Picture it. You and your friends gather in front of the TV to watch the 2024 Grammys. Stakes have debatably never been higher, as for the first time in years, you have nine of the biggest names in pop music competing for the golden gramophone. Undeniably a summer of dance, late-night partying, and singing at the top of your lungs after years of isolation. What we all thought was going to be a pop revival this year left us wondering, where did everyone go?
Summer 2025, albeit newsworthy in its own right, had a lot to live up to when it came to chart-toppers. Last year, Sabrina Carpenter and Charli xcx, faces of new and old, dazzled the scene with glitter and a new era of “party girl” reminiscent of early late 2000’s recession pop, as it’s now commonly referred to. In a summer of endless wars, electioneering, and destructive climates, the 2024 pop scene was a breath of fresh air. For once, there was a revolution happening around us that wasn’t political. People were showing up to “brat” nights who haven’t been out in years. Music videos were finally relevant again. All around us were new faces, like Chappell Roan, who navigated the turbulence of being a rising star and inspired thousands of small artists not to give up their dreams. Or take Magdalena Bay and The Marias whose albums “Imaginal Disk” and “Submarine” are on track to becoming classics in their respective sub-genres.
There were faces we haven’t seen in years, the likes of Ariana Grande’s “eternal sunshine,” Lady Gaga’s “Disease,” Beyonce’s “Cowboy Carter” (although I would argue her comeback started two years earlier with “Renaissance”), Billie Eilish’s “Hit me Hard and Soft,” Doechii’s “Alligator Bites Never Heal,” Sabrina Carpenter’s “Short and Sweet,” Clairo’s “Charm,” Tyler the Creator’s “Chromakopia,” and Kendrick Lamar’s “GNX” to name, well, a lot.
Flash forward to 2025. With all your favorite pop-stars releasing at the same time, you’re left to wonder, “What now?” Sure, this summer we had amazing hits such as “The Subway” from Chappell Roan and “Man’s Best Friend” from Sabrina Carpenter, but these seem more like continuations of their prior projects more than their own fresh works. Even Role Model, who has been having a recent breakthrough with “Sally, When the Wine Runs Out,” owes his success to the deluxe version of his—you guessed it—2024 album “Kansas Anymore.” Where is this year’s infectious, viral phenomenon that defines this year’s music?
Let’s take a look at the Billboard 2025 Songs Of The Summer list, for example. The overall consensus is “Ordinary” from Alex Warren taking the number one spot, although we must ask, where is the cultural impact from “Ordinary” compared to, say, “Espresso”? Sure, one billion streams on Spotify does indicate a level of adoration from fans, but even Alex Warren’s chart-topping album suffers from the same fate that most on Billboard’s list do—coming out in 2024. Are you seeing a pattern yet?
So, where’s 2025’s wave of hit music? And why has everyone seemingly skipped this summer to release it? You may have noticed I haven’t even begun to talk about Taylor Swift, who’s been on an almost Olympic run of album releases. Even the queen herself has decided to wait until October to release her upcoming album “The Life of a Showgirl,” despite having almost zero competition in the summer charts. Other artists decided to jump on the bandwagon, waiting to release an album after summer, including Tame Impala’s “Deadbeat” releasing October 17th, and Doja Cat’s “Vie” and Olivia Dean’s “The Art of Loving” out last week, September 26th.
That’s not to say 2025 hasn’t had releases worth mentioning. In fact, 2025 has had quite a few projects that, despite not amassing the same impact as those from 2024, have remained favorable in their cult followings. The most prominent example being Lorde’s return to music with “Virgin.” While not my favorite Lorde record, it does give a stripped back and deep exploration into the singer’s past. This also includes Addison Rae’s debut, “Addison,” which, although clearly taking influences from Charli xcx and Caroline Polachek, brings an interesting twist into her sudden music career. Far from perfect, there is great potential in Addison’s work as she produces with an all-female team. Plus, I can’t deny “Fame Is a Gun” has been playing in my pregame playlist.
Lucky for you, I’ve put my years’ worth of music listening to good use for once, and made a list of my top songs of the summer. Although the leaves are a-changing, maybe you can fit in one or two more before the Christmas decorations are out. And who knows, maybe you’ll find your new top artist of 2026.
The pop-heads might be surprised at this one. But Turnstile has done quite the job of slipping into the mainstream and introducing a new audience to the hardcore punk scene. With dreamy synths paired with heavy reverbed guitar, Turnstile takes a turn on traditional hardcore and experiments with elements commonly found in pop and shoegaze, making Turnstile accessible for those who are looking to get into the scene. But for new listeners, I recommend this song before going onto “BIRDS,” which truly rocks. Plus, they are the first ever band to have a stage diver at a Tiny Desk concert. Take it from Charli xcx and have yourself a Turnstile summer!
Rock is not dead! The 2025 album “Breach” is a return to form for Twenty One Pilots, everyone’s favorite 2015 “emo” band. As a final installation of their decade-long storyline that has spanned five albums, it’s the end of an era for many fans. But the album is commercially a career-best for the band, and the biggest rock album release in six years. As a return to a classic “alternative rock” sound, “Drum Show” is the definition of a moment that makes you think, “Wow, my twenties are really just rediscovering my thirteen-year-old self.” Plus, it includes a bridge from Josh Dunn which, for fans, is kind of a big deal.
Coming at the very beginning of 2025, FKA twigs released “Eusexua,” which blends techno-dance with the supernatural. Even the visuals for the entire album are almost alien, and bring a unique twist on the club-pop sound continued from 2024, adding the unique FKA flair that hypnotizes you with it’s opening track. “Childlike Things” is itself a departure from the trance, entering with a four-to-the-floor beat that gets you dancing. Plus, it includes a feature from twelve-year-old North West rapping Japanese—which is already strange enough for you to want to check out.
At this point, if you haven’t heard of Balu Brigada, you’re ten steps behind. “Backseat” is classic indie-pop, absorbing influences from artists like Djo, Coin, and even occasionally Tame Impala, which you can hear during the instrumental break of “Backseat,” which transforms the song sonically into a darker, cinematic landscape. I’m not gonna lie, this whole album shocked me as a debut release. If you’ve been a fan of Sombr this summer, Balu Brigada is like him…but less reverb.
Now I’m sure you’ve all heard of this one, it’s up there with “Ring Ring Ring” as one of my favorites this year. After my long dissertation about the elimination of dance music from the 2025 summer music scene, Tyler the Creator designed a project specifically aimed at not sitting still. Surprisingly, it’s quite different from the introspective “Chromakopia,” released only a year prior. As Tyler puts it, “Dancing. Driving. Running. Any type of movement is recommended to maybe understand the spirit of it. Only at full volume.” Finally, someone has mentioned the epidemic facing concert-goers worldwide—no one wants to dance anymore! “Sugar on my Tongue" and the rest of “Don’t Tap the Glass” invites listeners to let loose, boogie, and to tap out of the glass we are all so addicted to.
Honorable Mentions:
This is the song I picture when I want to feel like I’m in a movie. This is my “tunnel song”.
In a room full of songs, I would pick this one. The bassline alone could teleport you back to the eighties.
