Every two weeks, we update our “Most Famous 2020s [music genre] from the Last 30 Days” series to reflect shifts in listener trends. These rankings combine data from our platform with external streaming metrics to highlight what’s resonating right now.
While not exhaustive, these charts capture notable changes—rising hits, enduring favorites, and exciting new entries—across 16 genres.
Here is the Dec 24,2025 edition
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Alt Z
Tate McRae extends her lead on ALT Z as “Just Keep Watching” holds the summit for a third consecutive chart, fending off her own “Greedy,” which rises to No. 2 to create a dominant one-two punch.
Faouzia’s “Minefields” dips to No. 3 but remains a sturdy fixture in the upper tier, while Sub Urban and Benee’s “Uh Oh!” advances to No. 4, overtaking Elley Duhé’s nocturnal “Middle of the Night.”
The Chainsmokers’ “Takeaway” and Gracie Abrams’ “I Love You, I’m Sorry” maintain their mid-table grip, with Tate McRae’s “Exes” steady at No. 8 as her third entry within the Top 10.
Lauren Spencer Smith’s “Flowers” and Lizzy McAlpine’s “Ceilings” swap spots just below, while Faouzia’s “Unethical” cools slightly to No. 12.
The week’s only debut, McRae’s “Nobody’s Girl,” enters decisively at No. 15, reflecting the growing traction of her introspective independence anthem.
Below, familiar names like Gracie Abrams, Ashnikko, and Zolita retain stable positions, keeping the chart’s emotional and sonic tone consistent as December closes out a year dominated by sleek pop introspection.
Alternative Metal
Linkin Park reign supreme again atop the Alternative Metal chart as “The Emptiness Machine” and “Up From the Bottom” hold firm at Nos. 1 and 2, solidifying their late-year control.
The Pretty Reckless crash into the mix with “Where Are You Christmas?” at No. 3, the week’s standout debut and a rare seasonal crossover in the genre.
Falling In Reverse’s “Watch the World Burn” slides one spot to No. 4 but stays volatile near the summit, while Evanescence’s “Afterlife” climbs into the Top 5, continuing the band’s steady resurgence.
Breaking Benjamin’s “So Cold” lingers at No. 6 as a catalog mainstay, and “Prequel” edges upward for Falling In Reverse at No. 7.
Further down, Linkin Park’s catalogue cluster holds strong with “Lost,” “Two Faced,” and “Heavy Is the Crown” all remaining within the Top 15, a testament to their multi-track dominance.
Slipknot, Motionless In White, and Daughtry maintain their footholds as the holiday week reshuffles veteran acts more than newcomers, leaving the metal slate both familiar and fortified.
Alternative R&B
Mariah The Scientist continues her smooth hold over Alternative R&B, with “Burning Blue” and Ravyn Lenae’s “Love Me Not” unmoved in the top two slots.
Sevdaliza’s “Alibi” stays firm at No. 3, maintaining its tri-continental blend of experimental and emotional textures, while Mariah’s “Is It a Crime” and Tinashe’s “Nasty” keep the upper chart rhythm taut.
“2 You” and “Over” hold their mid-chart ground, while Doechii’s “Denial Is a River” remains a current of its own at No. 8.
The week’s two fresh arrivals, Joji’s “Past Won’t Leave My Bed” at No. 9 and JADE’s “Church” at No. 10, inject the list with contrast—melancholic stillness and euphoric devotion, respectively.
Mariah The Scientist and Ari Lennox round out the mid-teens with a steady mix of warmth and precision, while Sevdaliza, Teyana Taylor, and Young M.A preserve the chart’s creative depth through the lower rungs.
The genre’s December showing underscores continuity over upheaval, with incremental movement but no single breakout displacing Mariah’s quiet dominance.
American Hip-Hop
Kendrick Lamar’s “Not Like Us” continues its grip atop the American Hip-Hop chart, unshaken by the turbulence below.
King Von’s “Took Her to the O” rebounds to No. 2, overtaking Central Cee and Lil Baby’s “Band4Band,” now at No. 3, as Twice and Megan Thee Stallion’s “Strategy” cools slightly to No. 4.
Pooh Shiesty’s “Back in Blood” storms back into relevance at No. 7, signaling renewed streaming interest for the drill cornerstone, while bbno$’s “1-800” with Ironmouse debuts at No. 15, injecting a dose of digital eccentricity.
Lil Baby’s “Emotionally Scarred” enters at No. 18, reinforcing the chart’s shift toward introspective storytelling amid the bombast, and King Von’s “Crazy Story” remix with Lil Durk arrives at No. 19, completing his triple appearance.
