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Spotify Wrapped has come and gone, so we all know what we listened to the most this year — but which albums were actually the best releases of 2025?
The year started off strong right away, with Bad Bunny’s Debí Tirar Más Fotos setting the bar high on January 5. (He just kept climbing as the months went on, landing the 2026 Super Bowl halftime show and unseating Taylor Swift as Spotify’s most globally streamed artist of 2025.)
As the year continued, artists including Clipse and Justin Bieber staged successful comebacks, while Sabrina Carpenter kept up her hot streak with the follow-up to 2024’s Short n’ Sweet. Whether you prefer the country twang of Tyler Childers or the rock stylings of The 1975, there’s something for everyone in this year’s crop of new albums.
Keep scrolling to see Us Weekly’s picks for the best albums of 2025 (in alphabetical order):
The 1975, ‘Still … At Their Very Best (Live From the AO Arena, Manchester, 17.02.24)’
“Don’t be nostalgic. … Don’t do it,” Matty Healy warns before launching into the opening lines of The 1975’s “A Change of Heart,” but it’s too late. Suddenly, I’m 18 and shivering outside of Terminal 5 in New York City, waiting to get up close and personal with my favorite band at the barricade. Those of us lucky enough to have seen a 1975 concert (or maybe 11, who’s counting?) can confidently say that yes, they are at their very best — and keep getting better. Their latest live album, recorded during a hometown show, proves their influence and range goes beyond internet discourse from a certain ex’s fan base. Healy leads the band through newer hits and old favorites — “Menswear” and “The Sound,” to name a few — even throwing in the emotional deep cut “I Always Wanna Die (Sometimes).” While nothing compares to dancing in general admission, this live album is enough to hold Us over until The 1975 is back on tour. — Meredith Nardino
Standout Track: “Robbers,” still chill-inducing more than 10 years after the first listen
Lily Allen, ‘West End Girl’
When Lily Allen announced her first album in seven years with only four days’ notice, no one could’ve predicted the wrecking ball she was about to unleash — especially not David Harbour … or, uh, Madeline. Across 14 tracks, Allen laid bare her estranged husband’s (alleged) dirtiest secrets, from his blasé reaction when she landed the lead role in a play to his “double life” as a “sex addict” with a tennis-playing mistress, all without ever uttering his name. Not that she had to.
Sure, Allen has insisted the project is part “truth” and part “fantasy,” but with dishy lyrics this brutal, surely she had to have known she was about to make the Stranger Things star the most hated man in Brooklyn, London and the Upside Down. — Nicholas Hautman
Standout Track: “Dallas Major,” an unassuming ditty in which a despondent Allen steps out on her partner after he’s already gone “astray” for some much-deserved “fun” of her own
Sure, 2025 had plenty of incredible movies, but what about a best-of list filled with the films that actually kept Us talking — not just the ones making the most awards season noise? Don’t get Us wrong: Frankenstein, Hamnet, One Battle After Another and the rest of the other Oscar-buzz crowd absolutely deserve their moment, but sometimes […]
Bad Bunny, ‘Debí Tirar Más Fotos’
The Puerto Rican superstar outdid himself once again with his nostalgic love letter to home, which reached so far beyond the Caribbean that, like it or not, it’ll bring him to the Super Bowl halftime stage come February. To quote Beyoncé, “You know you that bitch when you cause all this conversation.”
The deeply personal project tackled not only Puerto Rican culture but also politics, experimented with salsa as well as house music and saluted both the past and present. Perhaps its biggest achievement? Even if you don’t speak Spanish, it’s guaranteed to keep the party going until sunrise. — N.H.
Standout Track: “Nuevayol,” a thrilling opener that’s just as much a rallying cry for San Juan as it is its namesake, New York
Justin Bieber, ‘Swag’
It’s no secret that Justin Bieber has had a tough few years, at least professionally: He’s seemingly given up touring forever after a series of health issues, and his last two albums never quite met the blissful pop heights of his earlier work. But the semi-surprise release of Swag this summer proved that Bieber’s still got it. His voice is deeper and his lyrics are more introspective, but he’s the pop whiz kid he always was, blending soulful lines about fatherhood with of-the-moment beats provided by buzzy collaborators like Dijon and Mk.gee. Most importantly, it sounds like Bieber’s having fun again, and that’s all his Beliebers have ever wanted. — Eliza Thompson
Standout Track: “Yukon,” perhaps the only pop song in history to convincingly name-drop Jimmy Neutron
Sabrina Carpenter, ‘Man’s Best Friend’
Just when our “Espresso” dependence finally wore off, Sabrina Carpenter dropped another fantastic collection of bops dripping with humor and innuendo. Its cover art — depicting the pop princess on all fours while a man grabs a fistful of her blonde hair — had mothers everywhere clutching their pearls and upgrading their kids’ parental controls. And that was before they found out “Tears” isn’t about crying.
Men (of the heterosexual variety) were Carpenter’s target this time around; she called them “incompetent” on “Manchild,” lost whatever faith she had left on “Nobody’s Son” and even wished abstinence upon them in “Never Getting Laid.” The result? 2025’s most unhinged (complimentary) and devastatingly relatable release. — N.H.
