Every year, I make a point of listening to as many new releases as possible. I’m constantly on the lookout for my next favourite album — something to soundtrack my year, introduce me to new sounds, and showcase artists pushing the envelope. And at the end of the year, I take time to reflect and put together a list of the albums that have stayed with me the most. This year, for the first time, I’m sharing that list in all its painstakingly assembled glory.
My take: While 2025 did not match 2024 in terms of pop releases (my primary genre of choice), it was still an undeniably strong year for music across the board.
25. The Weeknd – Hurry Up Tomorrow
In the conclusion of a trilogy that began with After Hours and continued with Dawn FM, The Weeknd delivers the longest and most cinematic record of the three with Hurry Up Tomorrow. While perhaps a bit overindulgent, Hurry Up Tomorrow contains some of The Weeknd’s best work, with expansive synth-pop and R&B soundscapes throughout.
24. Justin Bieber – SWAG & SWAG II
I didn’t expect we’d get another Justin Bieber album ever, let alone in 2025. After he cancelled the remaining dates of the Justice World Tour in 2022 due to ongoing health issues stemming from Ramsay Hunt Syndrome — and then largely stepped away from music for three years — I assumed he might be heading toward early retirement. And who could blame him if he stepped back to prioritize his physical and mental health? Fame at such a young age, paired with such a relentless touring and release schedule, would take a toll on anyone. But instead, he surprised us with two albums in 2025: SWAG and SWAG II. This is Bieber in his element, gliding effortlessly over R&B production with an impeccable ear for melody. SWAG may be weighed down by unnecessary interludes, but the songs themselves are among the best of his career. SWAG II could have benefited from some trimming as well, yet it remains a more refined and consistent listen than SWAG. I’m grateful to have Justin Bieber back making music, and if he wants to stay in this R&B lane, I’m fully on board.
23. Doja Cat – Vie
Doja Cat has returned to pop after spending the past couple of years focused on rap. Vie is a funk-forward project infused with hip-hop, pop rap, R&B, dance pop, and disco. Lead single “Jealous Type” perfectly introduces the ’80s-inspired sound that anchors much of the record, and the momentum continues with standout tracks like “Couples Therapy,” “Make It Up,” and “Take Me Dancing” featuring SZA. Vie finds Doja Cat executing a fully realized sonic vision, resulting in the most consistent album of her career.
22. Kesha – .
Kesha is finally independent and free from her contract with Kemosabe Records, so she released . (Period) on her own label, Kesha Records. What results is her most carefree music yet, set against a thematic backdrop of how it feels to gain your voice back. While a couple of moments sound so busy that you can’t help but scratch your head, most of the record is brilliant — reminding you of the sound Kesha pioneered that paved the way for so many modern pop stars.
21. Jonas Brothers – Greetings from Your Hometown
Greetings from Your Hometown is a pure pop record that is built on gorgeous vocal harmonies, rich textures and grooves, and instantly catchy hooks — all accompanied by a warm 1970s influence. While their previous release (aptly titled The Album) still stands as the Jonas Brothers’ most cohesive project, this record makes for a worthy follow-up. It delivers several late-career highlights, including “Tables,” “Love Me to Heaven,” “Greetings from Your Hometown” with Switchfoot, and “Mirror to the Sky.”
20. Hayley Williams – Ego Death at a Bachelorette Party
One of my favourite bands Paramore is on another break, but frontwoman Hayley Williams is not slowing down, having released a 20-song alternative pop record titled Ego Death at a Bachelorette Party. This is an easy record to spin, with smooth, sticky instrumentals throughout. Its pleasant sonic palette is balanced with lyrics exploring tough themes like grief, trauma, mental health, identity, and societal pressures. While I would love to see more conciseness in the tracklist next time, I remain impressed with what Williams came up with here.
19. HAIM – I quit
HAIM has released some of their best work with I quit. Four albums in, they sound like a band with nothing left to prove. The production’s low-fi, rustic aesthetic perfectly complements the album’s laid-back attitude. And its nonchalance works in its favour, rather than against it, as the choruses are irresistibly catchy, the sonic palette is breezy and cohesive, and the vocal harmonies are as strong as ever. While a tighter edit could have trimmed the tracklist from 15 to a leaner 12, even the weaker moments contribute to an overall smooth and enjoyable listen.
