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 Nov 24,2025 edition
.
Alt Z
The ALT Z chart holds its entire top ten in place across the two-week span, with Tate McRae maintaining an unshakable grip as “Just Keep Watching” and “Greedy” continue to anchor the chart’s energy.
Faouzia’s “Minefields” and Elley Duhé’s “Middle of the Night” preserve their long-running momentum, reinforcing a mid-chart that refuses to budge.
The only tremors appear deeper in the ranking, where Lauren Spencer Smith’s “Flowers” edges upward to No. 12 and opens space for Poppy’s “End of You,” which delivers the week’s lone debut at No. 14 with a dramatic metal-pop fusion that interrupts an otherwise frozen lineup.
The stability elsewhere allows each returning track to reaffirm its staying power, from Lizzy McAlpine’s “Ceilings” holding steady at No. 10 to Noah Cyrus’s “July” remaining rooted at No. 20, framing a chart that prizes endurance over upheaval.
Alternative Metal
The Alternative Metal chart undergoes a more substantial internal reshuffling even as Linkin Park’s “The Emptiness Machine” remains the immovable force at No. 1.
The band’s dominance continues with “Up From the Bottom” and “Heavy Is the Crown” holding firm inside the top four, while Falling in Reverse’s “Watch the World Burn” refuses to relinquish its long-standing grip on No. 3.
The week’s momentum comes from Breaking Benjamin, with “So Cold” climbing sharply to No. 5 and displacing Evanescence’s “Afterlife,” which rises but settles at No. 6 as the surrounding competition tightens.
Falling in Reverse’s catalogue reshapes the mid-teens, though the band’s “Voices in My Head” slips to No. 9, countered by a modest step upward for “Prequel” at No. 8.
Motionless In White secure the chart’s lone new arrival as “Masterpiece” enters at No. 20, injecting a melodic counterweight into a field otherwise governed by aggression and legacy anthems.
Alternative R&B
The Alternative R&B chart steadies at the top as Mariah the Scientist maintains an unbroken lead with “Burning Blue,” surrounded by an unchanged trio of Ravyn Lenae, Sevdaliza, and Doechii that underscores the format’s consistency.
The first ripple arrives at No. 7, where Mariah the Scientist’s “From A Woman” moves upward to claim a new peak and tighten her hold on the upper tier.
Ari Lennox, Lucky Daye, and Teyana Taylor trade modest realignments but remain entrenched in familiar territory, with “Pressure” shifting into the top ten and “Over” sliding to No. 10.
The chart’s narrative centers on two newcomers: Lucky Daye’s “That’s You,” which debuts at No. 15 with a warm, groove-driven polish, and Sevdaliza’s “Messiah,” arriving at No. 18 to deepen the chart’s blend of spirituality and sensuality.
The late-chart exits create space for these new entries without disturbing the broader equilibrium, reinforcing a week defined more by subtle elevation than dramatic overhaul.
American Hip-Hop
The American Hip-Hop chart remains anchored by Kendrick Lamar’s “Not Like Us,” which extends its commanding run at No. 1 as Twice and Megan Thee Stallion’s “Strategy” continue to apply steady pressure at No. 2.
Central Cee and Lil Baby hold at No. 3, preserving a locked-in top tier that has little interest in volatility.
The upper mid-section rearranges itself as Offset’s “Different Species” rises to No. 4, pushing King Von’s “Took Her to the O” into a tighter cluster of street-rap staples.
YoungBoy Never Broke Again owns the week’s most noticeable reordering, with “Wine & Dine” rising to No. 7 and “Finest” dipping slightly as the two tracks re-balance their long-running presence.
The chart’s only debut comes at No. 15, where NBA YoungBoy’s “What You Is” with Mellow Rackz breaks through with a tense, stripped-down charge that slices into a field dominated by entrenched hits.