Closing out the list, GloRilla’s “Wanna Be” with Megan Thee Stallion caps the year with a fierce declaration of autonomy, while Kendrick’s continued reign and Von’s resurgence frame the season as one of persistence and identity reaffirmed across hip-hop’s many lanes.
Art Pop
Lady Gaga and Bruno Mars maintain an unshakable hold on the Art Pop chart with “Die With a Smile,” continuing to define the season’s glamorous melancholy.
Billie Eilish’s “Birds of a Feather” again nests securely at No. 2, while Gaga’s “Abracadabra” levitates to No. 3, marking her strongest upward push of the winter stretch.
Charli XCX and Billie Eilish’s joint cut “Guess” slips slightly to No. 4 but holds its cultural charge as the collaboration’s synth shimmer endures.
Aurora’s “Cure For Me” and Lana Del Rey’s “Doin’ Time” stay steady in midrange positions, offering the chart its contrasting shades of serenity and slouch.
Gaga continues to crowd her own lineup with “Shallow,” “The Dead Dance,” and “Hold My Hand” all retaining places across the Top 20.
Rosalía’s “Berghain,” despite its avant-garde firepower, drifts down to No. 11 as holiday mood edges out club intensity.
The week’s debuts belong squarely to Charli XCX, who multiplies her presence with “Chains of Love” at No. 16 and “House” with John Cale at No. 20, reinforcing her pivot toward high-concept collaboration.
Christina Aguilera’s live take on “My Favorite Things” arrives at No. 19, its Parisian theatricality adding a seasonal flourish amid Gaga’s dominance and Billie Eilish’s cool restraint.
The result is a chart where nostalgia, invention, and theatrical pop coexist—Lady Gaga setting the tone, and her peers embellishing its various aftershades.
Asian Pop
Rosé and Bruno Mars’ “Apt.” remains untouched atop the Asian Pop chart, its blend of intimacy and polish continuing to outshine fierce competition from BLACKPINK’s “뛰어 (JUMP)” at No. 2 and LE SSERAFIM’s “Spaghetti” at No. 3.
Stray Kids’ “신선놀음 (DIVINE)” makes a commanding entrance at No. 4, matching mythic scale with modern swagger and instantly reshaping the upper ranks.
KATSEYE hold steady with “Gnarly” and “Gameboy” at Nos. 5 and 6, while Jennie’s “Like Jennie” keeps her signature poise at No. 7.
ILLIT’s “Not Cute Anymore” lands at No. 8, striking a balance between self-parody and sincerity that earns instant attention amid heavier chart players.
Katseye’s “Touch” dips modestly to No. 9 as the field widens, while TWICE’s “This Is For” and なとり’s “プロポーズ” provide stable mid-tier continuity.
Further down, BABYMONSTER’s “We Go Up” softens its climb as BTS’s “Dynamite” flickers with perennial replay value at No. 13.
Jeff Satur’s “ของขวัญปีใหม่ (Golden Night)” arrives gracefully at No. 17, its retro-jazz warmth contrasting against the kinetic textures surrounding it.
As 2025 draws to a close, the chart paints an eclectic snapshot: Korean innovation still in command, Thai and Japanese entries enriching the edges, and Stray Kids reminding everyone that divinity and defiance can share the same beat.
Country Music
Morgan Wallen continues to dominate the Country Music chart as “I Got Better” holds the No. 1 spot, its firm grip unchallenged through December.
Ella Langley and Riley Green’s “You Look Like You Love Me” remains a steady runner-up, while Green’s own “Worst Way” keeps the pressure on at No. 3, preserving a top-tier trio that defines the month’s core sound.
Morgan Wallen’s “I’m The Problem” and Bailey Zimmerman’s “Fall In Love” round out a stable Top 5, reflecting how 2025 closes with a focus on familiar names and weathered themes of self-reflection and resilience.
Miley Cyrus’ “End of the World” sustains its emotional streak at No. 6, and Luke Combs holds an impressive three entries in the upper ranks, including “Ain’t No Love in Oklahoma” and “Forever After All.”
The week’s most notable debut arrives at No. 20 with Shenandoah’s remake of “Sunday in the South,” featuring Jason Aldean and Luke Bryan—a cross-generational collaboration that revives their 1989 classic through a modern, radio-polished lens.
Elsewhere, Lainey Wilson, Kane Brown, and Parker McCollum maintain firm mid-tier footing, ensuring a chart steeped in continuity, tradition, and polished Southern grit as the year winds down.
Dance Pop
Rosé and Bruno Mars maintain their dual-genre supremacy as “Apt.” extends its lead atop the Dance Pop chart, equally at home on pop radio and club playlists.
Lady Gaga and Bruno Mars’ “Die With a Smile” continues to glow at No. 2, forming an unshakable one-two collaboration streak.