18. Reneé Rapp – BITE ME
If you’re looking for pop music with attitude, Reneé Rapp’s BITE ME delivers. Opener “Leave Me Alone” sets the tone with punchy drums, driving guitars, and sassy one-liners. That momentum carries into the instantly catchy “Mad,” which follows. Other highlights include “Good Girl” and the exceptional closer, “You’d Like That, Wouldn’t You.” The slower moments may seem drab at first, but they reveal more personality with each listen — particularly “Why Is She Still Here?” and “I Think I Like You Better When You’re Gone.” BITE ME ultimately showcases Rapp’s confidence and charisma, cementing her as one to watch in the next generation of up-and-coming pop stars.
17. Lowest of the Low – Over Years and Overnight
Canadian rock veterans Lowest of the Low are back with another exceptional rock record, following Welcome to the Plunderdone, which cracked the top 10 of my favourite albums list in 2023. Over Years and Overnight is driven by bright and dynamic guitars, thumping and lively drums, and impeccable vocals. “Wake Up and Smell The Roses” is my favourite song on the album, with an instantly memorable chorus, gorgeous vocal melodies, and lyrics that remind you to appreciate the small, quiet moments of beauty amidst the chaos and hatred that dominate our current climate. Over Years and Overnight is another excellent installment in the Lowest of the Low’s discography — give it a spin if you haven’t!
16. Zara Larsson – Midnight Sun
Zara Larsson has long been an underrated artist. Her pipes are undeniable, her singles consistently hit, and her personality is magnetic. Unfortunately, her deep cuts haven’t always matched the magic of her singles, leaving many of her albums feeling inessential. Midnight Sun hits the reset button. From the opening title track (one of my favourite pop songs of the year), Larsson delivers a record that feels uniquely hers: upbeat, hypnotic, and bursting with energy. “Pretty Ugly” might be the loudest pop song I’ve heard in years, built around a shouted chorus — “Have you ever seen a pretty girl get ugly like this? Messy like this?”. That attitude bleeds through the entire project, proving Zara Larsson still has plenty to say — and plenty to prove. I’ll be watching!
15. Demi Lovato – It’s Not That Deep
Demi Lovato’s career has been messy and marked by constant reinvention, vulnerability, and hardship. But the music has always been compelling: “Cool for the Summer” remains one of the greatest pop songs of the past decade, and her recent pivot to rock produced some of the strongest work of her career. And now, after a long hiatus, Lovato is back in pop mode. It’s Not That Deep is unapologetically simple and intentionally centres joy over propulsive house, EDM, and club-pop beats. The result is a concise, impressively well-balanced project that feels tailor-made to soundtrack your next night on the dancefloor!
14. Perrie – Perrie
Perrie’s self-titled debut album gives her space to show who she is as a solo artist outside of Little Mix. The result is a lush, cohesive record that blends adult contemporary influences with polished pop. Her voice — marked by a gorgeous tone and impressive range — shines through in the album’s softer moments, such as “Bonnie and Clyde,” “Miss You,” and “Same Place Different View.” On the other hand, the upbeat tracks are bona fide bops: “Forget About Us,” “Sand Dancer,” and “Pushing Up Daisies” immediately come to mind.
13. Bad Bunny – DeBÍ TiRAR MáS FOToS
Bad Bunny’s DeBÍ TiRAR MáS FOToS lands in 2025 as more than an album — it feels like a cultural statement. The record is a deeply patriotic tribute to Puerto Rico. Bad Bunny weaves reggaeton with traditional sounds like salsa and plena, creating rich, textured soundscapes that honour the island’s past while pushing its music forward. And the album doesn’t just sound amazing: its themes are incredibly powerful, touching on resistance to colonial erasure, and holding tight to home, family, and history as time inevitably moves on.
12. Tyler, The Creator – DON’T TAP THE GLASS
DON’T TAP THE GLASS might be the simplest album ever released by Tyler, The Creator — and honestly, that might be why it’s my favourite. It’s a ten-track run of summer rap bangers. No frills, no detours. Just brisk, catchy, unbelievably danceable tracks front to back. Another true highlight of the year!
11. Olivia Dean – The Art of Loving
Olivia Dean’s The Art of Loving sounds timeless. Her warm, buttery vocals glide over lush, textured arrangements. Standout tracks like “Close Up,” “Man I Need,” and “Baby Steps” are among the catchiest songs of the year — so instantly familiar they feel like you’ve heard them before. And the album is consistent and trim, with zero filler, unfolding over a breezy and purely enjoyable 34 minutes.
