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 Oct 24, 2025 edition
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Alt Z
Tate McRae retains firm control of ALT Z as “Just Keep Watching” extends its reign at No. 1, a show of steady dominance across October’s latter weeks.
Faouzia’s “Minefields” rises to No. 2, overtaking McRae’s own “Greedy,” whose small slip to No. 3 still underscores the singer’s extraordinary three-track presence inside the top ten.
Elley Duhé’s “Middle of the Night” edges upward to a new No. 4 peak, reaffirming its slow-burn endurance, while Sub Urban and Benee’s “Uh Oh!” rounds out the top five after an early October cooldown.
The middle tier stabilizes, led by The Chainsmokers and Lennon Stella’s “Takeaway” holding its No. 6 slot, while Gracie Abrams continues her double-charted run with “I Love You, I’m Sorry” and “Risk” spread between the top 15.
Lauren Spencer Smith’s “Flowers” nudges past Lizzy McAlpine’s “Ceilings,” the pair exchanging places in a minor but symbolic shuffle that highlights ongoing replay traction.
Faouzia’s “Unethical” makes a crisp debut at No. 12, a natural companion to “Minefields” that cements her dual-chart visibility and broadening stylistic palette.
Meanwhile, Melanie Martinez’s “Death” re-enters at No. 17, adding a touch of dark-pop theatricality to an otherwise atmospheric lineup as Royal’s “Wasteland” and Noah Cyrus’s “July” glide through the lower rungs with enduring calm.
Alternative Metal
Linkin Park continue their unbroken run atop Alternative Metal as “The Emptiness Machine” and “Up From the Bottom” hold the top two positions, the former asserting its dominance with near-mythic consistency.
Falling in Reverse stay close behind with “Watch the World Burn,” while Linkin Park’s “Heavy Is the Crown” climbs to No. 4, nudging “Voices in My Head” to fifth and tightening the rivalry between the two bands.
“Lost” rises to No. 6, keeping Linkin Park’s momentum intact as the group now occupies four of the chart’s top dozen spots.
Evanescence’s “Afterlife” eases slightly to No. 7 but remains a spectral mainstay amid shifting metal currents.
Motionless in White’s “Another Life” and “Masterpiece” maintain presence despite minor lateral movement, underscoring the act’s stable audience base.
Further down, Five Finger Death Punch and Slipknot trade mild declines while Daughtry’s “Separate Ways (Worlds Apart)” drifts to seventeenth.
At the chart’s edge, Nemra’s “I’m Afraid of Stars,” featuring Serj Tankian, makes a notable entrance at No. 20—an introspective closer blending orchestral restraint with Tankian’s unmistakable gravitas.
Alternative R&B
Mariah the Scientist maintains a commanding hold over Alternative R&B with “Burning Blue” unmoved at No. 1, while Ravyn Lenae’s “Love Me Not” continues to shadow it at No. 2, their grip reflecting the format’s quieter but persistent intensity.
Sevdaliza’s “Alibi,” joined by Pabllo Vittar and Yseult, remains a third-place constant, balancing global collaboration with moody precision.
Doechii’s “Denial Is a River” and Tinashe’s “Nasty” hold steady just below, creating a static but elegant top five resistant to external challenge.
Mariah the Scientist’s deeper cuts, “2 You” and “From a Woman,” trade mid-chart positions, reflecting fluid intra-catalog shifts more than any loss of traction.
Lucky Daye’s “Over” ascends to No. 7, its smooth rhythm reaffirming his R&B credentials as Sevdaliza’s bilingual “No Me Cansare” holds eighth.
The lower half sees Adekunle Gold’s “Sinner” debuting at No. 19—a velvety Afro-R&B hybrid whose arrival infuses the lineup with late-summer warmth.
Teyana Taylor’s “Bare Wit Me” follows at No. 20, closing the list with retro flair and cinematic confidence, both tracks refreshing a chart otherwise ruled by quiet consistency.
American Hip-Hop
Kendrick Lamar’s “Not Like Us” continues its unchallenged reign atop American Hip-Hop, with Twice and Megan Thee Stallion’s “Strategy” keeping a close yet comfortable second.
Central Cee and Lil Baby’s “Band4Band” remains at No. 3, confirming its staying power amid minimal volatility at the summit.
Travis Scott’s “Fe!N” and King Von’s “Took Her to the O” hold their ground, but the real shakeup arrives just below as YoungBoy Never Broke Again introduces “Wine & Dine” at No. 6.
The Baton Rouge rapper’s latest entry reinforces his prolific run, pushing “Finest” down a notch to seventh while maintaining a formidable double appearance.
BigXthaPlug’s “All the Way” steadies mid-chart, sharing neighborhood space with YFN Lucci’s “Jan. 31st (My Truth),” which makes an upward climb to No. 9.
