The best answer to the question is not one supposedly objective song. It is a year-end critical snapshot: a list of tracks that were memorable, accomplished, culturally resonant, adventurous, or simply impossible to ignore. Rolling Stone’s 2025 ranking is the clearest canonical list for that conversation, but its order is an editorial judgment—not a sales chart, streaming table, or universal verdict.
The result is unusually broad. Lady Gaga, Taylor Swift, Kendrick Lamar, SZA, Sabrina Carpenter, Bad Bunny, Doechii, Drake, The Weeknd, and Justin Bieber appear alongside Ryan Davis and the Roadhouse Band, Feeble Little Horse, Smerz, Trupa Trupa, U.S. Girls, Samia, and Muddy. Below is the complete 100-song ranking, followed by the patterns that made 2025’s music conversation so varied.
How to use this list
The ranking below reproduces Rolling Stone’s published order. The original United States article appeared on December 4, 2025; an adapted French translation was published by Rolling Stone Canada on December 19. The Canadian version notes that some nuances may differ from the original, so the U.S. ranking is the reference point here.
Nothing in the ranking establishes a song’s chart position, sales, streams, certifications, awards, songwriting credits, or even—without checking the relevant official release information—that every track was first released during the 2025 calendar year. Year-end lists can include songs that became prominent during the year or were released in different territories and formats.
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For a convenient starting point, Rolling Stone provides a Spotify playlist of the full ranking. Readers can listen to the full playlist in sequence, or use the sections below to jump between pop, rap and R&B, Latin and global music, indie rock, and more experimental selections. Playlist catalogues and regional availability can change, so individual tracks may not be accessible everywhere.
The top 10
| Rank | Artist | Song | What the placement represents |
|---|---|---|---|
| 1 | Lady Gaga | “Abracadabra” | Maximalist pop spectacle and instantly recognizable star power. |
| 2 | MJ Lenderman and This Is Lorelei | “Dancing in the Club” | A striking example of an indie collaboration outranking more obvious mainstream contenders. |
| 3 | KPop Demon Hunters (HUNTR/X) | “Golden” | Proof that soundtrack music and fictional-group pop could sit at the center of the year’s conversation rather than at its margins. |
| 4 | Bad Bunny | “Baile Inolvidable” | The prominence of Latin and Puerto Rican music in the critical mainstream. |
| 5 | Kehlani | “Folded” | The continuing importance of contemporary R&B and emotionally direct songwriting. |
| 6 | Sabrina Carpenter | “Manchild” | A major pop release placed within a list that also makes room for underground music. |
| 7 | YoungBoy Never Broke Again | “Shot Callin” | Rap’s continued presence near the top of the year’s broadest critical survey. |
| 8 | Taylor Swift | “The Fate of Ophelia” | One of pop’s most visible songwriters represented in the upper tier. |
| 9 | Kendrick Lamar and SZA | “Luther” | A high-profile rap and R&B collaboration in the top 10. |
| 10 | Chappell Roan | “The Subway” | A pop-centered finish to a top 10 that moves from spectacle to collaboration, soundtrack pop, Latin music, R&B, rap, and singer-songwriter pop. |
The complete Rolling Stone ranking
Here is the full order, including featured artists as they appear in the published list.