10. 5 Seconds of Summer – EVERYONE’S A STAR!
5 Seconds of Summer is a band that continues to improve with age, with each album surpassing the last. EVERYONE’S A STAR! is their best yet, effortlessly blending pop, rock, and punk influences. The Y2K aesthetic is woven throughout the album’s visuals and sound, but rather than feeling nostalgic or artistically regressive, it’s fused with the pop-rock sensibility 5SOS is known for — to create something distinctly forward-thinking. The result is a record packed with catchy hooks and irresistible melodies.
9. Sabrina Carpenter – Man’s Best Friend
Sabrina Carpenter’s Short n’ Sweet was a hit-making machine, spawning four massive singles and several deep cuts that found virality of their own. It was one of the top-selling albums of last year and this year, and landed firmly in my top 10 albums of 2024. Following up a record that was so successful — especially just one year later — is no small feat. But Carpenter pulled it off! This follow-up is nearly as captivating, pairing witty, self-aware, and often hilarious lyricism with soft-rock and throwback-inspired instrumentals that nod to ABBA and Fleetwood Mac — influences Carpenter herself has cited. The songs are sticky, the production is sleek, and her charisma remains undeniable. In a year that was sometimes drab for pop music, this record stands out as a highlight!
8. Tate McRae – So Close to What
So Close to What is for listeners who want a slice of no-frills, pure modern pop. (And while I take pride in exploring a wide range of genres, pop will always sit at the core of what I love.) This record delivers exactly what it promises: polished production, sticky hooks, and star power radiating from every track. Tate McRae is, above all else, an exceptional live performer. Her choreography and stage presence blow many of her contemporaries out of the water, and these songs feel purpose-built to thrive onstage. Her influences are clear — Britney Spears, Ariana Grande, and Beyoncé come to mind — but So Close to What never feels like pure imitation. Through standout tracks like “Dear god,” “Sports car,” “It’s ok I’m ok,” and “TIT FOR TAT,” McRae carves out a lane that’s distinctly her own. This is pop music that knows exactly what it is, executes with confidence, and proves McRae is a force to be reckoned with.
7. Addison Rae – Addison
Former TikTok influencer Addison Rae has been quietly carving out a lane in the pop music industry over the past five years. While earlier songs, such as “Obsessed” and “2 die 4”, were catchy, I didn’t anticipate a fully realized artistic statement from Rae. So colour me surprised! Addison stands as one of the strongest pop records of the year, unfolding a dreamy pop landscape anchored by self-aware lyrics that explore escapism, materialism, and image. The album leans heavily into 2000s pop aesthetics without feeling derivative, using nostalgia as a texture to strengthen the album. Lead single “Diet Pepsi” was only a glimpse of what was to come — Addison ultimately reveals an artist far more intentional, cohesive, and compelling than many (myself included) initially gave her credit for being.
6. Miley Cyrus – Something Beautiful
Something Beautiful is the most experimental album Miley Cyrus has ever made — a cinematic, genre-blending project that deliberately resists cohesion. Instead, it constantly moves between pop, rock, country, blues, and disco — sometimes all at once. The accompanying visual album further contextualizes the record’s themes of healing from trauma and finding light through life’s darker moments. “End of the World” is an anthemic Europop banger about living fully in the present – why it wasn’t a global number-one hit is genuinely baffling to me. Meanwhile, “Easy Lover” rides a rollicking bassline into soft-rock territory, with Cyrus’ vocal charisma exploding over subtle country and blues influences. And “Walk of Fame,” featuring Brittany Howard, is a disco-driven earworm that adds yet another successful detour to the tracklist. Ultimately, Something Beautiful is an ambitious record that pulls off every zig and zag with confidence and conviction. It’s bold, emotionally resonant, and unpredictable — an excellent project from Cyrus, and perhaps the best of her career.
5. Clipse – Let God Sort ‘Em Out
There’s always a handful of rap projects that make my year-end list, and almost always one that sneaks into the top 10. But cracking the top five? That’s rare. At the end of the day, I’m primarily a pop fan. Even Kendrick Lamar’s GNX fell just short of my top 5 last year. However, Clipse’s Let God Sort ’Em Out is simply exceptional. Across a lean 13-song tracklist, Pusha T and Malice deliver some of the most captivating performances of their careers — razor-sharp, controlled, and commanding. The feature list is stacked yet purposeful: appearances from John Legend, Tyler, The Creator, Kendrick Lamar, Nas, and more elevate the album without ever overshadowing its core duo. Much of the record’s power comes from Pharrell’s production, which feels both timeless and restrained. These instrumentals often feel skeletal by design — letting silence, space, and rhythm do as much work as the bars themselves. And all of these elements coalesce into a record that is laser-focused and fully realized.
