The Genius Community’s 50 Best Songs of 2025

As a young, promising rapper who was catapulted into online stardom with slice-of-life, almost naïve tracks like “Kool-Aid & Frozen Pizza” and “Senior Skip Day” Mac Miller found his footing years later and reinvented himself an introspective, philosophical artist who explored the abstract and metaphysical concepts of life. “Funny Papers,” a fan favorite from Mac’s 2025 posthumous album Balloonerism (recorded in 2014) delves into the most curious parts of these concepts: the infinite cyle of life of death. Co-produced by Mac under his producer alias Larry Fisherman alongside collaborators Thundercat and Taylor Graves, the release of “Funny Papers” seven years after his passing further displays the impermanence he came to explore in one of the most existential periods of his life.
—Justin Ball

Magdalena Bay spent 2025 bucking the three-singles-before-album, album-by-album convention of pop music by dropping eight tracks—four A-side singles and four accompanying B-sides—every two weeks between late September and mid-November. As a pop duo whose discography has earned its own sniper license (all kills, no misses), it’s remarkable how good “Second Sleep” is among a truly stellar run. Titled after the medieval practice of biphasic sleep, the track is sheer space opera, eight distinct sections with all the synthy oddities and distorted guitars and ethereal vocal modulations to show for it. It’s Exhibit A that Mag Bay might be the foremost player in pop music whose every song is sort of about death, but whose work somehow also feels frighteningly, joyously alive. Existential dread has never sounded so goddamn fun.
—Max Zhang

In the song “DtMF,” short for “DeBÍ TiRAR MáS FOToS,” Bad Bunny delivers one of his most intimate and melancholic pieces to date. Part of the self-titled album released in 2025, the song has become an emotional phenomenon on social media, especially on TikTok, where thousands of users have used it to accompany tributes to loved ones, lost friends, and unrepeatable moments.

From the first verse, Benito places us in San Juan, contemplating a sunset that evokes both beauty and absence. The lyrics revolve around a deep desire: to have taken more photos, to have given more kisses, to have hugged tighter. It is a lament for what was left undone when there was still time:

Debí tirar más fotos de cuando te tuve
Debí darte más beso' y abrazo' las vece' que pude

This refrain repeats like a mantra, laden with guilt, tenderness, and love. The song speaks not only of an ex-partner, but also of friendships, family, and the Puerto Rican community. It is a tribute to those who are no longer with us and a celebration of those who remain.

True to form, Bad Bunny intertwines moments of revelry with introspection. In the second verse, we see him drinking rum in Santurce, playing dominoes with his grandfather, and reminiscing about his old friends. The song moves between celebration and melancholy, as if to say, “Life goes on, but I don’t forget.” Even in his drunkenness, there is lucidity:

Vamo' a disfrutar, que nunca se sabe si nos queda poco

Musically, to the production of MAG, Scott Dittrich, JULiA LEWiS, Tyler Spry, La Paciencia & Hydra Hitz, “DtMF” mixes soft reggaeton with touches of salsa and plena, genres deeply rooted in the Puerto Rican culture. At the end, Bad Bunny mentions his friends by name, thanking them for being there and asking them to take a group photo. It’s a symbolic gesture: capturing the moment before it becomes a memory.

The song has struck a chord with its audience. Many have adopted it as a soundtrack for farewells, tributes, and personal reflections. Bad Bunny himself was moved by the videos his fans created with his music. This song serves as a universal reminder: Life is fleeting. It invites us to be present, to value the everyday, to not put off gestures of love. In an era saturated with images, Bad Bunny reminds us that not all photos are banal; some bear witness to what we were and what we lost.
—@TlfricoTew110

Named for the ’50-era TV series, Ariana Grande’s “twilight zone” blends an unreal romance and soft-sparkling beats and synths, making you wonder if you “dreamed the whole thing” right along with her. Fourth single of eternal sunshine and included in its deluxe, the track sees Ariana at her most cinematic: a feeling amplified in the short film brighter days ahead, where the song becomes one of the emotional memories she wants to erase. The three VMAs wins make it unmistakable: “twilight zone” proves Ariana runs the surreal.
—@dxvxdx

