This year was one of comebacks (Robyn, Lily), dancefloors (Rose Gray, FKA Twigs) and one epic stroke of experimental pop brilliance (Rosalía). There were tracks to prod the feels, powerful protest songs and escapist pop bangers. We danced the woke Macarena, we yelled expletives courtesy of Tina, and begged the question; who the fuck is Madeleine? Ranking a year in songs was a tough gig – but somebody had to do it. So we asked our delightful team of music critics to create their lists, allocate their points and here’s where we landed – the year’s best songs.
Words by: Celia Almeida, Annie Barber, Hollie Geraghty, Charlotte Gunn, Geena Ling, Hannah Mylrea, Arusa Qureshi, Jenessa Williams, Lisa Wright.
45. Panic Shack – ‘Thelma & Louise’
If we didn’t already want to be best friends with Panic Shack, the closing track of their self-titled debut album sealed the deal. ‘Thelma & Louise’ is a joyous, punk-tinged ode to the power of female friendship that brought the iconic ’90s flick to life. Geena Ling.
44. James K – ‘Play’
The enigmatic James K paired poetic lyrics with psychedelic breakbeats on her single ‘Play.’ Complete with lush, layered harmonies and an explosive, poppy chorus, the track was truly transformative. Geena Ling.
43. Samia – ‘Bovine Extinction’
There’s a strange phenomenon where farmers find their cows dead in a field, drained of blood. Samia named the first single from her third album after this unsettling act – but the track was never really about cattle mutilation. It was about wanting to be limitless, “untouchable,” free. ‘Bovine Excision’ adds to the canon of devastatingly pretty Samia songs – the kind that feels instantly cinematic, as if it were made to score a coming-of-age movie or drift beneath a twenty-something’s TikTok round-up. Charlotte Gunn.
42. Sabrina Carpenter – ‘Bad Reviews’
Sabrina Carpenter may have dueted with Dolly Parton on a remix of ‘Please Please Please’ this year, but she channelled the Queen of Country most effectively on ‘Short ‘n’ Sweet (Deluxe)’ closing track ‘Bad Reviews.’ It’s not just the twangy composition (yes, there was violin and pedal steel) or her lilting vocals. Parton’s comedic influence also shone through when Carpenter sighed, “I can’t lose another boy that’s not even my boyfriend.” Celia Almeida.
41. Amaarae – ‘Girlie-Pop!’
Inspired by a boozy night in Brazil, the sapphic seduction of ‘Girlie-Pop’ pitted Amaarae’s fluttery vocals at delicious odds with the harsh trigger-pulling sounds and thumping jersey club beat that gave the song its anchor. Two minutes and three seconds simply wasn’t enough. Jenessa Williams.
40. Annahstasia – ‘Villain’
It takes a special kind of singer to sound strong and vulnerable at the same time, but ‘Villain’ proved that Annahstasia was well up to the task. A song about facing down one’s inner critic, her husky vocal floated purposefully atop the instrumentation, as if already compelled towards even greater heights. Jenessa Williams.
39. Shygirl, Pinkpantheress, Isabella Lovestory – ‘True Religion’
The third single released from Shygirl’s ‘Club Shy Room 2,’ ‘True Religion,’ was a sleek, audacious blend of hyper-pop, industrial beats, and captivating lyricism, with guest vocals from both Isabella Lovestory and PinkPantheress. Arusa Qureshi.
38. Chloe Slater – ‘Harriet’
Chloe Slater is not just any social media star; she’s a fiercely outspoken activist who is unafraid to tackle the world’s issues when politicians fall short. With ‘Harriet’ and its quirky Normal People-themed video, she proved that a lighter, more personal expression of romance and heartbreak is also worthy of a place in her repertoire. Geena Ling.
37. Indigo De Souza – ‘Heartthrob’
On ‘Heartthrob’, Indigo De Souza channelled the anger of past trauma into something sharply powerful. The result was a remarkable piece of indie-pop from an artist whose 2025 album ‘Precipice’ stood as one of the year’s real gems. Charlotte Gunn
36. Doechii – ‘Nosebleeds’
Following her first Grammy win, Doechii released the unabashed ‘Nosebleeds,’ a track reflecting on her journey while also providing a daring statement of intent. The lyrical wit and edgy production intertwined perfectly to make this a true victory anthem. Arusa Qureshi.
