Contrary to what the chart dominance of musical menaces like Alex Warren’s “Ordinary” throughout 2025 may have led you to believe, this year has actually been a decent one for music. If 2024 was a year for pop girls, 2025 was a year of pleasant surprises; from the surprise drop of Hayley Williams’ “Ego Death At a Bachelorette Party” to Addison Rae’s star rising far above expectations, this year was rife with interesting releases and new artists.
Here are the 10 albums I enjoyed the most in 2025.
“West End Girl” by Lily Allen
Lily Allen’s “West End Girl” was not only a dissection of a marriage destroyed, but a pop culture moment; the bombshell of “Stranger Things” actor David Harbour’s infidelity came just before the release of the show’s fifth season. Allen’s writing here is frank and simple in the most affecting way, especially on revelatory tracks “Relapse” and “Pussy Palace.” The record unfolds like a stage play, as Allen breaks down her emotional stages in chronological order; from start to finish, “West End Girl” is a complete story full of shocking realizations, harsh truths and grief.
“Ego Death At a Bachelorette Party” by Hayley Williams
Originally released as a cluster of singles in July, Hayley Williams’ “Ego Death At a Bachelorette Party” is a project that feels alive and breathing; Williams continued to expand its story by releasing tracks “Good Ol’ Days” and “Showbiz” even after the singles had been combined into an album. I’ve waxed poetic about this album before, and I maintain that its story of a broken heart still in the process of being pieced back together makes it feel even more real and raw.
“Addison” by Addison Rae
Several years ago, the average pop listener likely never would’ve expected one of 2025’s best records to be made by Addison Rae, but her debut album “Addison” is an innovative and interesting pop record, and her star quality is undeniable. “Addison” references Britney Spears, Lana Del Rey and 1990s Madonna in a way that feels researched, and tracks like “In The Rain” and “Headphones On” reveal a creative who thinks deeply and intentionally about her art.
“MAYHEM” by Lady Gaga
“MAYHEM” was a return to the eccentric, polarizing version of Lady Gaga we sorely needed in 2025. Tracks like “Garden Of Eden” and “Zombieboy” showcase elements of disco, funk and grunge combined with catchy pop hooks and classic Gaga vocal mannerisms. The record is a dynamic display of her musical evolution and range.
“Who’s the Clown?” by Audrey Hobert
2025 was the year we met Audrey Hobert as not just Gracie Abrams’ co-writer, but as a solid solo artist. Hobert released her debut album “Who’s the Clown?” in August, which was full of catchy, witty and relatable earworms that highlighted her clever songwriting style. A charismatic performer with an ear for a catchy chorus, Hobert has cemented herself as one to watch.
“For Melancholy Brunettes (& sad women)” by Japanese Breakfast
Michelle Zauner’s fourth record as Japanese Breakfast, “For Melancholy Brunettes (& sad women)” lives up to its title. It is full of romantic, pensive tracks like “Orlando in Love” and “Honey Water” that create an intimate emotional landscape across the record. An album standout for me, “Picture Window,” contrasts musings on future grief with wistful guitar instrumentals in the way Zauner does best.
“The Art of Loving” by Olivia Dean
Olivia Dean’s smooth voice has infiltrated my social media algorithms and listening activity this year. Her sophomore album “The Art of Loving” birthed several great songs like “Man I Need,” “Let Alone The One You Love” and “So Easy (To Fall In Love)” which have become popular TikTok sounds. The record is enhanced by Dean’s vocal abilities, charisma and charm and manages to sound both fresh and familiar.
“Virgin” by Lorde
Although I have to sigh at some controversial comments Lorde has made in interviews this year, her fourth record “Virgin” has been one of my 2025 favorites. Its production gives it an industrial, metallic sound unlike anything she has previously released. “Favourite Daughter” and “Broken Glass” explore new lyrical themes of complex parent-daughter relationships and the punishment-and-reward cycle of eating disorders; these are not only topics I hadn’t heard dissected in a Lorde song but have never really heard expressed so honestly in pop music. “Virgin” finds its strength in charting unique productional and lyrical territory in Lorde’s musical journey.
“SOS Deluxe: LANA” by SZA
Although “SOS Deluxe: LANA” released at the end of 2024, Dec. 20 is late enough for me to consider it a 2025 album, and it contains some of SZA’s most adventurous songs. Paired with her stream-of-consciousness vocal delivery and sample of Elliott Smith’s “Angeles,” the track “Joni” is a blend of R&B and soft indie and a compelling representation of SZA’s diverse musical influence. Tracks “Kitchen” and “Crybaby” contain some of the record’s best production and lyrics.
“Stage Girl” by Eli
An effortlessly cool trans woman who produces music from her own bedroom, Eli pulling influence from Y2K Mariah Carey, Madonna and Janet Jackson was something we absolutely needed this year. On her debut album, “Stage Girl,” Eli delivers exactly that. The record is a DIY project by an avid student of pop music history, carefully honoring references rather than soullessly imitating them. “Stage Girl” tells the story of a girl with well-utilized talent and a dream of becoming a real star.
