As the calendar edges towards December, the music world often feels like it winds down, with few artists daring to release new work amidst the festive season’s musical takeover. Yet, at KTLA, we’ve already compiled our list of the top 50 tracks for 2025—a thoughtfully curated selection that began taking shape in October and has been fine-tuned ever since.

Our list is not ranked, and while it represents personal opinions, every effort has been made to balance subjective tastes with objective merit. These tracks exemplify the creativity and innovation that define the year’s musical landscape. Although popularity is not the primary criterion, many of these songs have resonated widely with audiences. For your convenience, these tracks have been organized into playlists on Apple Music, Spotify, and YouTube. Please note that some selections may include content unsuitable for work environments.

In addition to this list, make sure to explore KTLA’s compilation of the 10 best albums of 2025, available through the link above.

Among the standout singles this year is “Gnarly,” the electrifying and unconventional lead track from KATSEYE’s sophomore EP, “Beautiful Chaos.” This global girl group’s song has sparked considerable debate within mainstream pop circles. With its roots in hyperpop—a genre pioneered by artists like Alice Longyo Gao—“Gnarly” features production that merges the sonic elements of Travis Scott with the iconic “Mortal Kombat” theme by The Immortals. The result is a track reminiscent of the audacious soundtrack for Sofia Coppola’s 2013 film “The Bling Ring,” and it’s precisely this daring blend that makes it so captivating. In a year filled with safe pop releases, “Gnarly” stands out for its boldness and innovation, complemented by one of the most eccentric and enjoyable music videos of 2025.

“Gnarly” — KATSEYE

“Gnarly,” the chaotic and unexpected lead single from global girl group KATSEYE‘s sophomore EP, fittingly titled “Beautiful Chaos,” is among the year’s most divisive mainstream pop singles — but it’s also one of the most interesting. The hyperpop-inspired song, written by Alice Longyo Gao (considered one of the pioneers of the 2020s music genre), features production somewhere between Travis Scott and The Immortals’ iconic “Mortal Kombat” theme, “Gnarly” ultimately becomes something that sounds like it should have been on the soundtrack to Sofia Coppola’s 2013 film, “The Bling Ring,” and I love it for that. It’s a bold and refreshing sound among too many pop releases this year that play safe. Also, the “Gnarly” music video is one of this year’s most off-the-wall and fun.

“Abracadabra” and “Garden of Eden” — Lady Gaga

“Abracadabra,” the triumphant second single from Gaga’s sixth studio album, “Mayhem,” felt like a warm salve for fans longing for the Gaga-era of pop. It’s the star’s first mega song in a long time, having more in common with the likes of songs like “Poker Face” and “Bad Romance” than the more reserved house vibes of 2020’s “Chromatica” and 2016’s meditative country-inspired “Joanne.” The song was a true return and her best single since “Bad Romance.”

“Garden of Eden,” meanwhile, is punchy electroclash that’s pure, classic Gaga. Featuring an infectious chorus straight from her “The Fame” days, is one of “Mayhem”‘s best (also shoutout to co-production from influential French DJ Gesaffelstein). There wasn’t a song of the summer but this should have been a contender.

“SEE U DANCE” (feat. Rebecca Black) — Joey Valence & Brae

Hip-hop pair JVB‘s third album, “HYPERYOUTH,” takes the goofy-but-genius duo down dancier roads than before, and nowhere does that crystallize into perfection more than on third single, featuring now-respected pop artist Rebecca Black. It’s hard to overstate the eternal impact of Nelly Furtado’s “Promiscuous” but the 2006 Timbaland-produced hit remains an inspirational pop beacon and “SEE U DANCE” brings its vibe into 2025 without ever sounding derivative.

“Plastic Box” — JADE

Little Mix member Jade Thirlwall‘s excellent debut album, “That’s Showbiz Baby!” finally arrived in September after nearly a year of single releases. Luckily, it was worth the wait. Though filled with many surprising production and songwriting twists, fourth single “Plastic Box” might be the album’s crown jewel. A synthy cross between Donna Lewis’ “I Love You Always Forever” and the work of Robyn, this mesmerizing and emotional pop groove invokes the exact blissfully-in-love feeling it describes.

