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 Sep 8, 2025 edition
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Alt Z
Tate McRae extends her dominance at the summit with “Just Keep Watching,” while her breakout hit “Greedy” rises into the runner-up position, nudging Faouzia’s “Minefields” to third. Sub Urban and Benee’s “Uh Oh!” stays strong just behind, and Elley Duhé keeps “Middle Of The Night” rooted in the Top 5. Gracie Abrams continues to split attention between “I Love You, I’m Sorry” and “Risk,” both holding steady within the top dozen, while The Chainsmokers’ “Takeaway” and Sub Urban’s “Freak” remain unmoved. In the middle ranks, Lauren Spencer Smith overtakes Lizzy McAlpine as “Flowers” edges ahead of “Ceilings.” The week’s most notable change arrives at the bottom: Reneé Rapp closes the chart with her latest Interscope single “Mad,” replacing “Leave Me Alone.” Set against the polished backdrop of a luxury hotel, the track drifts through frustration and mismatched desire, with Alexandra Shipp co-starring in the video. Rapp’s performance carries the confidence of an artist who once held Broadway in “Mean Girls” and HBO Max in *The Sex Lives of College Girls,* now channeling her theatrical instincts into sleek, pointed pop.
Alternative Metal
Linkin Park continue to rule Alternative Metal as “The Emptiness Machine” and “Up From The Bottom” remain entrenched at the summit, while Falling In Reverse’s “Watch The World Burn” and “Voices In My Head” stay close behind. “Lost” holds at five, but Five Finger Death Punch’s “Blue On Black” climbs into sixth, nudging “Heavy Is The Crown” down one slot. Evanescence’s “Afterlife” advances to eighth, continuing its late run of strength, while Breaking Benjamin’s “So Cold” creeps into the Top 10. The most striking development comes with Motionless In White’s “Masterpiece” debuting at eighteen. Originally released in 2022, the song frames regret and self-forgiveness through the metaphor of painting, blending metalcore edge with melodic rock. Chris Motionless delivers an emotional vocal performance that elevates the track beyond genre boundaries, making its late arrival here feel like both a resurgence and a rediscovery. It enters among long-standing heavyweights like Slipknot’s “Nero Forte” and Falling In Reverse’s “Last Resort – Reimagined,” reinforcing the chart’s mix of legacy and reinvention.
Alternative R&B
Mariah The Scientist preserves her lead in Alternative R&B with “Burning Blue,” while Ravyn Lenae overtakes Sevdaliza as “Love Me Not” rises to second. Doechii’s “Denial Is A River” and Tinashe’s “Nasty” round out a consistent Top 5, while Mariah strengthens her grip with both “2 You” and “From A Woman” inside the Top 10. Lucky Daye slips back as Sevdaliza’s “No Me Cansare” steadies at eighth. The week’s most dynamic additions refresh the lower half: Young M.A breaks in at ten with “Went Legit Freestyle,” a Brooklyn-grounded release that doubles as both song and self-directed video. Staying unsigned, she continues the freestyle streak that began with “Ooouuu,” delivering sharp, street-coded punchlines over stripped-back beats in visuals shot on her home turf. At seventeen, Teyana Taylor reintroduces “Bare Wit Me,” a Harlem Nights–inspired crime drama in miniature, with Taylor stepping into a zoot suit for a gender-twisting narrative set against retro funk and R&B textures. Two slots lower, Adekunle Gold’s “Sinner” finds its way into the mix, a sultry Afrobeat-R&B hybrid from 2021 featuring Lucky Daye. Produced by Blaise Beatz, its mid-tempo groove and guitar-led sensuality give the chart a cosmopolitan polish, marking one of Gold’s most internationally poised tracks. Together these entries break the routine of steady climbers, adding new colors to the genre’s spectrum.