Dua Lipa’s “Levitating” endures as the era’s defining dance anthem at No. 3, while Shakira’s “Acróstico” with Milan and Sasha vaults to No. 4, blending warmth and family into a global pop moment.
Dimitri Vegas’ multi-artist “Thank You [Not So Bad]” slips one position but remains omnipresent across European airwaves, while Doja Cat sustains multiple entries that underline her club dominance.
Backstreet Boys’ “Last Christmas” arrives at No. 10 to usher in seasonal nostalgia, its perennial appeal revived by digital-age rediscovery.
Further down, Jazzy’s “No Bad Vibes” featuring Kilimanjaro debuts at No. 20, injecting a breezy optimism that contrasts sharply with the more theatrical highs above.
It’s a holiday chart caught between nostalgia and neon, where legacy acts and crossover stars trade spotlight with sleek newcomers.
East & South African Music
Goon Flavour’s “Ngishutheni” featuring Master KG and Eemoh secures another week at No. 1 on the East & South African Music chart, its crossover momentum now undeniable.
Chella’s “My Darling” continues its climb in close pursuit, while Tyla’s “Water” remains unshakable at No. 3 as a global streaming constant.
Davido’s “With You” ascends to No. 4, exchanging spots with Mbosso’s “Pawa,” signaling the shuffle between Tanzanian and Nigerian influences at the year’s end.
CIZA’s “Isaka (6AM)” and Barnaba’s “Salama” maintain strong mid-table presence, bolstered by Diamond Platnumz’s enduring feature power.
Marioo’s “Nairobi” with Bien advances to No. 7, reflecting Kenya’s continuing footprint in a chart often dominated by southern acts.
Titom’s “Tshwala Bam” holds at No. 8, still fueled by dance challenges, while Jazzworx’s “uValo” dips slightly but retains cultural weight.
Harmonize’s “Furaha” closes the chart, a fitting year-end note of lightness amid the region’s fusion-heavy playlist.
Across borders, the mix feels celebratory and collaborative—an echo of African pop’s unrelenting creative churn.
French R&B
Joé Dwèt Filé reclaims the top spot in French R&B as “4 Kampé” edges past Gims’ “Sois Pas Timide,” setting the tone for a late-year reshuffle.
Gims maintains a tight grip with “Spider” at No. 3 and “Carré OK” at No. 7, underscoring his dominance across both solo and collaborative releases.
Gazo’s “Nanani Nanana” stays strong at No. 4, while Dadju and Tayc’s duet “I Love You” keeps its romantic momentum alive at No. 5.
Guy2Bezbar’s “Monaco” moves up to No. 6, offering a sleek counterpoint to Gazo’s grittier cuts.
The chart’s newcomers—Maes’ “Interpol” at No. 18 and L2B’s “Tout Pour L’Équipe” at No. 20—add weight and edge, each representing different shades of French street realism.
Tayc’s “Yimmy Yimmy” and Gazo’s “Kat” stay anchored mid-chart, balancing melody and menace with ease.
Altogether, the French R&B scene closes 2025 with its dual personality intact—half sensual, half confrontational, but wholly confident in its global pull.
Metalcore
Bad Omens rule Metalcore with unbroken consistency as “Dying to Love” and “Specter” remain at Nos. 1 and 2, their cinematic darkness still unmatched.
YUNGBLUD’s “Zombie” keeps its bite at No. 3, while Babymetal and Electric Callboy’s “Ratatata” continues to electrify from the fourth slot.
Bad Omens’ “Left for Good” makes its debut at No. 12, deepening their streak of emotionally charged heaviness.
Electric Callboy’s “Tanzneid” enters at No. 13, matching the genre’s appetite for high-energy fusion of aggression and dance.
Further down, familiar staples like Architects, Spiritbox, and Bring Me The Horizon retain strong positions, reinforcing a scene defined by balance between chaos and clarity.
The week’s reshuffles show a genre in renewal mode—veterans solid on top, but innovation brewing just beneath.
Modern Dancehall
Rema and Selena Gomez’s “Calm Down” retakes the Modern Dancehall crown, reversing its brief slip and reaffirming its global stronghold.
Kybba’s “Ba Ba Bad Remix” drops to No. 2 but remains an unstoppable club mover.
Moliy’s “Shake It to the Max” holds steady at No. 3, flanked by Spice’s “Go Down Deh” and Wizthemc’s “Show Me Love” in a mid-chart standstill.
Skippa’s “WYFL” bursts onto the chart at No. 7, bringing trap bravado into the mix with DJ Mac’s glossy production.
Uncle Waffles’ “Wadibusa” debuts at No. 16, weaving Amapiano textures into dancehall’s evolving fabric, while Tommy Lee Sparta’s “Dirth Day” at No. 17 stirs rivalry and shock value in equal measure.