Art Pop
The Art Pop chart shifts more dramatically than most, though Lady Gaga’s “Die With a Smile” remains the unequivocal centerpiece at No. 1 while Billie Eilish’s “Birds of a Feather” continues its stronghold at No. 2.
The upper ranks loosen as Gaga’s “Abracadabra” steps into No. 3 and Lana Del Rey’s “Doin’ Time” climbs to No. 4, reshaping a top five that had previously been dominated by Gaga’s multi-track spread.
Charli XCX’s “Guess” moves into No. 5, nudging Aurora’s “Cure For Me” and Billie Eilish’s catalogue into a new sequence that feels more fluid than the earlier static arrangement.
The mid-chart realigns as “The Dead Dance” slips to No. 8 and “Shallow” settles at No. 9, creating a gentle descent for Gaga while maintaining her extensive footprint.
Despite the shifts, the chart experiences no new debuts, leaving its narrative largely defined by internal movement and the ongoing interplay between Gaga’s theatricality and Billie Eilish’s introspective minimalism.
Asian Pop
The Asian Pop chart remains strikingly stable at the top as Rosé’s “Apt.” with Bruno Mars extends its commanding run at No. 1, reinforcing a lead that has yet to face serious disruption.
BLACKPINK’s “뛰어 (JUMP)” and Katseye’s “Touch” likewise hold their positions, anchoring a top three that appears fully locked in place.
The surrounding titles shift only slightly, with Jennie’s “Like Jennie” rising to No. 6 and nudging TWICE’s “This Is For” to No. 9, creating one of the week’s few significant reorders.
Natori’s “プロポーズ” and Lisa’s “Rockstar” step upward into more prominent mid-chart placements, while Stray Kids rotate gently as “Ceremony” and “Lalalala” reconfigure the chart’s middle order.
The only meaningful turbulence occurs toward the lower end, where YOUNGOHM’s “เจิดจรัส” repeats at both No. 17 and No. 18 before settling back into a single slot and clearing space for the remaining BLACKPINK and Jennie entries to reassert their presence.
Country Music
The Country Music chart undergoes its most dramatic shift at the very top as Riley Green’s “Worst Way” surges to No. 1, displacing Morgan Wallen’s long-running “I’m the Problem” and resetting a hierarchy that had held firm for months.
Ella Langley and Riley Green’s duet “You Look Like You Love Me” rises to No. 2, establishing a formidable one-two punch that reshapes the genre’s current narrative.
Morgan Wallen stabilizes at No. 3 and No. 7 with “I’m the Problem” and “Smile,” while Miley Cyrus’s “End of the World” slips into a more reflective No. 4 as competition intensifies.
The mid-chart opens space for JamWayne’s “No Problems Remix,” which arrives at No. 12 with high-velocity energy that contrasts sharply with Cody Johnson’s “Dirt Cheap” and Kane Brown’s “Thank God,” both of which glide downward a notch.
Parker McCollum’s “What Kinda Man” debuts at No. 18, injecting a blend of raw instrumentation and narrative grit into a section otherwise dominated by long-standing singles from Lainey Wilson and Luke Combs.
Dance Pop
The Dance Pop chart maintains an unbroken top five as Rosé and Bruno Mars’ “Apt.” continues its reign at No. 1, followed closely by Lady Gaga and Bruno Mars’ “Die With a Smile,” which cements its place as the format’s most consistent challenger.
Dua Lipa’s “Levitating” holds firm at No. 3, reinforcing a top tier that remains fully intact across the two-week span.
Elton John and Dua Lipa’s “Cold Heart – Pnau Remix” climbs to No. 6, edging past Bruno Mars and reshuffling the chart’s mid-upper section with a move that feels both overdue and assured.
Dimitri Vegas & Like Mike’s all-star “Thank You [Not So Bad]” and Akon’s “Far Away” push into stronger positions at Nos. 7 and 8, tightening a mid-chart that gives little room for volatility.
The remaining entries experience only gentle rotation, with Doja Cat’s cluster of singles holding steady and Swedish House Mafia’s “Moth to a Flame” stepping upward to No. 12 without altering the broader equilibrium.
