and Jessie Murph offers a familiar country structure with a message about choosing maturity over conflict. While the theme is respectable, the song itself feels underdeveloped. Aside from a slightly more engaging instrumental break, the track never fully distinguishes itself either musically or lyrically, leaving it largely forgettable.
After several weaker entries from the soundtrack, “Your Idol” from the KPop Demon Hunters emerges as a surprise highlight. Its dramatic feeling and cinematic production set it apart from the rest of the film's contribution. Strong vocals and a theatrical chorus give the song a distinct personality, allowing it to succeed where the other soundtrack tracks falter.
Kendrick Lamar and AZ Chike’s “peekaboo” proves how much can be accomplished in a short runtime. The song’s eerie production and repetitive hook create a sense of unease that suits its themes of exposure and illusion within the music industry. Kendrick’s rapping dominates the track, while AZ Chike complements him effectively near the conclusion, making this one of the more conceptually interesting entries in this range.
In contrast, “Blue Strips” by Jessie Murph represents a low point. The production is abrasive, and the lyrics lean heavily into excess without offering much insight or humor. The chorus in particular becomes difficult to tolerate, and the song’s reliance on shock value and bragging undermines any potential artistic substance.
Bad Bunny’s “DtMF” restores the segment’s footing. Built on soft, atmospheric production and supported by background vocals, the song reflects on nostalgia and regret, centering on memories that were never fully appreciated. Its gentle tone and sweet closing moments make it one of the most heartfelt tracks in this portion of the list.
Closing the section, “Please Please Please” by Sabrina Carpenter stands out for me as the strongest pop performance here. Light, airy synths and carefully applied reverb give the song a dreamy quality, while its humorous verses emphasize charm. The fading outro provides a satisfying conclusion, and the track’s blend of personality makes it one of the most memorable and catchy entries in this entire list.
#49-40 Rankings:
49. Indigo — Sam Barber, Avery Anna
48. WHATCHU KNO ABOUT ME — GloRilla, Sexyy Red
47. Mystical Magical — Benson Boone
46. Sports Car — Tate McRae
45. Bed Chem — Sabrina Carpenter
44. back to friends — Sombr
43. I Never Lie — Zach Top
42. undressed — Sombr (Favorite Song)
41. Sticky — Tyler, The Creator, GloRilla, Sexyy Red, and Lil Wayne
40. SKIPPED MORGAN WALLEN SONG
This Segment opens with “Indigo” by Sam Barber and Avery Anna, a country duet that arrives as a genuine surprise. Their voices complement each other well, especially in the chorus, and the piano instrumental break adds more emotion. The song's dual narrative, told from the perspectives of two former lovers reflecting on a breakup, gives it a sense of balance. More polished and musically engaging than most country entries on the chart, it stands as the strongest example of the genre so far.
“WHATCHU KNOW ABOUT ME” by GloRilla and Sexyy Red follows as a brief, energetic rap track built largely on attitude and chemistry. The performances are confident and playful, though the chorus relies heavily on repetition, limiting its creativity. Still, its straightforward celebration of success makes it effective as a party song, even if it offers little beyond surface level appeal.
“Mystical Magical” by Benson Boone attempts a glossy pop sound but falters in execution. The production recalls the style of artists like Harry Styles, though without the same personality or charisma. While the instrumental is nice, the chorus is awkwardly phrased and lyrically incoherent, sounding more like a collection of catchy words than a meaningful hook. Its popularity seems driven more by memorability than quality, making it a catchy but shallow entry overall.
“Sports Car” by Tate McRae is one of the stronger pop performances in this group. The layered production is dynamic and textured, and her airy vocals glide smoothly across the track. Using the metaphor of a fast-paced sports car to represent the romantic and physical thrill of love which is playful and surprisingly effective. While the chorus does not hook me, the overall groove and consistency keep it engaging throughout.
“Bed Chem” by Sabrina Carpenter showcases sleek production and an inventive vocal delivery particularly in the pre-chorus. The song’s structure and sound are solid, though its chorus leans into an overly high register that dulls some of its impact. Compared to stronger entries from Carpenter elsewhere on the list, this track feels less memorable, though the synth outro provides a refreshing finish.
“back to friends” by Sombr stands out as one of the most emotionally resonant tracks in this segment for me. The layered vocals and heavy reverb create a dreamy atmosphere that recalls bands like The 1975. Produced by Sombr himself, the song builds toward a euphoric chorus and a particularly strong bridge before fading out gently. This is one of the most compelling pop entries so far.