King Von’s “Armed & Dangerous” dips to tenth but preserves his strong dual presence in the lineup.
The bottom half shows subtle rearrangement—Eminem, Drake, and Future exchange narrow margins—while Gunna’s “Him All Along” slips to No. 20, closing a chart that remains rich with familiar voices yet newly energized by YoungBoy’s latest addition.
Art Pop
Lady Gaga and Bruno Mars’ “Die With a Smile” holds a flawless second-week No. 1 in Art Pop, the duet’s blend of theatrical polish and radio ease keeping Billie Eilish’s “Birds of a Feather” at bay in a static but glowing top tier.
Gaga’s “Abracadabra” locks at No. 3, part of a dense streak of her releases dominating the genre’s upper frame, while “Shallow” and “Hold My Hand” ensure a near-unbroken presence through the top six.
Billie Eilish counters with “Happier Than Ever,” “Everything I Wanted,” and the resurgent “Bad Guy,” each retaining their posts to fortify her parallel narrative within the list.
Charli XCX’s “Guess” and “Party 4 U” maintain middle-chart stability, joined by “360” at No. 13 to complete a triumvirate of art-pop modernity.
The lower stretch sees Lady Gaga’s “Disease” steady at No. 18, while Billie Eilish reclaims closing honors with “Therefore I Am,” a confident return at No. 20 that renews her defiant stance and keeps her creative arc in motion.
Asian Pop
Rosé and Bruno Mars continue their triumphant run at the top of Asian Pop with “Apt.” holding a spotless No. 1 for a second consecutive chart, its elegant fusion of K-pop and Western soul proving unbeatable.
BLACKPINK’s “뛰어 (JUMP)” stays close behind at No. 2, reinforcing the group’s renewed collective strength, while Katseye’s trio—“Touch,” “Gnarly,” and “Gameboy”—form an unbroken block from third through fifth, signaling the group’s total command of mid-tier pop momentum.
Jennie’s “Like Jennie” stands pat at No. 6, but the spotlight shifts toward a fresh entry as Japanese singer-songwriter なとり debuts at No. 7 with “プロポーズ,” a self-written, self-produced work that injects quiet tenderness into an otherwise glittering lineup.
Stray Kids’ “Lalalala” slides slightly to No. 8 while Lisa’s “Rockstar” dips one place, their movement modest amid the tight cluster that follows.
Katseye’s “Gabriela” rounds out the group’s fourth entry inside the top ten, an impressive consolidation of pop visibility rarely matched by a single act within one update.
Below, TWICE, BTS, and BLACKPINK sustain their respective staples, while aespa’s “Whiplash” and “Dirty Work” retain late-list stability.
Jennie’s dual closers—“Mantra” and “Extral” with Doechii—continue to cap the ranking, keeping her solo narrative intertwined with collaborative flair in a chart defined by both dominance and delicate innovation.
Country Music
Morgan Wallen remains the uncontested leader of Country Music with “I’m the Problem” steadfast at No. 1, marking another week of unbroken supremacy.
Miley Cyrus’ “End of the World” holds No. 2, keeping emotional weight at the forefront as Riley Green’s “Worst Way” and his duet with Ella Langley, “You Look Like You Love Me,” anchor the genre’s blend of grit and tenderness just behind.
Luke Combs continues to crowd the upper ranks with “Ain’t No Love in Oklahoma” at No. 5 and multiple staples further down, illustrating his sustained chart gravity.
Bailey Zimmerman’s “Fall in Love” and Wallen’s own “Smile” stay locked in place mid-top ten, while Hardy’s “Wait in the Truck” slips to No. 9 to make room for Combs’ “Forever After All.”
As the chart descends, Cody Johnson and Kane Brown trade minor adjustments, and Lainey Wilson’s twin entries switch order but remain visible within the top twenty.
The new arrival comes at the tail end: Luke Combs’ “Back in the Saddle” debuts at No. 20, a swaggering comeback anthem steeped in classic-country imagery and electric bravado, reaffirming his range from heartland storytelling to rodeo-sized showmanship.
Dance Pop
Rosé and Bruno Mars extend their cross-genre dominance into Dance Pop as “Apt.” stays at No. 1, once again outpacing Lady Gaga and Bruno Mars’ “Die With a Smile,” which remains a formidable second-place rival.
Dua Lipa’s “Levitating” and Doja Cat’s “Paint the Town Red” hold fast behind, their longevity underscoring pop’s enduring appetite for glossy escapism.
The upper half remains steady through Dimitri Vegas’ star-studded “Thank You [Not So Bad]” and Bruno Mars’ “Leave the Door Open,” whose soul classicism persists despite the genre’s quicksilver shifts.