American Hip-Hop
Kendrick Lamar’s “Not Like Us” stays untouchable at number one, while Central Cee and Lil Baby’s “Band4Band” and Twice’s collaboration with Megan Thee Stallion, “Strategy,” continue to hold the runner-up spots. King Von rises as “Took Her To The O” climbs into fourth, pushing Travis Scott’s “Fe!N” back to fifth. Von also lifts “Armed & Dangerous” into sixth, consolidating his presence across the Top 10. BigXthaPlug and Bailey Zimmerman ease into seventh, while Eminem’s “Godzilla” with Juice WRLD overtakes Wrekonize’s “Zombies” to secure eighth. Glorilla advances with “Whatchu Kno About Me,” while Drake and Future settle slightly lower with “Laugh Now Cry Later” and “Life Is Good.” New energy enters mid-table with bbno$ and Ironmouse’s “1-800” landing at fifteen. The track is an eccentric blend of hip-hop bounce and electronic gloss, pairing bbno$’s tongue-in-cheek delivery with the anime-inspired presence of the VTuber. Its video, rich with digital absurdity, continues his oddball visual streak while reinforcing his independence from major-label expectations. At the foot of the chart, Metro Boomin closes with “Superhero,” a cinematic track from *Heroes & Villains* that unites Future’s menace and Chris Brown’s R&B gloss. Styled like end-credit grandeur, its orchestral strings and trap underpinnings turn the chart’s final position into a theatrical curtain call.
Art Pop
Lady Gaga and Bruno Mars continue to command Art Pop with “Die With A Smile,” while Billie Eilish’s “Birds Of A Feather” and Gaga’s “Abracadabra” stand firmly behind. “Shallow” and “Everything I Wanted” complete a Top 5 that resists disruption. Below, the landscape subtly reshapes: “Hold My Hand” climbs into sixth, displacing Idina Menzel’s “Into the Unknown,” while Charli XCX’s “Guess” with Billie Eilish strengthens at seven. Aurora’s “Cure For Me” makes a move upward to eighth, pushing Billie’s “Happier Than Ever” down slightly. The mid-table exchanges positions without introducing new entries, with Charli XCX, Lana Del Rey, and Billie Eilish sharing the lower tiers. Gaga, Billie, and Charli continue to dominate the mix, weaving between cinematic ballads, left-field pop experiments, and introspective confessions. Though the order shifts, the axis of Gaga and Eilish at the forefront remains the genre’s defining balance.
Asian Pop
Rosé and Bruno Mars maintain their grip on Asian Pop with “Apt.” in first place, but the upper tier reshuffles as BTS’s evergreen “Dynamite” surges into second, sliding KATSEYE’s “Gnarly” to third. Katseye still hold firm with “Touch” in fourth, while Jennie’s “Like Jennie” rounds out the Top 5. Stray Kids make a decisive leap into sixth with “Lalalala,” and Natori’s “プロポーズ” pushes higher into seventh, giving Japanese pop a stronger footprint in the mix. The spotlight falls on fresh arrivals at the back end of the Top 20: KATSEYE introduce “Gameboy” at number eight, a track from their June 2025 EP that reinforces the group’s global ambition. Formed on *The Debut: Dream Academy* and documented in Netflix’s *Pop Star Academy: KATSEYE,* the six members glide through international pop polish, here layering brisk hooks and cross-border flair. Aespa also arrive with “Dirty Work” at seventeen, their first single of 2025, unveiled in both Korean and English and teased early through an Apple iPhone ad. Darker in mood and sharpened by a Flo Milli remix, the track leans into industrial grit, marking a contrast to their more playful beginnings. Meanwhile, Stray Kids add “Megaverse” at nineteen, a cyber-inspired anthem from their 2024 album, merging EDM trap with defiant self-determination. With three new injections—each carrying strong visual and conceptual identities—the chart expands its stylistic range without dislodging Rosé from the throne.