“I Never Lie” by Zach Top is a more traditional country song that struggles to leave a strong impression. Though the instrumental sections are pleasant, the vocal performance and repetitive chorus weaken the song’s delivery. While its themes of denial and heartbreak are familiar within the genre, they are presented without much distinction, resulting in a track that is largely forgettable.
“Undressed,” Sombr’s second appearance on the chart, surpasses his earlier entry. The production is rich and atmospheric, and his vocals remain expressive throughout. The lyrics are especially striking, with the bridge offering one of the more emotionally cutting moments with the lines “I don’t want the children of another man to have the eyes of the girl I won't forget”. The chorus is both catchy and memorable, solidifying the song as not only the strongest track in this segment but a leading contender for the best overall.
Closing the section is “Sticky” by Tyler, The Creator featuring GloRilla, Sexyy Red, and Lil Wayne. Despite an impressive lineup and quality production, the track is weighed down by a repetitive and overly simplistic chorus. Each featured artist delivers a competent verse,and the instrumental is polished, but the central hook fails to justify its prominence for me. While far from a weak song, it remains one of the less impactful moments from an otherwise strong album.
#39-30 Rankings:
39. Anxiety — Doechii
38. Manchild — Sabrina Carpenter
37. Sorry Im Here For Someone Else — Benson Boone
36. Sailor Song — Gigi Perez
35. Worst Way — Riley Green
34. Too Sweet — Hoizer
33. All The Way — BigXthaPlug, Bailey Zimmerman
32. No One Noticed — The Marias (Favorite Song)
31. Good Luck Babe — Chappell Roan
30. Love Me Not — Ravyn Lenae
This segment begins with “Anxiety” by Doechii, a track that unfortunately represents her weakest appearance on the list. Originally a viral freestyle, the song feels underdeveloped as a finished release. Sampling “Somebody That I Used to Know” is a bold choice, but the sample clashes with the song’s tone and makes the track feel flimsy rather than cohesive. While the lyrics touch on themes of fame, fear, and pressure, the vocal performance and production prevent those ideas from landing effectively. Compared to her earlier entry, this feels like a huge miss.
“Manchild” by Sabrina Carpenter is one of the most enjoyable songs in this segment. The chorus is instantly addictive, her vocals are gorgeous, and the lyrics are super humorous. Framed as a sarcastic critique of emotional immaturity directed at an ex, the song balances pop perfection with a quirky personality. The instrumental layers used in the chorus adds so much punch, and the playful bridge reinforces the song’s wit. It's a standout example of pop songwriting that succeeds through both charm and production.
“Sorry I’m Here for Someone Else” by Benson Boone is a surprisingly strong entry. The shimmering synths and dramatic build reminds me of bands like The 1975, and Boone’s voice works far better here than on earlier charting tracks by him like Mystical Magical. The narrative gives the song a hilarious and emotional arc and the explosive ending, driven by pounding drums, elevates the entire track.
“Sailor Song” by Gigi Perez is a track I hold very dear to my heart and it still remains one of the most emotionally resonant tracks on the list. The delicate opening, followed by the warm guitar entrance, creates an intimate atmosphere that highlights Perez’s vocals. The song explores devotion and longing between two women, both of them wanting to escape into their own world. Its gradual progression and haunting sound is something you just don’t hear in popular music. Beautiful.
“Worst Way” by Riley Green is a competent but unremarkable country entry. His vocal delivery carries genuine feeling, particularly in the chorus, yet the song relies too heavily on a familiar structure of most country songs to stand out. The lyrics are unpleasant and it offers little beyond a catchy hook.
“Too Sweet” by Hozier marks a successful return to charts after so long. Built around a grooving bassline and a sweet instrumentation the song explores romantic imbalance between a night owl and a health-conscious partner. Additionally, “Take Me To Churck” is a track that got popular before the U.S legalized same sex marriage, and is Hozier biggest hit, and while this track isn’t as culturally striking as “Take Me to Church,” it was still nice to see him on these charts again especially since he has such expressive vocals and this song has an awesome pre-chorus that smoothly transitions into an infectious hook.
“All the Way” by BigXthaPlug and Bailey Zimmerman represents one of the weakest collaborations on the list. The fusion of trap production with country vocals sounds horrible. The chorus lacks memorability, and the genre clash undermines any emotions the song attempts to establish. This might be one of the worst songs on the list.