Elton John’s “Cold Heart – Pnau Remix” steadies at No. 7, while Doja Cat’s catalog continues its mid-chart shuffle: “Streets” rises to No. 8, swapping with “Say So,” now at ninth, as she commands four simultaneous placements across the top fifteen.
Lady Gaga’s “Shallow” eases to No. 11 while Sevdaliza’s “Alibi” maintains its high crossover presence from the R&B charts, bridging stylistic worlds with rare fluidity.
At the base, Akon’s “Ghetto” makes an unexpected re-entry at No. 20, injecting a historical echo into a list otherwise dominated by sleek modernity—its 2004 introspection now finding fresh resonance in a new dance-pop era.
East & South African Music
East & South African Music continues to pulse with regional vitality as Goon Flavour, Master KG, and Eemoh’s “Ngishutheni” secures another week at No. 1, refusing to cede ground in a crowded, rhythm-rich field.
Chella’s “My Darling” holds steady in second, its romantic amapiano edge balancing Mbosso’s “Pawa” and Davido’s “With You,” both of which maintain stable mid-tempo strength.
Tyla’s “Water” remains a fixture at No. 5, its international profile sustaining momentum months after its viral peak.
CIZA, Barnaba, and Marioo each preserve their places, leaving the top ten largely untouched except for the reshuffle placing Master KG’s “Jerusalema” at a consistent tenth.
The week’s shift comes below: Asake and Tiakola’s “Badman Gangsta” arrives at No. 15, folding French and Nigerian sensibilities into one transcontinental groove that feels both nostalgic and forward-looking.
Vigro Deep’s “Bhampa,” with Zee Nxumalo and Ch’cco, debuts at No. 20, its bassline precision and vocal interplay closing the list with the relaxed confidence of a scene that knows no boundaries—only movement.
French R&B
French R&B sees no disturbance at the summit as Joé Dwèt Filé’s “4 Kampé” secures yet another week at No. 1, the song’s steady appeal proving immune to fatigue.
Gims maintains his dual stronghold with “Sois Pas Timide” and “Spider” at Nos. 2 and 3, confirming his continued dominance of the Francophone scene.
Tayc’s “Yimmy Yimmy,” featuring Shreya Ghoshal, keeps its fourth-place position, its cross-cultural shimmer providing contrast to Gazo’s steadfast “Kat” at No. 5.
The middle order—Dadju, Guy2Bezbar, Benab, and Soolking—remains virtually unchanged, underscoring the format’s loyalty to slow, groove-driven turnover rather than flash surges.
Joé Dwèt Filé’s “Jolie Madame” retains a comfortable tenth-place slot, while Gims’ “Only You,” with Dhurata Dora, edges upward to No. 15, reasserting his presence in the lower half.
As Lacrim’s “No Lo Se” closes at No. 20, the chart encapsulates a week of near-total steadiness—proof that French R&B’s power lies not in upheaval but in the endurance of its polished rhythm and emotional restraint.
Metalcore
Bad Omens make a dramatic entrance at the summit of Metalcore as “Specter” debuts directly at No. 1, unseating YUNGBLUD’s “Zombie” and instantly reshaping the upper ranks.
The Richmond band’s spectral new release ends YUNGBLUD’s brief reign, pushing “Zombie” to No. 2, while Babymetal’s explosive “Ratatata” with Electric Callboy holds firm at No. 3, maintaining its global hybrid appeal.
Bad Omens double their dominance with “Like a Villain” steady at No. 4, creating a twin presence in the top five alongside Motionless in White’s “Another Life,” which edges one slot higher in a modest yet telling rebound.
Elsewhere, SiM’s “The Rumbling” and Sleep Token’s “Emergence” shift subtly but keep their top-ten footing, reflecting the genre’s equilibrium between aggression and melody.
Electric Callboy retain their lively double entries with “We Got The Moves” and “Elevator Operator,” each continuing to energize the middle section of the list.
Further down, Bad Omens’ catalog deepens its imprint with five total tracks across the twenty, a staggering concentration of presence that underscores their current creative peak.
Spiritbox’s “Circle With Me” rounds out the list at No. 20 after a slight slide, closing a chart dominated by renewal, cohesion, and one band’s remarkable reassertion of supremacy.
Modern Dancehall
Modern Dancehall stands firm at its peak as Kybba’s “Ba Ba Bad Remix,” featuring Ryan Castro, Sean Paul, and Busy Signal, continues its rule with unrelenting rhythmic firepower.
Rema and Selena Gomez’s “Calm Down” keeps its vice grip on second place, offering cross-continental allure that remains irresistible months after its initial surge.
Moliy’s “Shake It To The Max [Fly] [Remix]” and Wizthemc’s “Show Me Love” hold steady in third and fourth, maintaining the genre’s blend of Afro-fusion bounce and dancehall swagger.