35. Lily Allen – ‘Ruminating’
The sound of skittish late-night delirium, ‘Ruminating’ – ‘West End Girl’s illusion-smashing second track – was an immersive slice of genius; as fluttering and deceptively pretty as only Allen knows how, but with the lyrical repetitions of a brain going round in circles and a brutal, rug-pulling reveal. Lisa Wright.
34. RAYE – ‘WHERE IS MY HUSBAND!’
The bridge of ‘WHERE IS MY HUSBAND!’ is a contender for earworm of the year. The half-sung, half-hummed lyrics, which launched into the refrain of “I would like a ring” accompanied by brass stabs and soulful layered vocals, were all bolstered by RAYE’s powerhouse voice. It’s outrageously catchy – and outrageously good. Hannah Mylrea.
33. Blondshell, Gigi Perez – ‘Arms’
Stripping back the grungey guitars of ‘If You Asked For A Picture’s original, this rework featuring New Jersey’s Gigi Perez turned ‘Arms’ into a devastating dialogue, giving a secondary, amplified voice to the fears of the original and heightening the feeling of weighty emotional labour. Lisa Wright.
32. jasmine.4.t – ‘Guy Fawkes Tesco Dissociation’
A cathartic howl of a track that opens with a mental break in a freezer aisle and moves into a brighter, imagined new reality, ‘Guy Fawkes Tesco Dissociation’ was written from the depths but released into a brilliant new era for Jasmine.4.t: one where she could happily get Phoebe Bridgers to join her on backing vocals. Lisa Wright.
31. Oklou – ‘family and friends’
We loved everything on French artist Oklou’s debut album ‘Choke Enough’, but ‘family and friends” textured, mesmerising soundscape prodded something deep within. Reminiscent of early Grimes, it provided a more muted alternative to the floor-filling electronica that was prevalent this year. Charlotte Gunn
30. Princess Nokia – ‘Drop Dead Gorgeous’
From Princess Nokia’s fun, feminist fourth album ‘Girls,’ ‘Drop Dead Gorgeous’ proved to be a clear standout – an unapologetic celebration of identity that combined pop mastery, playful lyrics and club-ready sounds. Arusa Qureshi.
29. The Beths – ‘Metal’
The Beths have long nailed the formula for some sort of musical crack. On ‘Metal’, Beth Stokes’ sugary sweet vocals mused on our beings being a “collaboration of bacteria, carbon, and light.” Panic-inducing thoughts never sounded so divine. Charlotte Gunn.
28. Rose Gray – ‘Tectonic’
Rose Gray’s ‘Tectonic’ combined soaring vocals, an infectious beat, and shimmery pop sounds to create a track that would be perfect played as the sun rises during a life-changing club night. Annie Barber.
27. Leikeli47 – ‘450’
“It’s my declaration of commitment to the people and this art form,” said Leikeli47 about ‘450′ from her newest album. With urgency and layers of confidence, the rapper’s magnetism oscillated above minimalist beats. Arusa Qureshi
26. Nieve Ella – ‘Lucky Girl’
2025 saw Nieve Ella go from strength to strength. Dark indie-rock anthem ‘Lucky Girl’ was a powerful and cathartic track that showcased her ever-evolving talent. Annie Barber
25. Little Simz – ‘Free’
The second single to be released from Little Simz’ sixth album, ‘Free’ was originally written as a poem but later transformed in the studio. The track’s poignant lyricism gave it real warmth, underlining it as a declaration of independence and love. Arusa Qureshi
24. annie hamilton – ‘the prologue (seven storeys up)’
Annie Hamilton invited fans deeper into her magical world by releasing the demo for fan-favourite ‘seven storeys up’ which revealed the song’s original form as an ethereal, captivating, and shimmering track with intense emotions and hopefulness injected into it. Annie Barber
23. Brooke Combe – ‘How Can I Tell You? (To Love Me More)’
Scottish singer-songwriter Brooke Combe excited Northern Soul fans everywhere when she breathed new life into the genre with her latest single. The two-stepping, high-kicking track could have been pulled straight out of Motown’s back catalogue. Geena Ling.