Standout Track: “Goodbye,” an infectious homage to ABBA complete with a piano glissando and the kiss-off of the year: “Forgive my French, but f*** you, ta-ta!”
Tyler Childers, ‘Snipe Hunter’
Alt-country crooner Tyler Childers has been on a hot streak — with no signs of stopping. On the follow-up to 2023’s Grammy-nominated Rustin’ in the Rain, Childers showcases his full artistic range and has fun doing it. Snipe Hunter takes Us through the winding roads of Appalachia, weaving tales about age-gap relationships (“Oneida”) and adjusting to smash success (“Eatin’ Big Time”). Unlike his previous records, which lean further into gospel and bluegrass influences, Childers opted for a more experimental route on Snipe Hunter, inspired by a recent visit to India (“Tirtha Yarti”). Childers’ one-of-a-kind lyrics stand out, but the album is also bolstered by the talent of his band, The Food Stamps, who easily pivot from the quiet acoustic melody of the fan-favorite “Nose on the Grindstone” to the rip-roaring and breathless title track. With four more Grammy nods under his belt heading into 2026, it’s clear Childers is changing the game in country music. — M.N.
Standout Track: “Bitin’ List,” a hilarious diss track fit for even the most minor inconvenience
Clipse, ‘Let God Sort Em Out’
Clipse made their fans wait nearly 16 years for the follow-up to their last album, which is basically an eternity in the music world. While opinions differ on whether Let God Sort Em Out was worth the wait, there’s no question that the duo sound fresher than ever, ready to rap circles around their younger counterparts. Pusha T and Malice’s chemistry is still electric, and their lyricism is full of the same headspinning wordplay that made them stars in the early aughts. Guest appearances from stars including Kendrick Lamar, John Legend and Tyler, the Creator — plus, of course, fellow Virginia Beach native Pharrell Williams as producer — only add to the sense that this album isn’t some tossed-off reunion cash grab: It’s the long-simmering result of hard work from two icons at the top of their game. — E.T.
Standout Track: “Chains & Whips,” the song with lyrics so unsparing that Clipse decided to leave their record label before censoring themselves
Olivia Dean, ‘The Art of Loving’
Olivia Dean proved she was an artist to watch with her 2023 debut, Messy, but she became a full-blown star this year thanks to one viral hit (“Man I Need”) after another (“Nice to Each Other”).
The Brit’s sophomore effort — and generational talent — brought her to the stages of Saturday Night Live and Carpenter’s Short n’ Sweet Tour, and next year she’ll take her love songs to some of the world’s most famous venues, including the O2 Arena in London and Madison Square Garden in New York City, with her own sold-out headlining tour. “I’m feeling very loved,” she recently said on the Today show of her newfound fame. As she should. — N.H.
Standout Track: “So Easy (To Fall in Love),” a swaggering celebration of bossa nova and Dean herself, the self-proclaimed “perfect mix of Saturday night and the rest of your life”
The royal family might have had their biggest year yet in 2025. From members losing their title to the end of a health battle and a long-awaited father-son reunion, the British monarchy made some pretty wild headlines all year long. While Princess Kate Middleton officially ended her cancer journey early on in the year, that […]
Sam Fender, ‘People Watching’
A quintessential coming-of-age artist for the TikTok generation, Sam Fender’s rise has been slow and steady. As on his previous albums, 2019’s Hypersonic Missiles and 2021’s Seventeen Going Under, Fender brings bombastic, arena-ready anthems on People Watching, his first major project since stepping away from the spotlight in 2022 to prioritize his mental health. Fender’s razor-sharp songwriting paints a beautifully specific portrait of working-class highs and lows. He simultaneously shows he’s outgrown his “one-horse town” (“Chin Up”) while also paying homage to the place and people that raised him (“Remember My Name”). The record was produced by The War on Drugs’ Adam Granduciel — who referred to Fender as a “savant” — but even more all-stars appear on People Watching’s deluxe release, including Elton John. Fender also teamed up with fellow up-and-comer Olivia Dean (see above) on a revamped version of “Rein Me In,” a collab that quickly became a crowd favorite. — M.N.
Standout Track: “Something Heavy,” a hypnotic reminder that we each carry our own unique burdens
Jade, ‘That’s Showbiz Baby’
It’s never easy to go solo after starting off in a girl group or boy band — and harder still to successfully sell a new sound — but Jade, formerly of Little Mix, has done all that more on That’s Showbiz Baby. It’s fitting that the album kicks off with her telling her producer, “Hey, Mike, let’s do something crazy,” as she samples Sandie Shaw’s 1967 hit “Puppet on a String” (the U.K.’s first Eurovision win) before the tempo shifts into a driving dance beat. Jade explores seemingly every microgenre of pop on That’s Showbiz, from the Robyn-esque disco of “Plastic Box” to the funk-influenced “Fantasy” and harmony-filled electro of “Unconditional.” Each track is a thrill because you can’t predict where she’ll go next, even between verses and choruses. She’s doing her own thing to an infinite degree, and we’re just lucky to be along for the ride. — E.T.