East & South African Music
The East & South African Music chart stays anchored by Goon Flavour’s “Ngishutheni,” which continues its seamless run at No. 1 while Chella’s “My Darling” and Mbosso’s “Pawa” reaffirm their places as durable fixtures of the top three.
The week’s most visible shift comes at No. 8, where Jazzworx’s “uValo” climbs into a stronger position and displaces Marioo’s “Nairobi,” which drifts into the lower half as the chart reorganizes itself around new rhythmic priorities.
A fresh surge arrives from Iyanii, with “Donjo Maber” debuting at No. 9 and injecting Afro Dancehall drive into a field largely dominated by amapiano and East African pop textures.
Scotts Maphuma’s “Sya’Waver” enters at No. 14, bringing township grit and log-drum propulsion into the mix while pushing 2Point1 and Uncle Waffles into more compressed territory.
The lower tier settles into a slower rotation marked by D Voice’s “Tunapendana” at No. 19 and Marioo’s “Dunia” closing at No. 20, rounding out a week defined by new movement without compromising the chart’s rhythmic identity.
French R&B
The French R&B chart sees Joé Dwèt Filé maintain an effortless grip at No. 1 with “4 Kampé,” followed closely by Gims’ steady “Sois Pas Timide” and “Spider,” which keep the upper ranks firmly in place.
The first significant shift appears at No. 4, where Gazo’s “Nanani Nanana” crashes into the top tier and reshapes a previously stable lineup.
Dadju and Tayc’s “I Love You” holds at No. 5, while Gazo’s “Kat” trails just behind and solidifies a week dominated by his expanding footprint.
The mid-chart stabilizes around Soolking, Jul, and Guy2Bezbar, with each track adjusting slightly but maintaining the familiar balance that has defined the format in recent months.
Ninho and Niska arrive at No. 20 with “Coco,” offering the chart’s lone debut and infusing the lower end with a pulse that contrasts sharply with the smoother textures surrounding it.
Metalcore
The Metalcore chart remains anchored by Bad Omens’ “Specter,” which extends its run at No. 1 while YUNGBLUD’s “Zombie” holds steady at No. 2, preserving a familiar tension at the top.
The upper ranks undergo their most visible shift as Babymetal and Electric Callboy’s “Ratatata” climbs to No. 3, nudging Motionless in White’s “Another Life” into fourth and creating a new dynamic among the chart’s leading staples.
Bad Omens maintain a dense presence throughout the upper half, with “Like a Villain” holding at No. 5 and “Concrete Jungle” dipping slightly as Electric Callboy tighten their grip with consecutive jumps at Nos. 7 and 8.
Imminence’s “God Fearing Man” pushes into the top ten at No. 10, reshuffling a section long dominated by Bad Omens and Sleep Token.
The lower ranks settle into a modest reordering, with “V.A.N” and “Limits” trading positions and “Nowhere to Go” closing out the chart at No. 20 in a week defined more by internal rotation than major disruption.
Modern Dancehall
The Modern Dancehall chart remains firmly grounded at the top as Kybba’s “Ba Ba Bad Remix” continues its commanding run at No. 1, followed by Rema’s “Calm Down” and Moliy’s “Shake It to the Max,” both of which preserve their long-held momentum.
The chart’s first significant shift emerges at No. 7, where Meryl’s “Shatta Confessions” rises a place and displaces Masicka’s “Rich Sex,” prompting a mild but noticeable mid-tier reshuffle.
Burna Boy strengthens his hold with “Tested, Approved & Trusted,” which climbs to No. 8 and pushes “Rich Sex” and “For My Hand” slightly downward in a tightly packed segment.
The entry of Uncle Waffles’ “Wadibusa” at No. 19 injects amapiano energy that contrasts sharply with the surrounding dancehall rhythms, opening a fresh pocket of movement in an otherwise steady lower tier.