This is not the first song Tyler wrote about oral sex, but it may be its catchiest. The intention of DON’T TAP THE GLASS was ‘to just [be] fun again,‘ and this song delivers on that goal in every possible way. The track embodies funk and hip-hop, with layered adlibs, hard production, and smooth and steady vocals from Tyler. Ignoring the…unique music video, the song is a legit club anthem, with groovy sounds and a catchy melody; it’s sure to get stuck in your head, for all the right reasons.
—@AnnabethLynnChase

K-Pop has been going strong around the world for years now, but there’s no doubt that Maggie Kang and Chris Appelhans' animated film KPop Demon Hunters has become another massive universal phenomenon. And it’s one for good reason—with its unique premise and (kinda) down-to-earth cast of characters, KDH served as a sincere tribute to the K-pop genre, filled with love and care for its culture.

Of course, since the film focuses on a group of demon-hunting idols, it’s only appropriate for it to have a powerful soundtrack that covers the different styles K-pop adopts. A notable standout among the diverse hits is “Golden,” a hopeful song that fictional girl group HUNTR/X performs as they approach their goal of the demon realm-sealing “Golden Honmoon”. And hopeful it is—members Rumi (EJAE), Mira (AUDREY NUNA), and Zoey (REI AMI) uncover their past struggles (responsibility, a culture-clashing identity, family tensions, and even a secret demon heritage) and confidently push on forward to become “glowing” together and ultimately “golden,” all backed by a pulsating and soaring synthwave beat.

The high notes in the chorus weren’t the only things that went “up, up, up”; “Golden” would find itself adopted as an empowering anthem of sorts by K-pop fans and outsiders alike, and it’s likely to similarly boost your motivation every time all three hunters shine.
—@hARded2000

When you mix K-pop catchiness, rap ferocity, and jaw-dropping vocals, you can only get a hit, and LISA proves it with “Born Again.” Originally intended for RAYE only, the track arrives as the fourth single of the BLACKPINK member’s solo album Alter Ego and showcases her full versatility. “Born Again” evolves into a three-headed powerhouse: Doja’s sharp swagger and RAYE’s elegance perfectly go along with the hyper-detailed production. It is a resurrection anthem built on confidence and reivention which also won “Best K-pop” at the VMAs. A full rebirth—louder than ever.
—@dxvxdx

It’s just another day and our obsession with this song it’s not over. We waited more than a year for its release, but 2025 couldn’t have been more perfect for “The Subway.” After winning her first GRAMMY, Chappell Roan gives us a melancholy track in the best way, with slow-burning crescendos, tender piano lines, and ethereal vocals. “The Subway” moves like memory itself—dramatic, intimate, and aching—turning missed timing into something cinematic, heart-wrenching and so real. She’s got away, and it hurts both us and Roan.
—@dxvxdx

If you were involved in the indie scene at all in 2025, you probably couldn’t escape hearing about Geese or their frontman, Cameron Winter. Fresh off the success of Winter’s solo album Heavy Metal, Geese released their fourth album, Getting Killed, this past September. “Au Pays du Cocaine” has proven to be a standout amongst fans, and for good reason. The song’s slow, patient instrumental lets Winter’s emotional vocals shine, with him pleading, “You can be free / Just come home / Please,” giving way to a climactic ending. It’s a true highlight for the rising band.
—Craig Noblin

Consistent in being 2025 summer’s gut-wrenching storyteller, Ethel Cain released “Nettles” on June 4 as the first single of her new album, Willoughby Tucker, I’ll Always Love You, which was released at the end of the summer.

Imagine a story where in a cruel world, love is the only escape. This is the theme of the beginning of the album. Now “think about the time” where this love also breaks down into pieces of reality for one side. Let this song be the stinging realization from the point of view of the other side, where distance and caring collide.
—@EszterHavasi

Over the years spent together, frontman Tyler Joseph and drummer Josh Dun perfected their craft and grew as individuals—however Josh always has been a little shy, but with support of his bandmate and Clique, he is finally breaking out of his shell and putting on quite a show. The shining star of the track is undoubtedly Josh, with his gentle voice and killer drum performances; it is truly his track. To accompany him Tyler sings his heart out and screams at the top of his lungs. Combined with co-production from Paul Meany, “Drum Show” is a post-punk revival banger and a celebration of Josh.
—BYTH