Standout Track: “Midnight Cowboy,” an otherworldly dance track which includes both a spoken word verse from actor Ncuti Gatwa and a shout-out to former British Vogue editor Edward Enninful
Lady Gaga, ‘Mayhem’
Mother Monster is so back. After dividing critics with 2016’s Americana-leaning Joanne and 2020’s EDM hodgepodge Chromatica, Lady Gaga finally returned to what she does best: dark pop. But she didn’t just “reheat her nachos,” as the kids say; instead, she took stock of her back catalog, pulled out all of the elements that made her a household name and evolved them into a pièce de résistance that’s been on loop since its release.
Backed by an equally awe-inspiring and theatrical tour, the album has a little something for everyone. “Perfect Celebrity” is a blistering rock anthem about the perils of fame; “Killah” is the closest thing we’ll ever get to a new David Bowie tune; and “Vanish Into You” will have you crying in the club. Total mayhem indeed, but perfect nonetheless. — N.H.
Standout Track: “Abracadabra,” Gaga’s strongest and most boisterous single since she last cast a spell on Us with 2009’s “Bad Romance”
Jensen McRae, ‘I Don’t Know How But They Found Me!’
Inspired by the demise of her own relationships, Jensen McRae’s second studio album is both deeply personal and all too familiar. McRae’s genre-defiant record plays out like a journal entry with lyrics that sometimes speak a little too closely to the experience of a city-dwelling 20-something (“I’m gonna sleep in your navy bedsheets / Your roommate’s gonna hear me leave”). Apart from viral hits “Savannah” and “Massachusetts,” McRae spins out over lowered expectations on “Mother Wound” and showcases a pain as deep as the notes she hits on “Tuesday.” With her stories now in the hands of her fans, the ever-vulnerable artist opened up to Us about the art of oversharing in October, saying, “I think I do a pretty good job of still keeping some things for myself. And it’s not something that I can necessarily always identify or dictate, but I always know where the line is.” — M.N.
Standout Track: “Praying for Your Downfall,” because the best way to move on is to just move on
Addison Rae, ‘Addison’
Given that Addison Rae originally gained fame as a TikTok creator known for her dancing, it came as a shock to many that her debut album was incredible — especially given that her initial foray into music, the 2021 single “Obsessed,” didn’t make much of a splash. Addison not only exceeded expectations but gave 2025 one of its strongest contenders for song of the summer: “Diet Pepsi,” which had a resurgence in popularity when Ben Platt covered it at the Las Culturistas Awards (the ne plus ultra of legitimizing stamps of approval). The entrancing “Aquamarine” recalls Madonna’s Ray of Light era, while “Fame Is a Gun” is a deceptively upbeat exploration of Rae’s relationship to celebrity. It might feel tempting to play the skeptic, but Addison is proof that sometimes the best course of action is to lean in and embrace the new. — E.T.
Standout Track: “Headphones On,” a melancholy ode to the healing power of music
2025 was a big year for people who are chronically online. While there were many TikTok trends that encapsulated the past 365 days (hello, group 7!), the Coldplay Kiss Cam scandal grabbed the attention of social media users and celebrities alike. In case you forgot, a jumbotron showed former Astronomer CEO Andy Byron and employee […]
Rosalía, ‘Lux’
Every Rosalía album takes you on a journey, and that’s never been more true than it is on Lux, where the Spanish superstar sings in 14 different languages over the course of four movements, with each track inspired by a different female saint. It’s complicated, yes, but you don’t need to understand her words to feel the wells of emotion coming through in Rosalía’s voice, which is bolstered by the lush sounds of the London Symphony Orchestra. That’s the true beauty of her work: You can approach it from a surface level and still be blown away by her artistry, or you can dig in with Google Translate and Lives of the Saints and start your dissertation. — E.T.
Standout Track: “Mio Cristo Piange Diamanti,” a relatively understated ballad inspired by the relationship between Saint Clare and Saint Francis of Assisi
Jack Van Cleaf, ‘JVC’
Some songs have the ability to stop you dead in your tracks, and Jack Van Cleaf’s “Rattlesnake” is one of them. True, the JVC single (originally released as a solo effort in 2022) has the benefit of collaborator Zach Bryan’s name recognition, but Van Cleaf’s writing provides the foundation. His sophomore record is tinged with nostalgia (“Smoker”) and layered with more than a hint of existential dread (“Hikikomori,” “Thinkin’ About It”). Van Cleaf has a knack for a creative metaphor — whether he’s comparing love to “psychotropic pixie moon dust” on “Using You” or getting ready to spill his guts as a “cardboard dummy on a string” on “Piñata,” the emotional imagery packs an instant punch. With powerhouses like Bryan and Noah Kahan in his corner, Van Cleaf could very well have a Chappell Roan effect on the indie folk world — becoming your favorite artist’s favorite artist. — M.N.
Standout Track: “Off to the Races,” because everyone’s rebellious phase has to start somewhere