| Rank | Artist | Song |
|---|---|---|
| 1 | Lady Gaga | “Abracadabra” |
| 2 | MJ Lenderman and This Is Lorelei | “Dancing in the Club” |
| 3 | KPop Demon Hunters (HUNTR/X) | “Golden” |
| 4 | Bad Bunny | “Baile Inolvidable” |
| 5 | Kehlani | “Folded” |
| 6 | Sabrina Carpenter | “Manchild” |
| 7 | YoungBoy Never Broke Again | “Shot Callin” |
| 8 | Taylor Swift | “The Fate of Ophelia” |
| 9 | Kendrick Lamar and SZA | “Luther” |
| 10 | Chappell Roan | “The Subway” |
| 11 | Ryan Davis and the Roadhouse Band | “New Threats From the Soul” |
| 12 | Mariah the Scientist | “Burning Blue” |
| 13 | Jensen McRae | “Praying for Your Downfall” |
| 14 | Rosalía featuring Björk and Yves Tumor | “Berghain” |
| 15 | Olivia Dean | “Man I Need” |
| 16 | Tyler Childers | “Eatin’ Big Time” |
| 17 | Hayley Williams | “Mirtazapine” |
| 18 | Playboi Carti | “Like Weezy” |
| 19 | Role Model | “Sally, When the Wine Runs Out” |
| 20 | Blondshell | “T&A” |
| 21 | Addison Rae | “High Fashion” |
| 22 | Ca7riel and Paco Amoroso | “#Tetas” |
| 23 | Clipse | “So Be It” |
| 24 | Raye | “Where Is My Husband!” |
| 25 | Justin Bieber | “Daisies” |
| 26 | Metro Boomin featuring Quavo, Breskii, YKNiece, and DJ Spinz | “Take Me Thru Dere” |
| 27 | sombr | “Back to Friends” |
| 28 | The Weeknd | “Cry for Me” |
| 29 | Rema | “Baby (Is It a Crime)” |
| 30 | Rachel Chinouriri | “Can We Talk About Isaac?” |
| 31 | Macario Martínez | “Sueña Lindo, Corazón” |
| 32 | Drake | “Nokia” |
| 33 | Tate McRae | “Sports Car” |
| 34 | Dijon | “Yamaha” |
| 35 | Margo Price | “Don’t Let the Bastards Get You Down” |
| 36 | PinkPantheress | “Stateside” |
| 37 | Guitarricadelafuente | “Port Pelegrí” |
| 38 | Rob49 | “WTHelly” |
| 39 | Jim Legxacy | “Father” |
| 40 | Ayra Starr | “Hot Body” |
| 41 | Rauw Alejandro | “Carita Linda” |
| 42 | Coco Jones | “Taste” |
| 43 | The Marías | “Back to Me” |
| 44 | Mobb Deep featuring Nas | “Pour the Henny” |
| 45 | Gabito Ballesteros and Tito Double P | “7 Días” |
| 46 | Cardi B | “Imaginary Playerz” |
| 47 | Wednesday | “Elderberry Wine” |
| 48 | Saba and No ID | “How to Impress God” |
| 49 | Doja Cat | “Aaahh Men!” |
| 50 | Joé Dwèt Filé and Burna Boy | “4 Kampé II” |
| 51 | Big Thief | “Incomprehensible” |
| 52 | Moliy and Silent Addy featuring Shenseea and Skillibeng | “Shake It to the Max (Fly) (Remix)” |
| 53 | Florence + The Machine | “One of the Greats” |
| 54 | The Beths | “Straight Line Was a Lie” |
| 55 | Fuerza Régida | “Marlboro Rojo” |
| 56 | Lil Tecca | “Dark Thoughts” |
| 57 | 2hollis | “Nice” |
| 58 | Obongjayar featuring Little Simz | “Talk Olympics” |
| 59 | Lambrini Girls | “Cuntology 101” |
| 60 | Doechii | “Anxiety” |
| 61 | Japanese Breakfast | “Picture Window” |
| 62 | Katseye | “Gabriela” |
| 63 | Marina | “Everybody Knows I’m Sad” |
| 64 | Hailey Whitters | “High on the Hog” |
| 65 | Karol G and Feid | “Verano Rosa” |
| 66 | Rochelle Jordan | “Ladida” |
| 67 | Wet Leg | “Mangetout” |
| 68 | AJ Tracey featuring Jorja Smith | “Crush” |
| 69 | Veeze | “L.O.A.T.” |
| 70 | Samia | “Bovine Excision” |
| 71 | Netón Vega and Peso Pluma | “Morena” |
| 72 | Hotline TNT | “Julia’s War” |
| 73 | BigXthaPlug featuring Bailey Zimmerman | “All the Way” |
| 74 | Skrilla featuring Lil Yachty | “Rich Sinners” |
| 75 | Sudan Archives | “A Bug’s Life” |
| 76 | Trupa Trupa | “Mourners” |
| 77 | Ghostface Killah, Raekwon, Method Man, and GZA featuring Reek da Villian and Pills | “The Trial” |
| 78 | Young Miko | “Wassup” |
| 79 | Illuminati Hotties | “777” |
| 80 | Shallipopi | “Laho” |
| 81 | Smerz | “You Got Time and I Got Money” |
| 82 | Feeble Little Horse | “This Is Real” |
| 83 | Audrey Hobert | “Sue Me” |
| 84 | Tyler, the Creator | “Sugar on My Tongue” |
| 85 | Muddy featuring Xpert Productions | “Payroll” |
| 86 | Jay Som featuring Hayley Williams | “Past Lives” |
| 87 | Hardy | “Luckiest Man Alive” |
| 88 | Latto | “Somebody” |
| 89 | U.S. Girls | “Bookends” |
| 90 | Kelsea Ballerini | “I Sit in Parks” |
| 91 | Hanumankind | “Run It Up” |
| 92 | Netón Vega | “Loco” |
| 93 | Marianne Faithfull | “Burning Moonlight” |
| 94 | Blood Orange featuring Eva Tolkin and Liam Benzvi | “Westerberg” |
| 95 | Carin León and Kacey Musgraves | “Lost in Translation” |
| 96 | Lord Sko featuring Curren$y | “Understand” |