“No One Noticed” by the Marias is such a powerful emotional track. Its hazy and synth production makes me think of the ocean or a lucid dream. The chorus isn’t catchy in a traditional sense but is deeply affecting, with its repetition reinforcing the sense of quiet despair. When the refrain started playing I actually got close to crying, and the lyrics reflect the feelings of being overlooked and ignored. Definitely a favorite since it impacted me more emotionally than any other song so far.
“Good Luck, Babe!” by Chappell Roan is among the strongest pop songs on the entire chart. Her commanding vocals and bright synth production gets me every time and just gives the track momentum. The chorus is explosive, and the slowed down ending adds an unexpected turn which was so appreciated. Both danceable and dramatic, it stands out as one of the most fully realized pop performances here.
Closing the segment is “Love Me Not” by Ravyn Lenae, which continues the hot streak. The production feels simultaneously vintage and modern, and her vocals glide effortlessly across the instrumental. The chorus is one of the most memorable on the list, and it rivals “Good Luck, Babe” for how catchy it is. The bridge just sustains its intensity and grooviness. This song explores the complexities of a confusing and messy breakup and it's done wonderfully. This is the strongest R&B entry so far, and I will be surprised if anything tops this for that title.
#29-20 Rankings:
29. Stargazing — Myles Smith
28. Messy — Lola Young
27. SKIPPED MORGAN WALLEN SONG
26. WILDFLOWER — Billie Eilish
25. Golden — KPop Demon Hunters Cast
24. Nokia — Drake
23. Good News — Shaboozey
22. MUTT — Leon Thomas
21. 30 For 30 — SZA, Kendrick Lamar (Favorite Song)
20. squabble up — Kendrick Lamar
This segment opens with “Stargazing” by Myles Smith, a folk-pop crossover the works best in its chorus and pre-chorus. While the verses feel less engaging and the vocal performance is less than desirable, the song’s message realizing the right person has been there all along gives it emotional appeal and I just find it sweet. Its delightfulness helps explain its popularity, even if its execution is inconsistent.
“Messy” by Lola Young follows as a noticeable indie-pop highlight. The chorus is infectious, and her vocals feel distinctive. Lyrically, the song explores insecurity, ADHD, and emotional conflict within relationships, making it deeply personal while being accessible. Its lyrical honesty makes it one of the more memorable tracks in this range.
“Wildflower” by Billie Elish is a surprising but welcome entry at this position. The soft-rock ballad relies heavily on its atmosphere, with reverb soaked vocals that enhance its emotional weight and sound. The song tells a complicated story of comforting a friend after a heartbreak, only to later become involved with her former partner. Its haunting conclusion and narrative make it one of the most interesting and compelling songs on this list.
“Golden” from the KPop Demon Hunters soundtrack stands as the strongest and most successful offerings from the film. The chorus is explosive and vocally demanding, and the pre-chorus builds up tension before it releases. Unlike the weaker soundtrack entries earlier on the list, this track feels fully realized as a pop song I could genuinely hear outside of a movie if I didn’t know what this is.
“Nokia” by Drake (with PARTYNEXTDOOR) offers a return to a more playful side of his music. The production and background vocals give the song strong dance appeal, and Drake’s performance feels more natural and exciting here than on other tracks from this same era of music. While its lyrics remain simple and predictable, the mid-song switch-up keeps it engaging and prevents it from being monotonous.
“Good News” by Shaboozey is one of the more effective country tracks on the charts. His vocal delivery avoids the usual style that weakens many other country entries, and the chorus carries genuine vulnerability. The instrumental break recalls folk-rock influences and it reminds me of “Oh Hey” by The Lumineers (love that song). Lyrically, the song centers on resilience and earned optimism, making it both uplifting and hopeful. If you’re a country loather I recommend checking one out, it might change your perspective.
“MUTT” by Leon Thmos emerges as one of the strongest R&B tracks on the list. The song explores post-breakup vulnerability through the metaphor of flawed behavior compared to an unruly but well intended dog. The vocals are spectacular, and while the metaphor may be divisive, his vocal performance is impressive, and the laidback production allows the emotion to shine.
“30 For 30” by SZA and Kendrick Lamar stands out for its creative fusion of R&B and trap. SZA’s vocals are expressive and breathtaking, while Kendrick complements her with a sharp, controlled delivery and amazing singing. This track is so musically complex with the use of sampling and production that strengthens the track’s emotional appeal, making it one of the best collaborations on this list, which shouldn’t be a surprise given their previous efforts together.
Closing the segment is “squabble up” by Kendrick Lamar, a song defined by its charisma and rhythmic energy. Kendrick's performance is confident, dynamic and even intense. The chorus is instantly catchy, and the bridge where the vocals echo his lines adds another layer of musical appeal. Kendrick rapping is pretty much perfect, like always, and the production just adds more charm and electrifying energy. Great Conclusion.