Spice’s evergreen “Go Down Deh,” alongside Shaggy and Sean Paul, locks at No. 5, an enduring anthem among newer hits.
The middle order sees Shenseea’s “Hit & Run” swapping with Masicka’s “Rich Sex,” while Meryl’s “Shatta Confessions” and Burna Boy’s twin showings sustain their grip on the upper half.
The newcomer is Prince Swanny, whose “Liff Up” with Major Seven lands at No. 15, its Trinidadian roots and steady rhythm injecting fresh life into an already lively chart.
By week’s close, the balance between established icons and emergent voices signals a scene still in full rotation—unpredictable yet ever danceable.
Nigerian Pop
Rema’s “Calm Down” remains an unshakable leader in Nigerian Pop, ruling both the primary and featured positions with cross-market dominance unmatched by any other artist this month.
Ayra Starr’s “Rush” continues its quiet ascent at No. 2, giving the chart a dynamic top pairing between youthful assurance and seasoned ease.
Omah Lay’s “Soso” stays anchored at No. 3, its introspective tone still resonating against the more exuberant entries that follow.
Chiké’s “Egwu” with the late Mohbad and AY YOLA’s “Homay” trade positions mid-top five, each offering contrasting moods—grief and gratitude versus tenderness and pride.
Victony’s “Soweto” slides to sixth as Fireboy DML’s “Bandana” and Dax’s “Lonely Dirt Road” hover in the middle ranks, maintaining strong radio rotation.
Lower down, veteran mainstays Kizz Daniel, Ruger, and Wizkid retain multi-song runs, while Burna Boy’s “For My Hand” with Ed Sheeran reenters at No. 20, a reminder of his global reach within a chart that thrives on hybrid identity.
Pov: Indie
Glass Animals’ “Heat Waves” secures yet another effortless week atop POV: Indie, its streaming resilience now bordering on legend status.
Hozier’s “Too Sweet” lingers at No. 2, its slow-simmering charm resisting any hint of decline, while Conan Gray’s “Heather” jumps to No. 3, marking a resurgence in listener sentiment for his breakout confessional hit.
Twenty One Pilots’ “The Line,” from *Arcane: Season 2*, drifts to No. 4 as Mitski’s “My Love Mine All Mine” holds fifth, ensuring the chart’s upper ranks remain dense with emotional precision.
Beabadoobee maintains her dual presence with “Glue Song” and “Beaches,” still glowing with soft pastel melancholy.
Further down, Clairo’s “Juna” debuts at No. 16, its lo-fi intimacy and surreal visuals adding a refreshing texture amid the more anthemic indie cuts.
The closing stretch stays unchanged, anchored by Chappell Roan’s “Casual,” whose resilient finale keeps the chart grounded in understated honesty.
Urban Contemporary
Shakira’s “Soltera” extends its control of Urban Contemporary with another week at No. 1, the track’s confident independence anthem remaining the format’s defining tone-setter.
Partynextdoor’s “No Chill” rises to No. 2, trading places with Usher’s “Good Good,” an adjustment that reshuffles the hierarchy without disrupting its smooth equilibrium.
GloRilla and T-Pain’s “I Luv Her” persists at No. 4, while Clipse’s “So Be It” continues to balance minimalism and menace in fifth.
Wale and Ciara hover mid-list, flanked by Rihanna’s cinematic “Lift Me Up” and Jung Kook’s “Standing Next to You [Usher Remix],” both fixtures of crossover success.
The most notable addition comes at No. 19 as Snakehips’ “All My Friends,” featuring Tinashe and Chance the Rapper, enters the rotation nearly a decade after its release, injecting nostalgic melancholy into the contemporary mix.
By week’s end, the chart reflects modern R&B’s balance between sleek reinvention and sentimental revival.
Urbano Latino
Bad Bunny’s “Baile Inolvidable” remains immovable at the top of Urbano Latino, reaffirming his stature as the genre’s dominant storyteller and sonic architect.
Beéle and Ovy on the Drums’ “Mi Refe” hold steady at No. 2, keeping their romantic sway intact while Karol G surges to No. 3 with the all-star “+57,” a powerhouse collaboration that tightens her grip across the Latin spectrum.
Feid’s “Luna” and Karol G’s “Papasito” swap light positions, the former’s lunar sensuality contrasting the latter’s brash charisma for a dynamic middle tier.
Myke Towers stays consistent with “Si Se Da – Remix,” while the lower half reshuffles slightly, bringing renewed visibility to his expanding catalog.
At No. 20, Towers closes the week on another high with “Maquillaje [Remix],” a sleek reinterpretation celebrating authenticity and emotional freedom, marking a fitting close to a chart brimming with confidence, unity, and self-definition.