“Dracula” — Tame Impala

I wasn’t the biggest fan of Tame Impala’s fifth studio album, “Deadbeat,” released in October. But I can’t say that it didn’t deliver a stellar new Halloween season pop track in the form of third single, “Dracula.” The disco-infused groove is simple in concept and emotion, and features one of the few instances where Tame Impala (performance name of Aussie musician Kevin Parker) gets his attempt at silly lyrics right on the album. Look for “Dracula” on next year’s Halloween party playlist. Check out my “Deadbeat” review here.

“Every Girl You’ve Ever Loved” (feat. Naomi Campbell) — Miley Cyrus

Speaking of Halloween, there’s something so Michael Jackson’s “Thriller” about this album track from Miley Cyrus’ intriguing ninth studio album, “Something Beautiful.” Nowhere on the album does Cyrus seem to be having more fun, feeling more confident, and excelling at so many genres at once as on the dark-disco strut anthem, “Every Girl You’ve Ever Loved.” A soundscape of saxophones, rock synths and a punchy bassline drives the slightly menacing track, which, like “Thriller,” features a foreboding spoken word breakdown. Here, instead of horror icon Vincent Price, is supermodel Naomi Campbell ordering you to “pose.” It’s “Thriller” for drag shows.

“Here I Am” and “Country Road” — The Hellp

Indie electronic maestros The Hellp released these two brilliant but different songs ahead of the November release of their third album “Riviera”. As with the entirety of the album, third single “Here I Am” displays the L.A.-based duo’s musical growth from their stellar sophomore LP, 2024’s “LL” (also one of KTLA’s 10 Best Albums of 2024). This jaunty and confident mid-tempo track sounds like an endless summer in Los Angeles — even if things aren’t totally sunny. It’s a stunner. P.S. I’m still trying to get “From L.A. to L.A. — la, la, la” out of my head.

Lead single “Country Road,” meanwhile, is a John Denver-interpolated mid-tempo track that’s been stuck in my head since release. Featuring an infectious and unique hook sung by artist Maggie Cnossen, “Country Road” is dusky and introspective sonic left turn that hasn’t quite gotten the acclaim it deserves.

“Henry, come on” — Lana Del Rey

This lead single from Lana Del Rey‘s long-teased forthcoming 10th album, currently titled “Stove,” gave fans a good glimpse at the album’s expected country bent. The folksy Americana track feels both new and well-trod, with Lana painting images of cowboys, horses and doomed romances. “Henry, come on” is classic Lana in all the best ways. A “Stove” release date is still TBA, though it’s expected in early 2026.

“NUEVAYoL” and “WELTiTA” — Bad Bunny

“NUEVAYoL,” the opening track of Bad Bunny‘s Grammy Award-nominated “Debí Tirar Más Fotos” is a tropical and glamorous dance-pop-rap tribute to Puerto Rico and New York City’s rich PR community and culture. Benito’s lyrics, along with co-writer/producer MAG, set the tone and scope for the complex album that follows, with a final 30 seconds that takes off like a rocket and disappears before you’re ready for it to be over. “NUEVAYoL” is a perfect opener on one my favorite albums of 2025. Bad Bunny will vie for Album of the Year at the 68th Annual Grammy Awards on Feb. 1.

Meanwhile, “WELTiTA” is a slinky and playful blend of traditional tropical elements and modern hip-hop production. Puerto Rican group Chuwi joins Bunny on the track and the interplay of lead singer Lorén Aldarondo’s vocals with Bad Bunny’s sounds so fresh and sexy, it transports you to summertime even during the holiday season. See you at the Super Bowl, Benito!

“Illegal” and “Stateside” — PinkPantheress

Her name is Pink and she’s really glad to meet you. “Illegal” kicks off Brit producer/singer PinkPantheress‘ innovative “Fancy That” mixtape and sets the scene for a modernized pop odyssey through influential UK dance music of the 1990s. The bouncy UK garage song samples British electronic group Underworld’s popular 1994 dance track, “Dark & Long (Dark Train),” and it’s so interesting to hear how Pink and her co-producers integrated its flashy synths into her own signature style.

The album’s second single, “Stateside”, meanwhile, is a thrilling and glamorous twist on Estelle’s iconic 2008 hit, “American Boy.” Featuring co-production by musician The Dare, “Stateside” throbs, rocks and blasts off, using a electroclash sound palette that feels both retro and futuristic. It’s been a constant replay in 2025.