4. Lorde – Virgin
Expectations were high for Lorde’s Virgin. Following Solar Power — a record that, frankly, felt inessential within her discography — this album arrives as a striking return to form. Virgin is an ode to freedom, built on gritty, almost industrial synth-pop soundscapes that feel tense, raw, and deeply alive. Opening track “Hammer” feels like a thesis statement for the album: “I might have been born again / I’m ready to feel like I don’t have the answers / There’s peace in the madness over our heads.” Themes of self-discovery, vulnerability, and introspection guide the album as it moves through electropop textures and moments of eerie restraint. Lorde’s vocals — distinctive, and at times haunting — anchor the record. Virgin doesn’t chase immediacy; it demands patience. And if you dedicate the time, Virgin will reward you with one of the most compelling and fully realized statements of Lorde’s career.
3. Alessia Cara – Love & Hyperbole
Alessia Cara has been quietly making great pop music since her breakout single “Here” in 2015. While each new project has unfortunately garnered less attention from critics and the general public, her core strengths — honest storytelling and a stunning vocal tone — have only grown more refined. With Love & Hyperbole, Cara delivers the best album of her career so far. There’s a warmth and intentionality here that makes the album feel deeply cohesive and emotionally grounded. Pulling from R&B, jazz, and rock influences, Love & Hyperbole sounds vibrant and alive, benefitting from its emphasis on live instrumentation. Overall, this is a confident, fully realized project that cements Alessia Cara as one of pop’s most exciting stars.
2. JADE – That’s Showbiz Baby!
A true student of pop music, JADE wears her influences proudly — Madonna, Cher, Diana Ross, Beyoncé, Britney Spears, and Lady Gaga all echo throughout this record. Yet what makes this album remarkable is how wholly unique it feels. This is synthesis, not imitation: a fully formed artistic statement that understands pop history and pushes it forward with confidence. Charisma drips from every track as she shifts styles across the pop map with ease. It’s an impressively assured debut — one where nearly every song could have been a single. “Angel of My Dreams” functions as the album’s thematic thesis, unpacking her complicated love–hate relationship with fame and the spotlight. That tension carries into “IT Girl,” which doubles down with even more swagger and attitude. Elsewhere, “Fantasy” glides by as a smooth funk–disco standout, while “Plastic Box” is a sleek synth-pop number that recalls Robyn. The highlights keep stacking up: the self-lacerating “Self Saboteur,” the booming, high-drama “Natural at Disaster,” the gorgeous closer “Silent Disco,” and many, many more. Throughout it all, JADE’s voice is an incredible anchor — elastic, expressive, and overflowing with personality. A near-perfect debut that almost made the top of my list.
1. Lady Gaga – MAYHEM
Lady Gaga may just be the greatest pop star we have. With MAYHEM, she delivers a late-career highlight that doesn’t just reaffirm her legacy — it actively strengthens it. This is an album that feels both larger than life and intimately personal. Nearly every song sounds like a pop classic you swear you’ve heard before … not because it’s derivative, but because Gaga understands the architecture of pop so completely that she can create instant familiarity. “Disease” sets the tone as a gritty, confrontational opener, while “Abracadabra” is built around a wild pop structure that only Gaga could pull off, including two choruses … because they’re both that good. Her soaring vocal performance cuts through booming, anthemic, and haunting production with ease. “Perfect Celebrity” leans into rock textures, “Killah” is delightfully unhinged and unapologetically goofy (corny in lesser hands, but brilliant in hers), and “Shadow of a Man” stands out as an exceptional late-album highlight, channelling a Michael Jackson–esque sound through Gaga’s lens. The record closes with “Die with a Smile,” a booming, theatrical finale alongside Bruno Mars. It’s a fitting curtain call to an album that refuses to play small. Ultimately, MAYHEM is an honest, fearless artistic statement from one of the most brilliant musicians of our time. Commanding, ambitious, and endlessly compelling — it’s unmistakably, gloriously Gaga. And it’s the best 2025 gave us.