#19-10 Rankings:
19. Taste — Sabrina Carpenter
18. SKIPPED MORGAN WALLEN SONG
17. Not Like Us — Kendrick Lamar
16. Timeless — The Weeknd, Playboi Carti
15. tv off — Kendrick Lamar, Lefty Gunplay
14. That’s So True — Gracie Abrams
13. SKIPPED MORGAN WALLEN SONG
12. Espresso — Sabrina Carpenter
11. SKIPPED MORGAN WALLEN SONG
10. Pink Pony Club — Chappell Roan (Favorite Song)
“Taste” by Sabrina Carpenter opens this segment as a playful and exaggerated rival song. Framed as a warning to an ex’s new partner, the track blends humor with a slightly creepy tone. The chorus is affectionate, while the bridge heightens both the excitement and the craziness through her expressive vocal delivery. The song succeeds by committing to its dramatic concept combining charm with theatrics.
“Not Like Us” by Kendrick Lamar stands as one of the most culturally important tracks on the chart. Its release became a widespread social moment, extending far beyond music spaces. Its continued chart presence in 2025 highlights its lasting impact. Kendrick transforms a diss track into something so unusually catchy, ensuring its longevity while delivering confrontational lyrics. This song’s ability to combine intensity with mass appeal solidifies its place as one of the most influential releases ever.
“Timeless” by The Weeknd and Playboi Carti is a solid collaboration that works more effectively than their previous effort together. The Weeknd’s vocal performance carries much of the track as usual, while Carti surprisingly holds his own without overpowering the song. Although the beat can feel repetitive at times, the closing section driven by synths adds exhilarating energy. While enjoyable, it remains one of the weaker entries from the album.
“tv off” by Kendrick Lamar and Lefty Gunplay follows with a powerful and commanding chorus. Kendrick’s delivery pairs well with his collaborator, and the mid-song switch injects momentum into the track. Mustard’s production is a major strength , reinforcing the song’s intensity. Lyrically, the track functions as a call to action, urging listeners to rise above mediocrity and strive for more. Motivating and emotional.
“That’s So True” by Gracie Abrams presents a frustrating contrast. While the folk-pop instrumental is lively and appealing, the vocal performance and cursive singing weaken the song’s impact which is disappointing because this genre should work for me. The chorus is memorable mainly for its sing-along energy rather than its substance, and the lyrics lean toward immaturity despite the song’s otherwise sound. Though not entirely unsuccessful and unappealing for me, it feels like a track that could have been significantly stronger with a different singer and lyrical choices. It was so close to being good.
“Espresso” by Sabrina Carpenter remains one of the most enduring pop hits on the chart. Its chorus is immediately infectious, and her vocal performance is confident and playful like her other tracks. The production evokes a summer atmosphere, enhanced by funky guitar lines and subtle rhythmic details. The bridge further elevates the song and its combination of charm, catchiness, and production explains its lasting popularity.
Closing the segment is “Pink Pony Club” by Chappell Roan, a track whose delayed success makes its chart position especially surprising. Originally released earlier and initially overlooked by her record label, the song later gained traction through her debut album. Musically, it features vibrant synths, a soaring chorus , and two strong instrumental breaks, including an especially memorable electric guitar solo. Lyrically, it serves as a queer anthem centered on self-acceptance and finding belonging despite familial or societal disapproval. Its emotional celebratory tone makes it one of the most powerful and resonant songs on this list.
#9-1 Rankings:
9. APT — ROSE, Bruno Mars
8. SKIPPED MORGAN WALLEN SONG
7. Ordinary — Alex Warren
6. Beautiful Things — Bensoon Boone
5. BIRDS OF A FEATHER — Billie Eilish
4. Lose Control — Teddy Swims
3. A Bar Song (Tipsy) — Shabozey
2. Luther — Kendrick Lamar, SZA
1. Die With A Smile — Lady Gaga, Bruno Mars (Favorite Song)
Opening this segment is “APT” by ROSÉ and Bruno Mars, a track I feel conflicted about. The bridge and vocal performances are strong, but the chorus is arguably the most important part of a pop song and this chorus is frustrating and overexposed. Bruno Mars contributes little beyond his name value, and while ROSÉ tries to carry the track, the result is a formulaic pop song that wastes its more promising elements. There are moments of quality here, but they are buried beneath the repetition of the chorus.