“Smoochie Girl” — Ashnikko

“Smoochie Girl,” the opening track of singer/rapper Asknikko‘s second studio album “Smoochies,” is a non-stop fun super-pop that’s got a cheerleader-y “Hollaback Girl” kind of boom-clap beat paired with unexpected and specific lyrical verses, all arranged around a killer of a chorus. It’s nostalgic-yet-futuristic and is a great taste of what to expect on her party-worthy LP.

“Sugar on My Tongue” — Tyler, the Creator

Though rapper Tyler, the Creator‘s ninth album “Don’t Tap the Glass” does feature production from Pharrell Williams, “Sugar on My Tongue” is surprisingly not produced by the former Neptunes superproducer. Hearing it, you’d expect it was, as Tyler’s production riffs on classic 2000s R&B/hip-hop styles (a sound Pharrell was key in creating) and brings to mind the Neptunes’ work for a variety of artists. This electronic dance track arrived a little late for summer but it would have been a playlist staple if not.

“2Løve” — Frost Children

Electronic-experimental sibling duo Frost Children‘s sixth album, “SISTER,” contains all the elements of past releases — collage-like walls of sounds, styles and tempos — but in a more deliberately calibrated way than ever before. Album closer, “2Løve,” features elements of EDM, pure pop, techno and glitch that create a dazzling cascade of electronica that ends the high octane album on a breezy, cheery high.

“NEVER ENOUGH” — Turnstile

The Grammy Award-nominated, “NEVER ENOUGH,” from hardcore/punk band Turnstile‘s thrilling fourth album of the same name (and also Grammy-nominated), opens the collection unexpectedly. The track welcomes listeners in with warm, soaring synth-pop melodies, sounding like a mix of Spandau Ballet and M83, before the track erupts, becoming an anthemic pop punk track that wouldn’t be out of place on a 2003 burned CD. It’s a brilliant start to one of my favorite 2025 albums.

“Polo” — Kim Petras

Described as a “reset” of her current musical path, Kim Petras released “Polo” in June and I’ve been mesmerized by the hyperpop track’s grimy bass and stabbing synths ever since. The track, which features Petras as a co-producer (and no presence of Dr. Luke), showcases the 33 year-old’s musical relation to SOPHIE and Charli XCX, both of whom Petras previously toured with. It’s a banger with no mercy and I can’t get enough of it.

“High Fashion” and “Headphones On” — Addison Rae

The third single from TikTok superstar turned legitimate pop star Addison Rae‘s debut, “Addison,” is a trip-hop-inspired midtempo groove that feels like a massage for your brain. “High Fashion” features lush, stuttering production, drawing a sound texture somewhere between Madonna’s “Bedtime Stories” and Rihanna’s “Anti.” It’s an addictive earworm that has become a regular part of the musical rotation. It’s always time for this song.

Album closer “Headphones On” is the album’s best song, and works almost as a thesis in reverse. While some may knock “Addison” for being shallow (which I argue is purposeful and ironic), the final track, a breezy and R&B-tinged downtempo track, makes sense of it all. Life isn’t perfect but there’s always an escape in pop music. It’s the greatest track on my favorite pop album of the year.

“in my zone” — bbno$, VALORANT

Canadian rapper bbno$ released this hypnotic collaboration with Riot Games for the release of Valorant Mobile, an app version of the popular first-person hero shooter game. “In my zone” sounds every bit like a song made for a video game and I mean that as a compliment here. Honestly, this should have been included as part of “baby no money”‘s endlessly fun self-titled album in October.

“Outbound” — After

L.A.-based pop duo After continues to dazzle with their unique brand of Y2K-inspired music described as “Massive Attack meets Michelle Branch.” Hearing “Outbound,” from their “After EP 2” makes me feel like wearing a scarf in the fall and walking around the city, thinking about things. Check out their twin EPs for music that sounds like the past and the future, simultaneously.

“Sports Car” — Tate McRae

Hear me out. Tate McRae’s music may often lean toward being what’s known as “coworker music,” but she’s just so good on a certain kind of pop song. I know that’s a backhanded compliment but her thin and whispery vocals perfectly suit the Pussycat Dolls-esque throwback, “Sports Car,” which arrived in January as the third single off McRae’s third album, “So Close to What.” Even if this song isn’t necessarily moving the needle in pop music, it’s a well-made contemporary hit that does its job well and that’s not nothing.