Country Music
Miley Cyrus keeps “End Of The World” firmly at number one in Country, but Bailey Zimmerman now rises to second with “Fall In Love,” switching places with Riley Green’s “Worst Way.” Morgan Wallen continues his double run, holding “I’m The Problem” at four and “Smile” at seven, while Luke Combs maintains presence across the Top 10 with “Ain’t No Love in Oklahoma,” “The Kind of Love We Make,” and “Forever After All.” Hardy and Lainey Wilson’s “Wait in the Truck” climbs to eighth, while Oliver Anthony and Cody Johnson ease slightly lower. The bottom of the chart welcomes two new names that reach across time: Luke Bryan returns with “Country Song Came On” at nineteen, a track first penned in 2022 but released this year. Sung as a ritual escape from long workdays into neon-lit bars, the song blurs tradition and escapism, with its video alternating barn simplicity and club abandon. Right behind, Shenandoah resurface with a reimagined version of their 1989 number-one “Sunday in the South,” now updated with Jason Aldean and Luke Bryan. Recast with new performances alongside nods to its original Alabama courthouse setting, the 2024 remake reconnects the genre’s roots with its modern voices. These two entries broaden the generational spectrum of the chart, bridging country’s legacy and its contemporary vitality.
Dance Pop
Rosé and Bruno Mars carry their dominance into Dance Pop, with “Apt.” staying in first place ahead of Lady Gaga’s “Die With A Smile” and Dua Lipa’s “Levitating.” Gaga’s “Shallow” swaps with Dimitri Vegas and company’s “Thank You (Not So Bad)” for the fourth and fifth slots, while Doja Cat continues her stronghold with multiple titles scattered through the middle ranks. Sevdaliza’s “Alibi” remains a dark-hued outlier within the Top 10, while Elton John and Dua Lipa’s collaborative remix work continues to anchor the crossover blend of eras. The week’s new arrivals give the chart a distinctly retro-futuristic injection: DJ Snake teams with J Balvin on “Noventa,” debuting at sixteen with a track that unabashedly rewinds to the 1990s. Its VHS-filtered visuals, breakdancers, and MTV throwbacks place Latin reggaeton swagger against a backdrop of global club culture, reaffirming Snake’s “Nomad” project as a passport of sounds. Doja Cat also restores “Need To Know” to the rankings at nineteen, a futuristic 2021 single that frames alien nightlife as the stage for her explorations of desire. With its trap-pop production and bold curiosity, it continues to resonate as one of her most forward-looking cuts. These additions reinvigorate a chart otherwise anchored by durable pop anthems from Rosé, Gaga, and Dua Lipa.
East & South African Music
Goon Flavour retains the East & South African crown with “Ngishutheni,” holding Chella’s “My Darling” and Mbosso’s “Pawa” in close pursuit. Davido’s “With You” and Tyla’s enduring “Water” stay secure in the Top 5, while CIZA’s “Isaka (6AM)” and Barnaba’s collaboration with Diamond Platnumz keep the Tanzanian spotlight bright. Marioo and Bien’s “Nairobi” continues its strong climb at eighth, and Uncle Waffles holds steady with “Zenzele.” The only notable reshaping occurs mid-table, as Titom’s “Tshwala Bam” surges into the eleventh spot, displacing Harmonize’s “Furaha.” Lower down, 2Point1’s “Sthandwa Sam” advances into fourteenth, gaining traction with its ensemble of contributors, while D Voice and Mbosso bring “Tunapendana” to seventeenth. DJ Maphorisa closes out both of the final two slots, balancing “Dlala Ka Yona” and “Ngibolekeni” to maintain his omnipresence in the genre. With few debuts but plenty of movement, the chart consolidates its regional powerhouses while reaffirming Goon Flavour’s steady hold at the top.