Kman 6ixx’s “Red Dot” and Najeeriii’s “1Rifle” round out the lower rungs, keeping the genre’s street-tough edge intact amid glossier global hits.
As 2025 ends, the chart stands as a snapshot of dancehall’s dual nature—boldly commercial yet fiercely grounded in its roots.
Nigerian Pop
Rema and Selena Gomez hold the Nigerian Pop crown for another week with “Calm Down,” its hybrid polish bridging continents.
Ayra Starr’s “Rush” and Omah Lay’s “Soso” continue to trade silver and bronze, both entrenched as enduring Afrobeats mainstays.
Fireboy DML’s “Bandana” and Chiké’s “Egwu” with Mohbad keep momentum through their melodic depth, while Kizz Daniel’s “Buga” reclaims ground at No. 7.
Crayon’s “Ngozi” featuring Ayra Starr debuts at No. 20, its gratitude-infused warmth adding a spiritual close to the year.
Across the chart, the dominance of Rema, Omah Lay, and Ayra Starr signals a continued Mavin-era synergy—global in sound, local in soul.
Pov: Indie
Indie chart, four years after its original breakout.
Hozier’s soulful ballad shifts gently to No. 2, while Conan Gray’s “Heather” and Twenty One Pilots’ “The Line” sustain the chart’s emotional core.
YUNGBLUD’s “Zombie” remains in rotation, while Beabadoobee’s twin entries “Glue Song” and “Beaches” keep her indie-pop shimmer intact.
Twenty One Pilots add a seasonal surprise with “Christmas Saves the Year” debuting at No. 12, a tender reprieve amid their denser album tracks.
Bleachers join at No. 18 with “Merry Christmas, Please Don’t Call,” contrasting heartbreak with holiday quiet.
The closing weeks of 2025 find the indie world leaning nostalgic, reflective, and quietly triumphant—resolving the year’s noise with melody and meaning.
Urban Contemporary
Shakira commands the Urban Contemporary chart with a double strike as her new single “Zoo” storms in at No. 1 while “Soltera” slips only one spot to No. 2, marking a rare one-two from the same artist.
Partynextdoor’s “No Chill” steadies at No. 3, and Kehlani’s “Out the Window” debuts strongly at No. 4, adding a smooth throwback shimmer to a season otherwise marked by rhythmic bravado.
Wale and Jeremih’s “On Chill” maintains its relevance at No. 5, while Ciara’s “How We Roll” continues its graceful mid-chart glide, proving the song’s longevity in radio rotation.
Usher’s “Good Good” slides to No. 7 as GloRilla reshapes the chart with two simultaneous entries—her fiery new “March” landing at No. 8 and “I Luv Her” with T-Pain holding at No. 9.
Clipse’s “So Be It” remains firm in the Top 10, joined later by their newly resurfaced “F.I.C.O.” featuring Stove God Cooks at No. 19, a double reminder of their sharp return.
Elsewhere, John Legend’s “You Deserve It All” re-enters at No. 17 to bring a festive lift, while Christina Aguilera’s “My Favorite Things” crosses over from Art Pop to find new R&B airplay.
The week closes with a chart defined by range—Shakira’s bilingual takeover, GloRilla’s grit, and Clipse’s veteran authority giving Urban Contemporary its richest December spread in years.
Urbano Latino
Shakira’s “Zoo” also leaps across borders to crown the Urbano Latino chart, replacing Bad Bunny’s long-running “Baile Inolvidable” and giving the Colombian star her second concurrent No. 1 this month.
Bad Bunny holds tight at No. 2 while Daddy Yankee’s “Bzrp Music Sessions #0/66” debuts at No. 3, his collaboration with Bizarrap reigniting his post-retirement mystique with precision-tuned swagger.
Beéle’s “Mi Refe” and Feid’s “Luna” stay consistent within the Top 5, while Myke Towers’ “Si Se Da (Remix)” and Karol G’s “TQG” hold steady, extending their enduring streaming power.
Karol G’s “Provenza” and multi-artist “+57” project begin to taper slightly, making room for Bad Bunny’s catalog to reassert its gravitational pull through “Dákiti,” “Moscow Mule,” and “Ojitos Lindos.”
At the lower end, Ozuna’s “Enemigos” with Beéle and Ovy On The Drums debuts at No. 20, blending sleek reggaetón production with the warmth of collaboration.
Altogether, the Urbano Latino chart closes the year as a panorama of modern Latin pop—Shakira’s cinematic bilingualism, Daddy Yankee’s resurgence, and Bad Bunny’s continued omnipresence defining a scene that refuses to slow down.