“Now 2” — food house

Hyperpop iconoclasts food house, a duo composed of electronic producers Gupi and Fraxiom, followed up their 2020 self-titled masterpiece debut with February’s “Two House” — another masterpiece. It’s one of KTLA’s 10 Best Albums of 2025. Picking a song from this endlessly innovative album was difficult, but I ultimately chose introspective party banger “Now 2.” It’s food house doing what food house does best. I can’t wait to see what comes next.

“Shapeshifter” — Lorde

While the singles from New Zealand alternative pop mistress Lorde‘s fourth album, “Virgin,” are good, the best tracks were reserved for the album. I went back and forth on which of these to include here, but for starters, we’ll point to the mellow but emotional, “Shapeshifter.” The track, which randomly becomes incredibly beautiful toward the end, finds the 29 year-old examining the various identities, both real and fake, she’s fit herself into to keep lovers at arm’s length. It’s a song about protecting her heart, but she sounds so open-hearted singing it. It’s a standout on an album full of them.

“Play” — james K

New York-based producer and musician Jamie Krasner, who performs under the name james K, released her dreamy ’90s trip-hop-infused downtempo pop album “Friend,” back in September and it’s been a background music favorite ever since. That isn’t shade at the gorgeous and intricately produced album, however. It’s not “background music” because it’s boring or bland, but rather, it lulls the listener to a near state of relaxation. Most songs on “Friend” wouldn’t be out of place on a “Pure Moods” collection (remember those?), but “Play,” marks one major, joyous crescendo. It sounds like sun parting through the clouds.

“12 to 12” — Sombr

Twenty-year-old Sombr, né Shane Michael Boose, rocketed to pop stardom earlier this year after his song “Back to Friends” became a viral sensation and eventually, a Billboard hit. It would become the lead single for his refreshing and fun debut, “I Barely Know Her,” which was followed by a succession of terrific singles. The fourth, “12 to 12,”  finds the artist riding a funk beat accented by plucky ‘80s synths and a collection of delightful percussive elements that tunnel into your brain and stay there.

“Inferno” — Bladee and Yung Lean

There’s a serious drought for hip-hop songs that are catchy these days, and you wouldn’t expect a song that sounds this… sinister (complimentary) to be as earwormy as it is. Swedish rappers Bladee and Yung Lean released a joint three-track-EP, fittingly titled “Evil World,” last month, and “Inferno” was the first peek. The beat by Swedish producer Whitearmor gives serious “final boss” level music and both Bladee and Lean’s verses go absolutely nuts. It’s certainly not for everyone, but if you feel like hurting your neck from bopping along so hard, this one is definitely for you.

“Flex” — Shygirl, BAMBII

“Flex” wasn’t released as a single from British singer/producer Shygirl‘s fantastic “Club Shy Room 2” EP but it easily could have been. A “drippy,” (quite literally) swaggering electronic R&B groove with a dash of southern hip-hop (particularly Juvenile’s iconic 1999 hit “Back That A– Up”) and Sisqó’s “Thong Song,” this song is endlessly addictive.

“DAISIES” — Justin Bieber

Justin Bieber double-fisted a musical return this year, with the surprise releases of two full-length albums, “SWAG” and “SWAG II,” and his pop sensibilities are standing on business — maybe more than ever. It’s difficult to pick a favorite from July’s “SWAG,” an odyssey through R&B production and stylings that hits more than it misses. (“SWAG II” is a little messier, unfortunately.) Lead single “DAISIES” is a great encapsulation of the album’s expansive sound palette and features a tinge of alt-rock alongside Bieber’s warm and soulful vocal performance. JB can still make hits, y’all.

“Bad Boys” — Rebecca Black, Jax Jones and sooyeon

Rebecca Black’s second appearance on this list is along with DJs and producers Jax Jones and sooyeon, all of whom make this should-be club classic the marvel that it is. “Bad Boys” is a techno-pop banger in the vein of Kylie Minogue’s “Can’t Get You Out of My Head.” It should have been a song of the summer. Instead, let’s make this the fall-winter dance playlist centerpiece.