“Berghain” is named after the legendary German club, known beyond its restrictive entry policies for its techno and queer scenes, decadence, and outright hedonism. Given this, one should know what to expect from a song with this title: the absolute most. Here, ROSALÍA, Björk, and Yves Tumor deliver absolutely that: a maximalist masterpiece featuring multiple tempo changes, three separate languages, and the literal London Symphony Orchestra. The result is hauntingly beautiful and utterly one-of-one: a tribute to love, sex, God, and music itself. Few words can do justice to this song in the way that simply listening to it could; regardless of your background and tastes in music, “Berghain” is a must listen.
—Babu Chatterjee

Conan Gray stunned both new and longtime fans with the powerful emotional pop ballad “Vodka Cranberry,” arguably 2025’s most iconic song of summer heartbreak. The 26-year-old’s heartfelt lyrics address a romantic partner in the process of pulling back from a relationship by gradually withdrawing affection. "Speak up,” Gray implores, not without some level of bitterness: Even without clear communication, the partner’s soured feelings are clear. His raw anguish and frustration are brought to life with strong vocals that span a diverse range of musicality and nuance, from the softer, almost conversational melody of the verses to the increasingly intense build of the bridge, which culminates in a soaring falsetto high note. Open chords and suspension add to the dreamy, contemplative atmosphere of this artistic masterpiece.
—Stephi Cham

How do you define an era? With artists like Taylor Swift and Charli xcx fueling this question from their tour and summer, respectively, Lorde gave her own answer with “What Was That,” defining this period of her artistic output with an autobiographical, blunt, and celebratory pop banger. The song tells the story of a breakup, but the lyrics show more: Lorde is comfortable addressing things as they are, telling the stories of casual drug use or Coachella or her inability to eat at times, not attempting to frame anything beyond what actually happened. Paired with the sleek, industrial synths of Jim-E Stack and Dan Nigro, Lorde used this song to nail her era on the head: escaping escapism and enjoying listening to the results.
—Babu Chatterjee

Catchy, immersive, and wickedly fun, “Dracula” is Kevin Parker’s slyest pop conquest yet. Channeling the album Deadbeat’s bush doof rapture and rave liberation, “Dracula” owns its cheesy boogie with unapologetic charisma. From the moment those soaring harmonies burst open, the track locks into rubbery bass lines that slink through the shadows, crisp percussion snapping and shimmering synth layers. The lyrics hook a clever vampire metaphor: the narrator as a nocturnal predator thriving in the shadows, charismatic, pretty, untouchable, yet desperately fleeing the dawn that exposes his vulnerable, flawed self. Parker leans into self-deprecating swagger and vulnerable longing that ends with a hypnotic invitation to embrace the hidden self that only thrives after dark (or risk losing it all when the sun rises). Seriously addictive and playfully profound, “Dracula” reaffirms Kevin’s unmatched artistry.
—Diego M.

“Who else got ‘em obsessed like JENNIE?” is the best way to describe the effect “like JENNIE” had on the world in 2025. As the title track of the BLACKPINK member’s debut album Ruby, JENNIE showcases an allure of confidence and attitude over an addictive electronic beat. A mantra of every chorus kept listeners hooked at every play of the track, reminding everyone of who she is and where she stands in the industry. She’s not worried about being replaced, because everyone knows her, and this song just helped her prove that everyone is down to “rock with JENNIE.”
—@PlanNine

We could have anyone else we wanted to, but we chose KATSEYE to take over 2025. Their Latin-inspired hit “Gabriela” topped charts and owned this summer’s TikTok—we all tried to learn the dance. The track blends sultry Spanish flair, a poppy R&B vibe, and their hate for Gabriela, who’s trying to steal their man. With these girls, everywhere is a dance floor but they’re not only a viral thing. After their hard training, they made it to Rolling Stone’s 100 Best Songs of 2025, got two GRAMMYS nominations and released a remix with Young Miko. Hands off—this is flawless!
—@dxvxdx

Dance like nobody’s watching. Seriously, stop looking for an audience and make what you want to make. Since 2018, Jane Remover’s been shaping the underground music scene in their image. From the sample-heavy dariacore of the leroy project to the digital shoegaze of previous album Census Designated comes this maximalist concoction. Hyperpop chiptune emo melodies battling for space with glitchy house electro rhythms and all the while Jane flipping vulnerabilities into hooks. Even as Jane continues to evolve, this pinnacle song on their new album, Revengeseekerz is content to appreciate their present style, “I like it like that.”
—@Broinator