| 97 | Julien Baker and Torres | “Sugar in the Tank” |
| 98 | The Kid Laroi | “How Does It Feel?” |
| 99 | Four Tet | “Into Dust (Still Falling)” |
| 100 | Miley Cyrus | “End of the World” |
What the ranking says about 2025
Pop stayed central, but it was not one uniform sound
Lady Gaga’s No. 1 position puts high-impact pop spectacle at the front of the list, while Sabrina Carpenter, Taylor Swift, Chappell Roan, Justin Bieber, Tate McRae, Addison Rae, Marina, Miley Cyrus, and others show how much of the year’s conversation still passed through major pop artists. But the list does not treat pop as a single aesthetic. The presence of KPop Demon Hunters at No. 3, alongside collaborations such as Rosalía with Björk and Yves Tumor, shows a willingness to treat pop as a flexible space for spectacle, crossover, character, and experimentation.
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Latin and global music are part of the main story
Bad Bunny’s fourth-place finish is the most visible sign of Latin music’s position in the list, but it is far from the only one. The ranking also includes Rauw Alejandro, Karol G and Feid, Guitarricadelafuente, Macario Martínez, Fuerza Régida, Gabito Ballesteros and Tito Double P, Netón Vega, Peso Pluma, Carin León, Kacey Musgraves, and Young Miko.
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Elsewhere, Rema, Ayra Starr, Burna Boy, Joé Dwèt Filé, Moliy, Shenseea, Skillibeng, Shallipopi, Hanumankind, and other artists bring additional international currents into the same 100-song field. The safe conclusion is breadth: the list moves across languages, markets, and musical traditions without placing international music in a separate novelty category. It does not, by itself, provide a quantified geographic breakdown.
Rap and R&B remain major engines of the list
Rap and contemporary R&B are woven through every part of the ranking. Kehlani and Mariah the Scientist appear near the top; Kendrick Lamar and SZA reach No. 9; YoungBoy Never Broke Again, Playboi Carti, Clipse, Metro Boomin, Drake, Cardi B, Doja Cat, Doechii, Saba, Tyler, the Creator, Latto, Veeze, Rob49, Lil Tecca, and others extend the range through the middle and lower portions.
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Indie rock and experimental music are not an afterthought
One of the list’s most revealing choices is its No. 2 selection: MJ Lenderman and This Is Lorelei’s “Dancing in the Club.” That placement makes the editorial argument plainly. An indie collaboration can be more compelling to critics than a more predictable mainstream contender.
The wider list continues in that direction with Ryan Davis and the Roadhouse Band, Wednesday, Big Thief, The Beths, Wet Leg, Hotline TNT, Trupa Trupa, Feeble Little Horse, U.S. Girls, Smerz, Samia, Illuminati Hotties, Japanese Breakfast, Sudan Archives, and Jay Som. The presence of these acts alongside Gaga, Swift, Bad Bunny, and Bieber suggests that adventurous music was not merely a specialist side lane in 2025. It was part of the central picture.
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That does not mean every selection belongs to the same indie or experimental category. It means the list gives unusual production, distinct vocal personas, vivid writing, and strong artistic identity room to compete with scale and familiarity.
The soundtrack became a serious pop-cultural space
KPop Demon Hunters’ “Golden” at No. 3 is one of the ranking’s clearest signals. A song associated with a soundtrack and a fictional group is treated as a central piece of the year’s music conversation, not as a peripheral tie-in. The placement broadens the question from who released the song to how audiences encountered and attached meaning to it.
Notable discoveries below the top 10
A list this broad should not be used only to confirm familiar favorites. Some of its value lies in the names that appear outside the opening section. Ryan Davis and the Roadhouse Band reach No. 11; Jensen McRae is No. 13; Rosalía, Björk, and Yves Tumor’s collaboration is No. 14; Blondshell is No. 20; Ca7riel and Paco Amoroso are No. 22; and Rachel Chinouriri, Dijon, Margo Price, Jim Legxacy, and The Marías all appear before the midpoint.