“Gajówka” — bassvictim

London indie experimental electronic duo bassvictim followed up their beloved 2024 debut, “Basspunk” with January’s “Basspunk 2,” a thrilling and inventive collection of earworms that sound like little else out there right now. “Gajówka,” ostensibly named after one of many areas in Poland bearing the name, is an energizing and confident banger bearing notes of M.I.A.’s “Paper Planes.” It’s a standout on a hit-packed album.

“Lose My Cool,” — Kali Uchis

While Kali Uchis’ beautiful and romantic fifth studio album “Sincerely” doesn’t really lend itself to listening to songs individually (I mean that as a compliment), this unbelievably gorgeous doo-wop/rock-influenced track really deserves to be heard more. “Lose My Cool,” starts smooth and groovy before everything is stripped away leaving Uchis’ sultry vocals, a guitar and some drums — it’s a stunner of a love song.

“P.O.V.” — Clipse and Tyler, the Creator

It took 16 years but hip-hop duo Clipse, composed of Malice and Pusha T, finally returned to music this year with the accomplished and sprawling “Let God Sort Em Out.” The hard-hitting album features a coterie of collabs, including super-producer and frequent collaborator Pharrell Williams, who produced the entire project. “P.O.V.” is a head-bopper of a track with one of the album’s best and catchiest choruses.

“Relationships” — HAIM

This lead single from pop-rock group HAIM‘s fourth album, “I quit,” is smooth and straightforward pop perfection. “Relationships” echoes the band’s Wilson-Phillips inspirations and comparisons, sounding like an early ’90s soft rock track you forgot you used to love. Honestly, it took me a minute to warm up to HAIM but I finally locked in this year and now see the much-needed niche they’ve carved out for themselves: crafting mature and well-made earworms for grown-ups.

“iPod Touch” and “Infohazard” — Ninajirachi

Australian electronic artist Ninajirachi‘s debut dance-pop album, “I Love My Computer” is among my favorite 2025 albums and third single, “iPod Touch,” with all of its gloriously 2000s-era nostalgia sounds and lyrics is a great example of why. The song is an ode to the chronically online, not to mention the days when the internet was new and exciting but not everywhere all the time.

“Infohazard,” meanwhile, is a haunting and hypnotic trance-infused electronic groove that feels a dream — and quite literally describes one. It’s a gorgeously produced piece that feels fresh and exciting.

“Dancing with your eyes closed” — Jane Remover

While nothing indie experimental artist Jane Remover does is subtle, this year the New Jersey-born artist dialed everything up everything in their arsenal to create the beautifully chaotic digicore/industrial hip-hop/hyperpop masterpiece “Revengeseekerz.” It’s the artist’s third studio album, following 2023’s brilliant-but-decidedly-softer “Census Designated.” On “Dancing with your eyes closed,” arguably the album’s most accessible moment, Jane delivers an addictive slice of alternative pop that sounds straight out of an NES game. While not entirely without some danger its sound, it’s a welcome bit of levity on what can be an overwhelming (but rewarding) album.

“Good Times” — Twin Shadow

Dominican-American artist Twin Shadow — a fixture in the indie landscape since his 2010 debut “Forget” — released his moving sixth album, “Georgie,” back in April. The album, featured among KTLA’s Best Albums of 2025, is an emotional, synth-driven ode to the artist’s late father. “Good Times” is a hopeful paean to a complex person who often disappointed you in life but who, in death or absence, can be seen in full.

“Drums of Death” — FKA twigs, Koreless

This third single from FKA twigs‘ third album “EUSEXUA,” released in January, is a boom-clapping alternative pop hit that’s stacked with whirring, buzzing and thumping that’s perfectly mixed, as twigs’ icy vocal effortlessly cuts through the sounds to deliver one of the album’s catchiest tracks. There’s a bit of “Art Angels”-era Grimes coming through on “Drums of Death” and it’s much appreciated.

“Back of My Mind” — SG Lewis

British electronic artist SG Lewis‘ “Back of My Mind,” is a classy and glamorous electronic-pop single — the first from Lewis’ infectious third album, ‘Anemoia.” It’s difficult to dabble in the vibes of what I like to call “rooftop cocktail hour DJ music” without losing some personality or intricacy and it’s why I’d argue Lewis’ “Anemoia” succeeds while Tame Impala’s “Deadbeat” faltered. “Back of My Mind” is a simple and groovy track that aches for summer nights.