French R&B
French R&B keeps Joé Dwèt Filé on top with “4 Kampé,” ahead of Gims’ dual strike of “Sois Pas Timide” and “Spider” with Dystinct. Tayc’s “Yimmy Yimmy” and Dadju’s “I Love You” sustain their strong run inside the Top 5, while Guy2Bezbar and Benab remain firm mid-table. The week’s most noticeable reshuffle comes as Gazo and Tiakola’s “Cartier” vaults into the Top 10, pushing Keblack’s “Boucan” further down. Joé Dwèt Filé also strengthens his showing with “Jolie Madame” rising into tenth, while Naza’s “Joli Bébé” edges higher as Jul drifts slightly back. The chart’s closing slot welcomes a return from Booba, who enters with “Mona Lisa” at twenty. Taken from his 2021 album *Ultra,* the track mixes imagery of art and criminal underworlds, with references to Escobar framing a meditation on loyalty and betrayal. Driven by Steeve Mad and AniBeatz’s heavy, dark production, the song paints luxury as inseparable from mistrust, its atmosphere deepened by Lionel Hirlé’s video direction. Booba’s re-entry reminds the chart that his voice remains one of French R&B’s grittiest, reinforcing a landscape otherwise shaped by romantic themes and smooth collaborations.
Metalcore
YUNGBLUD’s “Zombie” secures another week at number one in Metalcore, with Babymetal and Electric Callboy’s “Ratatata” and Bad Omens’ “Like A Villain” holding firm in the next slots. SIM’s “The Rumbling” and Motionless In White’s “Another Life” also remain steady inside the Top 5, while Electric Callboy shuffle their hits as “We Got The Moves” rises to sixth and “Elevator Operator” slips one position. The week’s most impactful movements unfold further down, where Bad Omens make room for new intensity. Their 2022 track “V.A.N.” reenters in live form at number eighteen, this time featuring Poppy. The pairing juxtaposes Noah Sebastian’s searing lead with Poppy’s distinct vocals, heightening the song’s meditation on humanity’s fractured relationship with AI and violence against nature. Just behind, Spiritbox claim nineteenth with “Circle With Me,” a song born from late studio sessions and carried by Courtney LaPlante’s clean-to-scream dynamics. Its blend of djent-tinged guitars, synth layering, and visceral vocals captures the push-and-pull between doubt and determination, making it one of the genre’s most emotionally candid anthems. These fresh entries ensure that beneath YUNGBLUD’s unshaken reign, the lower ranks remain fertile ground for boundary-pushing experiments.
Modern Dancehall
Moliy’s “Shake It To The Max [Fly]” remix with Silent Addy continues its run at number one in Modern Dancehall, holding Rema and Selena Gomez’s global hit “Calm Down” just behind. Wizthemc keeps “Show Me Love” anchored in third, while Spice’s “Go Down Deh” refuses to relinquish its grip on the Top 5. The week’s headline change is Masicka’s arrival at number five with “Rich Sex,” his new collaboration with Rvssian. Released under Head Concussion Records, the track pairs Masicka’s agile blend of dancehall cadence and reggae phrasing with Rvssian’s trademark bass-heavy gloss, reminding listeners of their easy synergy. Lower down, Aya Nakamura makes a striking entry at nineteen with “Dégaine” alongside Damso. Originally released in 2022, the track marries kizomba and kompa influences to pop-rap textures, led by Bleu Nuit’s production. Aya’s sultry tone and Damso’s lyrical edge build a sophisticated mid-tempo groove, amplified by a stylized video. With her international breakthrough via “Djadja” and continued recognition across Europe, her reappearance here threads French and Malian influences into a genre otherwise dominated by Caribbean voices. Together, Masicka and Aya expand the sonic horizons of the dancehall chart while Moliy stays firmly in control at the top.