22. Taylor Swift – ‘Ruin The Friendship’
‘Ruin The Friendship’ saw Taylor Swift do what she does best: storytelling. The track was simple, emotional, and a poignant reminder that the “better an ‘oops’ than a ‘what if'” mentality is well worth adopting. Annie Barber.
21. Hayley Williams – ‘Parachute’
From its gentle piano foundation to the nu-metal breakdown of its close, ‘Parachute’ was Hayley Williams at her tumultuous best. If you made it through the subtle voice crack as she insisted that her paramour “could have told me what you wanted” without shedding your own tear, you’re a stronger person than us. Jenessa Williams.
20. Addison Rae – ‘Headphones On’
Sometimes you need to escape in your playlist, and Addison Rae gets that. With her breathy vocals and Britney-inspired interludes amid trip-hop grooves, we were reminded that it’s OK to shut the world out and wallow in our feelings. Hollie Geraghty.
19. Wednesday – ‘Townies’
Townies: the scourge of small-town alternative kids the world over. Karly Hartzman’s visceral storytelling conjured up a Linklater-esque picture of high-school antics: having sex, getting high and spreading rumours – with a bleak payoff about kids dying too young that has become something of Wednesday’s trademark. Add an anthemic chorus and grunge guitars, and you’ve got a track to rival Kurt and Court. Charlotte Gunn.
18. John Glacier, Sampha – ‘Ocean Steppin”
Working with Mercury Prize-winning artist Sampha, John Glacier crafted a meditative, weightless soundscape on the Kwes Darko-produced ‘Ocean Steppin’.’ Glacier’s subtle melancholy coalesced effortlessly with Sampha’s gentle melodies. Arusa Qureshi.
17. Haim – ‘Relationships’
“Fuckin’ relationships,” the LA sisters sighed on their comeback single, a universal eyeroll of disappointment to which we could all immediately relate. The trio’s post-breakup glow-up, DGAF brashness and low-fi funk vocals made this an instant Haim classic. Hollie Geraghty.
16. Confidence Man, JADE – ‘gossip’
‘Gossip’ is a ludicrously fun, deadpan banger about watercooler office bitching. The Aussie party-starters teamed up with 2025’s breakout solo diva to re-enact an entire dialogue from Bob’s Burgers, thus creating the ultimate mic drop lyric of the summer: “Tina says you’re a cunt”. Iconic? Reader, it’s what they invented the term for. Lisa Wright.
15. Water From Your Eyes – ‘Playing Classics’
At nearly six minutes long, ‘Playing Classics’ had us hooked from the opening hi-hats but built to something close to post-punk-club perfection. Taken from Rachel Brown and Nate Amos’ seventh album, the oddball duo are known for keeping things interesting – but the beautiful chaos of this exquisite banger was one of their finest moments. Charlotte Gunn.
14. Lady Gaga – ‘Abracadabra’
How does an artist nearly two decades into her career tap into a winning formula without sounding formulaic? ‘Abracadabra’ gave us the answer: turn the absurdity up to 11. Who the hell is the Lady in Red? Why is this night out life-or-death? There’s a phantom, too? And did she rhyme “Gaga” with gibberish again? Who cares — she cast her spell, and it worked. Celia Almeida.
13. Florence + The Machine – ‘Everybody Scream’
The commendably honest title track of Florence + The Machine’s latest album was an era-defining moment for Florence Welch. On the cult-like chant, Welch spilt her guts on the pain and pressure that hides behind stage lights and costumes, tied up in a signature Florence bow of witchcraft and whimsy. Geena Ling.
12. Olivia Dean – ‘Man I Need’
There’s sonic sunshine infused in ‘Man I Need,’ a stand-out cut from Dean’s excellent second album ‘The Art of Loving.’ Built around slinky guitar licks and lush piano lines, bolstered by Dean’s euphoric vocals, it brought unadulterated joy. Hannah Mylrea
11. Katseye – ‘Gnarly’
Katseye’s ‘Gnarly’ crashed in with bold, crunchy intensity: distorted guitars, punchy beats, and gritty vocals fusing into a thrilling, unpredictable ride. With infectious hooks and production, it was a chaotic yet vivacious release from the girl group. Arusa Qureshi.