“Cobra” and “Husbands” — Geese

American rock band Geese‘s fourth album, “Getting Killed,” is an impressive “art rock” album that is among my Best Albums of 2025 — and the two tracks highlighted here are proof enough of the album’s far-reaching influences and the band’s impressive musical instincts. The gorgeous, hit-worthy “Cobra,” sounds like a lost Fleetwood Mac song that a garage band decided to cover on the fly and nailed. Meanwhile, “Husbands,” is a plucky and slightly-western track with a bit of an anthem-feeling to it. These are but two highlights on one of the year’s best records.

“Sk8” — JID, Ciara and EARTHGANG

This sixth single from Atlanta rapper JID‘s acclaimed (and Grammy Award nominated) fourth album “God Does Like Ugly,” is a well-calibrated throwback to early-mid 2000s R&B straight from the ATL. Fittingly, the track features one of Atlanta’s greatest R&B-pop girls, Ciara, in addition to hip-hop duo EARTHGANG. “Sk8” is a bouncy and fun dance track that conjures the days when Outkast ran radio and Jazze Pha’s producer tag could be heard in countless hip-hop and R&B hits. It’s reminiscent without being reductive and is one of many highlights on JID’s eclectic and robust album.

“flash” — 2hollis

Though “star,” the major label debut of rapper-singer-producer 2Hollis received a somewhat polarizing reception (some claim it’s too “safe”), the album feels intentionally more restrained to me. While it’s definitely less “hard” than the electro-rock-trap style that made him a prominent internet favorite, it’s still a pretty good album. Though my personal favorite from “star” is track 13, “sidekick,” it’s shortness (a mere 1:18, nearly the same length as the album’s interludes) made it feel incorrect as a proper selection. Thankfully, single “flash,” is well-worthy of inclusion, as the track finds 2 meshing his harder style with a more mainstream construction and flow. It’s also got an eye-catching video directed by none other than The Hellp’s Noah Dillon. Based upon 2’s most recent single, “DOGS,” I’m guessing his next project will be hard to call safe.

“Madeline” — Lily Allen

Elder millennial pop fans everywhere rejoiced at the news that one of the 2000s’ greatest new pop stars was returning to music after seven years — that it happens to be her best album was just a bonus. “West End Girl,” British singer Lily Allen‘s breathtaking fifth album, is a collection of excellent pop songs unified around one cohesive narrative: The discovery of an alleged affair had by Allen’s estranged husband, actor David Harbour, and its impact in the destruction of their marriage. In lead single, “Madeline,” Allen confronts an avatar of “the other woman,” here named “Madeline.” The song sounds like a western standoff, with a tinge of country and some well-place gun shots. For Allen, it’s a painful moment but in her telling, she’s still having fun and that’s such a feat.

“OWA OWA” — Lil Tecca

“OWA OWA,” the second single from Queens-born rapper Lil Tecca‘s fifth studio album, “Dopamine,” is a hypnotic, chill groove that glides along a well-placed sample of The Buggles’ “Video Killed the Radio Star.” It’s a no-frills track that does what it does well — and sometimes that’s enough.

“Afterlife” — Alex G

Musical genius Alex G‘s 10th studio album, “Headlights,” is a rewarding slow burn that’s among my favorite albums of 2025. On that record, Alex G toys around with “dad rock” (a musical microgenre of the ’80s-’90s that’s making a comeback. Think Steely Dan and Bruce Springsteen) to unbelievable success. Lead single, “Afterlife,” is a warm hug of a song that harkens back to a purer time of life. In a non-corny way, it feels universal.

“Dopamine” — Robyn

Where better to wrap this whole thing up than with one of music’s — particularly pop music — greatest living veterans. Swedish electronic pop goddess Robyn‘s first song in seven years is a triumphant return to her club roots. “Dopamine” laces together elements of the singer’s beloved “Body Talk” albums with some of the deeper house touches heard on 2018’s “Honey.” Robyn’s perfect pop vocals float atop a robotic, Daft Punk-esque loop, and some sparkling synths, to create yet another jewel in Robyn’s crown. We are so lucky to have her.

---

Have thoughts? You can find me on Instagram, X, TikTok and Substack. We hope your year was filled with great tracks, good people, and some fun. See you in 2026!