“Oridnary” by Alex Warren follows with an overblown and abrasive chorus. While there is clear emotional intent behind the performance, it is overwhelmed by strained vocals and cluttered production. The track attempts to sound monumental, but instead feels inflated. Its generic lyrics and dramatic delivery make it very difficult for me to connect with it, leaving it more exhausting than moving.
“Beautiful Things” by Benson Boone continues this pattern of exaggerated intensity. The chorus is overly dramatic, while the verses feel underwritten, existing mainly to lead back into the song’s loudest moments. The pre-chorus stands out as the only section that strikes an effective balance between emotion and intensity. Unfortunately, the production is unnecessary, which weakens the song’s overall impact.
“BIRDS OF A FEATHER” by Billie Eilish marks a significant improvement in quality. I first encountered the song casually at home and was immediately drawn to it, later realizing it was Billie Eilish, a revelation that made sense given her consistency as an artist. The production is delicate, and her vocals reach impressive heights that I didn’t know she was capable of, both literally and emotionally. The soft reverb enhances her performances, and the song’s progression builds naturally toward a beautiful ending. It is one of the most satisfying tracks on the chart.
“Lose Control” by Teddy Swims is a song that has proven to be persistent, remaining near the top of the charts well beyond its peak. While Swim’s vocal ability is undeniable, the production feels plain and the chorus becomes increasingly grating. The song’s message about surrendering emotional weight to someone else during moments of collapse is cute, and the instrumental break adds brief interest. Still, the track relies almost entirely on vocal performance to sustain itself.
“A Bar Song (Tipsy)” by Shaboozey stands as one of the most dominant country hits in recent years, holding the number one spot for an unusually long stretch of 19 non-consecutive weeks. Its success is understandable: the chorus is catchy, the delivery is great, and the song is amusing to dance along to. Rather than relying on emotional complexity, it focuses entirely on escapism and celebration, which makes it effective within its lane.
“Luther” by Kendrick Lamar and SZA is another strong collaboration from two artists with proven chemistry. Though Kendrick’s opening delivery feels dull at first, his performance grows more expressive as the track progresses. The production is smooth, built around a graceful sample that supports the song’s romantic tone. SZA’s presence adds compassion and vulnerability, and the lyrics reflect an idealized vision of commitment inspired by Luther Vandross’s style. This is a soulful and memorable entry.
At number one is “Die With A Smile” by Lady Gaga and Bruno Mars, which closes the list on a high note. Mars delivers one of his strongest vocal performances, while Gaga matches his intensity with the same emotional tone. The structure of the song, beginning with individual verses before uniting in the chorus, builds naturally toward a powerful climax. Its production and dramatic progression embodies what mainstream pop aims to achieve. With two defining voices of the 2010s joining forces again in the 2020s, the song feels both nostalgic and meaningful. I couldn’t think of a better track to conclude the year’s chart with.
So, here it is, my most ambitious project yet. If you somehow read all of this, I both admire and question you, but I hope the ride was worth it. Below are the statistics that break everything down.
The Playlist Of The Songs I Enjoyed: Potential bangers? - playlist by Inva1iduser | Spotify
My Top 10 Favorite Songs From This Year:
Die With A Smile — Lady Gaga, Bruno Mars
Pink Pony Club — Chappell Roan
No One Noticed — The Marías
undressed — Sombr
Please Please Please — Sabrina Carpenter
Like Him — Tyler, The Creator, Lola Young
DENIAL IS A RIVER — Doechii
Sailor Song — Gigi Perez
Love Me Not — Ravyn Lenae
30 For 30 — SZA, Kendrick Lamar
Artist Frequency:
Morgan Wallen (10 Songs)
KPop Demon Hunters Cast (7 Songs)
Kendrick Lamar (6 Songs)
Sabrina Carpenter (5 Songs)
Bad Bunny (4 Songs)
Song Percentage:
46% Positive
30% Neutral
24% Negative
Ultimately, by revisiting BillBoard’s 2025 chart through a more critical lens, it becomes clear that the year's biggest hits were not successful by accident, but because they reflected the moods, conflicts, and identities of the people listening to them. Although popular music is often dismissed as shallow or manufactured, many of these songs demonstrate a genuine sense of emotional honesty. Rather than being solely shaped by trends or chart formulas, the future of mainstream music appears increasingly driven by personality and vulnerability. In contrast to much of the 2010s, when many pop releases felt polished, with no personality (I blame Dr Luke). Today’s sound is growing, more introspective and more compelling, a shift that I find far more compelling. And if this is where popular music is headed, I think it’s finally moving in a direction worth listening to.