Masicka’s “Mute” slides to No. 20, closing a chart that favors subtle adjustments over sweeping change.
Nigerian Pop
The Nigerian Pop chart remains unchanged at the very top, with Rema’s “Calm Down” in both its original and Selena Gomez-assisted versions maintaining twin footholds at Nos. 1 and 9.
Ayra Starr and Omah Lay hold steady at Nos. 2 and 3, reinforcing a top three that continues to define the genre’s global visibility.
Chiké and Mohbad’s “Egwu” remains fixed at No. 4, while AY YOLA’s “Homay” and Fireboy DML’s “Bandana” preserve their mid-chart stability.
The week’s most notable movement comes from Victony’s “Soweto,” which rises to No. 8 and pushes Iyanya’s “One Side – Remix” into a more modest placement at No. 10.
The lower half rotates gently, with Burna Boy’s “For My Hand” re-entering at No. 19 and CKay’s enduring “Emiliana” slipping to No. 20 to round out a chart defined by longevity and minimal disruption.
Pov: Indie
The POV: Indie chart sees its top four remain completely intact, with Hozier’s “Too Sweet,” Glass Animals’ “Heat Waves,” and Conan Gray’s “Heather” holding their long-running positions while Twenty One Pilots’ “The Line” continues to secure the No. 4 slot.
YUNGBLUD’s “Zombie” climbs to No. 5, tightening the connection between this chart and the rising alt-rock crossover that drives much of its mid-section.
Beabadoobee’s “Glue Song” and “Beaches” trade lightly adjusted placements, preserving her strong dual presence as the chart reorganizes itself around a stable core.
Mitski’s “My Love Mine All Mine” and Noah Kahan’s “Stick Season” each tick upward, creating momentum that opens the door for Twenty One Pilots’ “City Walls” to debut at No. 12 and shift the chart’s center of gravity.
AJR’s “The Big Goodbye” lands at No. 17 with a burst of theatrical indie pop, displacing a handful of legacy staples and closing a week marked by new arrivals rather than dramatic upheaval.
Urban Contemporary
The Urban Contemporary chart remains unwavering at the summit as Shakira’s “Soltera” holds its place at No. 1 while Partynextdoor’s “No Chill” and Usher’s “Good Good” secure the rest of a fully static top three.
The first signs of movement surface in the middle ranks, where Ciara’s “Low” climbs to No. 8 and momentarily reshuffles her pairing of singles in the chart’s central stretch.
T-Pain’s “I Like Dat” and Jung Kook’s “Standing Next to You” settle into adjacent slots, preserving a segment that thrives on slow, deliberate rotation.
Ne-Yo, Tory Lanez, and Teyana Taylor maintain familiar placements as the chart’s lower midsection remains largely undisturbed.
The bottom tier reorders gently as Snakehips’ “All My Friends” edges upward and Joyner Lucas’ “Fall Slowly” drops to No. 20, closing out a week defined by steady continuity.
Urbano Latino
The Urbano Latino chart holds firmly to its top positions as Bad Bunny’s “Baile Inolvidable” continues its reign at No. 1, with Beéle’s “Mi Refe” and Karol G’s “Provenza” keeping the podium unchanged.
KAROL G extends her dominance with “Papasito” steady at No. 4, while Myke Towers’ “Si Se Da – Remix” and Feid’s “Luna” trade mid-upper momentum without breaking the chart’s overall stability.
The first substantial shift appears at No. 8, where Shakira’s “Soltera” rises and rearranges the cluster of Karol G singles that define much of the chart’s texture.
Maluma’s “Sobrio” jumps to No. 10, prompting a mild reordering as “La Diabla” dips and “Latina Foreva” holds its ground just above the fold.
The lower half undergoes its most active movement, with Mesita’s “Una Foto [Remix]” climbing to No. 15 and Greeicy’s “Quiero Más” returning at No. 20, rounding out a week marked by careful shifts rather than sweeping turnover.