The second half supplies another set of entry points: Wednesday at No. 47, Big Thief at No. 51, The Beths at No. 54, Obongjayar with Little Simz at No. 58, Doechii at No. 60, Japanese Breakfast at No. 61, Wet Leg at No. 67, Samia at No. 70, Trupa Trupa at No. 76, Smerz at No. 81, Feeble Little Horse at No. 82, U.S. Girls at No. 89, and Four Tet at No. 99.
The lower numbers should not be confused with a second tier of music that is unworthy of attention. They are invitations to explore. A year-end list is most useful when it sends a listener somewhere unexpected.
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How other critics’ lists change the picture
Rolling Stone’s ranking is a strong organizing framework, but it is not a consensus vote. NME’s 50-song year-end list describes 2025 as a year of varied, vital output and emphasizes artists including CMAT, Lorde, Steve Lacy, and Jim Legxacy, along with music that splices pop and alternative styles.
Stereogum’s 50-song list offers a different critical emphasis, connecting craft, emotional intensity, experimentation, and cultural ubiquity. Its top five are Wednesday’s “Townies,” Geese’s “Taxes,” Addison Rae’s “Headphones On,” Alex G’s “Afterlife,” and CMAT’s “The Jamie Oliver Petrol Station.”
The contrast is instructive. Stereogum’s No. 1 is an indie-rock song by Wednesday, while Rolling Stone’s No. 1 is Lady Gaga’s maximalist pop release. The disagreement does not make either list useless. It shows that critics broadly recognized 2025’s stylistic breadth and appetite for adventurous songwriting, while differing sharply about which song best represented the year.
What makes a song feel like a 2025 song?
Across these publications, the recurring quality is strong identity. The selected tracks tend to have distinctive vocal personas, unusual production choices, vivid writing, or a clear relationship to a wider cultural moment. That is an editorial inference from the published selections and criticism, not an objective measurement.
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It also explains why the list can move from Lady Gaga to MJ Lenderman and This Is Lorelei, from Bad Bunny to Kehlani, from a fictional K-pop group to underground noise and experimental music without collapsing into randomness. The common thread is not genre. It is that each selection gives a listener a recognizable reason to remember it.
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Listening beyond streaming
This is a song ranking, not an official 100-track physical compilation. Do not assume that a CD or vinyl record associated with an artist contains the ranked song: the album, edition, territory, and track listing must be checked individually. The same caution applies to soundtrack editions and deluxe releases.
For listeners who collect physical music, a beginner-friendly turntable can be a sensible part of a vinyl setup, but only after confirming that the specific albums or soundtracks you want are available in a suitable edition. A turntable will not create a physical version of every song on this list, and streaming availability does not prove that a vinyl or CD edition exists.
Bottom line
Rolling Stone’s 100-song ranking presents 2025 as a year in which pop remained powerful without becoming culturally uniform. Latin and global music occupied the center of the discussion, rap and R&B continued to drive innovation, and indie and experimental artists competed for attention rather than being relegated to a specialist appendix.
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Frequently Asked Questions
Is this an objective list of the best songs of 2025?
No. It is Rolling Stone’s editorial ranking and should be read as a critical snapshot of memorable, accomplished, culturally resonant, and adventurous songs. The order does not represent sales, streams, chart positions, or a universal consensus.
Where can I hear all 100 songs?
Rolling Stone provides a Spotify playlist for the full ranking. Individual tracks may have different availability depending on the streaming service and the listener’s region, so catalogue access should be checked at the time of listening.
Were all of these songs released in 2025?
The ranking establishes that Rolling Stone included the songs in its 2025 year-end list, but inclusion alone does not verify every track’s original release date. Some songs may have become prominent during the year or appeared in different territories or formats.
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Why do other year-end lists look so different?
Year-end rankings reflect editorial taste and publication priorities. Stereogum placed Wednesday’s “Townies” first, while Rolling Stone placed Lady Gaga’s “Abracadabra” first. The difference shows that there was no single consensus No. 1, even though critics broadly recognized the year’s stylistic variety.
The Bottom Line
The 100 best songs of 2025 were not united by one genre or one audience. Rolling Stone’s list is most valuable as a map of the year’s range: major pop, rap and R&B, Latin and global music, indie rock, soundtrack pop, and experimental discoveries all occupy the same conversation.
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