In 2024, the Carpenter served us “Espresso,” next to the bigger dish named Short n' Sweet, and oh boy, she did serve us seconds. In “Tears,” Sabrina gives us an exquisite look at her bucket list of the perfect ways for a guy to keep her interested, accompanied by her sassy backing vocals that only she would do, while also keeping you hooked with a dance break! The first performance of the song was at the 2025 VMA Awards, with her show bringing attention to drag artists and the trans community at a time when it was very much needed.
—@azrieli

After three years away from the spotlight, Joji reappeared seemingly out of nowhere this past October with his comeback single “PIXELATED KISSES,” which is set to be the opening track on his upcoming fourth album Piss In The Wind, due out in February. The song features an unlikely pairing of a heavy, bass-boosted rage-inspired beat with Joji’s signature dreamy, entrancing vocals, creating a combination of elements that work surprisingly well together. The track seems to be about Joji’s frustration with what appears to be a long-distance online relationship, with him then repeatedly asking his significant other, “Are you really down?” Overall the song somehow manages to be one of Joji’s most intriguing stylistically and lyrically, even with it being under two minutes long.
—Craig Noblin

With a haunting dance, we were all in a trance. The moment Gaga dropped “Abracadabra” during the 67th Annual Grammy Awards commercial break, it was universally agreed upon as one of her best works. The electro-pop anthem took over everyone’s hearts under a spell, with the single setting the tone of MAYHEM. If you wondered which 2010s artist had the biggest comeback this year, just look up who performed the largest-attended concert by a female artist in history.
—@azrieli

“Blue Valentine” is a bold display of NMIXX’s hybrid-genre identity, weaving dramatic shifts between tender ballad style and explosive pop-rock sound. The track slowly builds before snapping into a carnival-like pre-chorus and a full rock-driven chorus. With constant tempo changes, the sound mirrors the emotional whiplash of the lyrics which speak about a relationship on the brink of breaking. The lyrics deepen that impact through vivid contrasts as “Blue Valentine” captures the ache of devotion that lingers after heartbreak. Thanks to both sound and story, “Blue Valentine” is one of 2025’s most emotionally resonant K-pop songs.
—Saquib Syed

“Stateside” brings a fresh sound for PinkPantheress, opening with a powerful bass that leads into her beautiful, breathy vocals as she falls for an American, even chasing planes to find him, which she uses as a metaphor for her music becoming more international and reaching a wider audience. Produced by The Dare, her first American collaborator, the song mixes her dreamy style with his sharper, club-leaning touch, giving the track a fresh edge. The music video pushes her Y2K aesthetic even further, using the same techniques that once upscaled early 2000s videos. This single didn’t just prove PinkPantheress' talent; it cemented that her mixtape was truly something to anticipate.
—benisntokay

Icy bars aside, I first fell in love with hip-hop as a form of record-keeping—how rhythm, rhyme, and reference coalesce into a unique storytelling technology for a history, a culture, a people. A poetic vessel, if you will. Years on Genius guided me towards seeing hip-hop as not just a container for narrative but as the story itself. Clipse returning to form on Let God Sort ‘Em Out after a 16-year hiatus might be one of the best storylines of the year, and nowhere does it feel clearer than second single “So Be It.” All the immaculate craft is in place: a Pharrell-innovated beat weaved from the scraps of a 1970s Saudi chaabi track, flow borrowed from Mobb Deep, imagery swerving between deep political history and luxury living, and lore by the heaps (the Neptunes breakup, a Hype Williams video, an open-hand smack in Travis Scott’s direction). But really “So Be It” stands out as its own timeless parable, a myth of two brothers at last taking on the whole world as they are so owed, one simmering verse at a time.
—Max Zhang

I think you know what this is. Channeling her inner Pussycat Doll on “Sports car,” Tate McRae starts the year off by comparing the rushing adrenaline of sex to racing a sports car whilst taking back control on this sultry, early-2000s electro-pop-inspired beat. Releasing just days after her third studio album, So Close To What, leaked to the masses, she not only entices you to follow her lead but demands you. The track features its own straightforward whisper chorus, something hardly ever seen in the modern-day female pop climate, making it stand out among others.
—Jason Thomas Kenny