10. Robyn – ‘Dopamine’
People throw the word banger around lightly these days, but if one track truly earned it this year, it was ‘Dopamine’. Robyn’s first single in seven years arrived fully formed: euphoric synths, belt-it-out lyrics, and a punch-the-air drum breakdown three minutes in. It was so unmistakably Robyn it almost felt algorithmic. God, we missed her. Charlotte Gunn.
9. Wolf Alice – ‘The Sofa’
If ‘The Sofa’ had been a straight-up ode to lying down and binge-watching Love Is Blind, we would have been here for it. But of course, ‘The Clearing’s gorgeous, contemplative second single aimed higher, meditating on ambition and the nuances and multiplicities of life from Ellie Rowsell’s book of armchair wisdom. Lisa Wright
8. Jay Som – ‘Float’
Teaming up with Jimmy Eat World’s Jim Adkins (an experience she told The Forty-Five is “still kind of surreal”), Jay Som’s ‘Float’ drew on the very best of emo bangers. It was a heady rush of roaring guitars, cantering rhythm section, and a chorus ready-made for mass sing-a-longs. Hannah Mylrea
7. JADE – ‘Plastic Box’
2025 was a triumph for JADE, who launched her stellar solo career after breaking out of Little Mix. Armed with a newly realised independence and an inclination for electronica, Jade Thirlwall was determined to take control of her own narrative. ‘Plastic Box’ is a pulsing yet melodic club banger that embodies just what she set out to achieve. Geena Ling.
6. Pinkpantheress – ‘Illegal’
Sampling Underworld’s ‘Dark & Long (Dark Train)’ and using it to underpin a garage banger about buying weed (“You were recommended to me by some people…”), everything about ‘Illegal’ pointed to a party that PinkPantheress was more than happy to soundtrack. The opening track from second mixtape ‘Fancy That,’ ‘Illegal’ was catchy to a criminal degree. Lisa Wright.
5. Chappell Roan – ‘The Subway’
After a particularly hectic rise to fame, Chappell played 2025 pretty close to her chest. But ‘The Subway’ was still a strong addition to her oeuvre, an understated power-ballad about the perpetual spectre of an ex. Some theatrical habits die hard though; who else would have snuck the tongue-twisting providence of Saskatchewan into a pop hit? Jenessa Williams.
4. Lorde – ‘What Was That?’
Lorde kicked-off her ‘Virgin’ album campaign with ‘What Was That,’ a rush of synth-pop excellence. Dissecting a past relationship, and the complexities emotions that come with trying to move on, it’s a crying-in-the-club belter, coupling musical euphoria with gut-punch explorations of heartbreak. Hannah Mylrea
3. CMAT – ‘Take A Sexy Picture Of Me’
From the Glastonbury stage to TikTok, the ‘Woke Macarena’ trend that accompanied CMAT’s ‘Take A Sexy Picture Of Me’ was a certified hit this summer. It’s no surprise the song resonated so widely; set to a cheerful whistle, our Irish diva skewered the ridiculousness of beauty culture, taking a much-needed piss in the fountain of youth. Jenessa Williams
2. Lily Allen – ‘Pussy Palace’
You know you’ve successfully infiltrated pop culture when you get turned into a meme-able Halloween costume. Judging by the internet’s plethora of “Duane Reade bag with the handles tied” that spawned this October 31st, we’d say ‘Pussy Palace’ got the job done. Add the most hummable hook about infidelity in recent memory, and ‘West End Girl’s lead single became an unlikely autotuned anthem. Lisa Wright
1. Rosalía, Björk, Yves Tumor – ‘Berghain’
The world’s first taste of the decadent ‘Lux,’ ‘Berghain’ distilled the album’s lofty ambitions into just under three minutes. We found Rosalía reaching operatic heights — singing in German, no less — with frenetic, whirling string arrangements by the London Symphony Orchestra, and cameos by singular auteurs Björk and Yves Tumor. As on the rest of the album, there were layers of double meanings to peel back. When Rosalía sang of being a sugar cube that disappeared into hot coffee, she not only referred to her vulnerability and avoidant attachment; she also referenced her Icelandic collaborator’s former band. Celia Almeida