Nigerian Pop
Rema and Selena Gomez remain unshaken at number one in Nigerian Pop with “Calm Down,” keeping Ayra Starr’s “Rush” and Omah Lay’s “Soso” locked in place just behind. Chiké’s “Egwu” with Mohbad continues to shine at number four, while Rema’s solo version of “Calm Down” strengthens the artist’s dual presence in the Top 5. The week’s most notable development arrives at eighteen with Tems returning to the scene through “Me & U.” Released in 2023 after a two-year solo hiatus, the track balances Afrobeat rhythms with R&B inflections under the co-production of GuiltyBeatz. Born from a freestyle during the filming of the “Essence” video, it explores themes of self-discovery and spiritual grounding, ultimately earning accolades such as Best International Song at the NAACP Image Awards. Its reappearance on the chart underscores Tems’ continued influence as both a visionary songwriter and performer. The rest of the rankings remain largely intact, with Davido, Wizkid, and Burna Boy securing their usual footholds, ensuring Nigerian Pop’s current era remains firmly anchored in global visibility.
Pov: Indie
Glass Animals keep their record-breaking “Heat Waves” at the top of POV: Indie, with Hozier’s “Too Sweet” unmoved in second. Twenty One Pilots push “The Line” into third, sliding Conan Gray’s “Heather” to fourth, while YUNGBLUD’s “Zombie” dips to fifth but maintains a strong presence. Beabadoobee’s pair of hits, “Glue Song” and “Beaches,” hold steady in the Top 10 alongside Mitski’s intimate “My Love Mine All Mine.” The lower half of the chart sees a new addition at number twenty: Twenty One Pilots debut “Midwest Indigo,” a May 2024 release produced by Tyler Joseph and Paul Meany. The track layers wintry imagery of frozen landscapes and delayed journeys over sparse piano that crescendos into percussive force, metaphorically tracing themes of communication struggles and emotional detachment. Its cold, expansive soundscape reinforces the duo’s narrative-driven craft while deepening the emotional arc of their current *Arcane* cycle. With this entry, the chart underscores both continuity and reinvention, balancing the enduring pull of long-established hits with the introduction of new, atmospheric material.
Urban Contemporary
Shakira’s “Soltera” continues to set the pace in Urban Contemporary, but Usher strengthens his presence by moving “Good Good” into second, ahead of Partynextdoor’s “No Chill.” GloRilla’s “I Luv Her” with T-Pain claims the fourth slot, while Clipse’s “So Be It” dips to fifth. Ciara advances with “How We Roll” into sixth, shifting the balance of the mid-table, while Wale, Rihanna, and Jung Kook sustain their strong placements. The major new addition arrives at number twenty with Teyana Taylor’s “Bare Wit Me.” Initially released in 2020, the track pays homage to Harlem Nights with a 1930s-inspired video. Produced by Bizness Boi, Cardiak, and Ninety Four, it pairs retro funk textures with Taylor’s soulful R&B delivery. In the video, she adopts a masculine character in a zoot suit, embodying a narrative of crime, trust, and romantic indecision with theatrical flair. Its return here adds vintage sensibility to a chart otherwise dominated by sleek contemporary production, bridging stylistic eras while reaffirming Taylor’s unique space in R&B.
Urbano Latino
Karol G holds Urban Latino’s summit for another week with “Papasito,” ahead of Beéle’s “Mi Refe” and Bad Bunny’s “Baile Inolvidable.” Karol G’s all-star collaboration “+57” continues to anchor the fourth slot, with Feid and Myke Towers securing the remainder of the Top 6. Xavi’s “La Diabla” climbs into eighth, overtaking Karol G’s “Provenza,” while Maluma’s “Sobrio” also gains ground. The week’s most significant shakeup arrives at number twelve, where Mesita unveils “Una Foto [Remix],” a collaborative expansion featuring Nicki Nicole, Emilia, and Tiago PZK. Under Rxdri Molina’s production, the remix weaves themes of intimacy and luxury through a multi-layered narrative, Nicki’s sultry entry complemented by Emilia’s reflective verse. With Tiago’s presence completing the trio, the track enriches Mesita’s profile by connecting Argentine and global currents in urbano. Its entry injects new freshness into a chart otherwise dominated by Karol G’s powerhouse run and Bad Bunny’s enduring hits, highlighting the genre’s strength in collaborative reinvention.