Every month, we update our “Most Trending Vintage [music genre] Songs” series to spotlight the vintage tracks experiencing the highest engagement growth over the last six months.
These rankings combine data from our platform with external streaming metrics, offering a comprehensive view of the classics that are resonating with listeners today.
Spanning 29 genres, the charts aren’t about the most famous songs but rather the ones gaining momentum. By tracking upward trends in vintage music, we can uncover which genres are making a comeback and which sounds might inspire contemporary artists to reconnect with timeless influences.
We don’t claim to be exhaustive. It’s possible you won’t find a title you expected to see on this list. Sorry about that — these things happen.
Explore the shifts, rediscover the hits, and see what’s capturing the attention of a new generation of listeners.
Here is the Apr 1,2025 edition
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Big Beat
The Big Beat chart remains stable this month with no new entries or exits. The top spot continues to be held by Armand Van Helden’s “My My My,” while Death In Vegas’s “Aisha” moves up to number two. Groove Armada’s “I See You Baby” gains traction, rising from sixth to third, pushing The KLF’s “Last Train To Trancentral” down to fourth.
Despite the positional shifts, the chart’s composition remains unchanged, with all 20 tracks from February still present in March. Notably, Death In Vegas and Armand Van Helden each maintain multiple entries, underlining their influence on the genre.
Fatboy Slim’s catalogue holds steady across four entries, led by “Right Here Right Now” at number nine. The absence of new additions or exits highlights the enduring popularity of foundational tracks in the Big Beat genre.
2000s Garage Rock
The 2000s Garage Rock chart sees no changes in its lineup, but several internal shifts reflect renewed listener interest. Yeah Yeah Yeahs’ “Maps” overtakes The White Stripes’ “I Just Don’t Know What To Do With Myself” to claim the top spot, while “Heads Will Roll” maintains a strong presence at number three.
The White Stripes continue to dominate with five tracks in the top 20, including “Seven Nation Army” rising to fourth. Babyshambles’ “Albion” also gains ground, moving into the top five. Conversely, Black Rebel Motorcycle Club’s “Love Burns” drops from fourth to eighth.
While there are no new entries or exits, the chart reflects a recalibration in rankings, emphasizing the staying power of key acts like Yeah Yeah Yeahs and The White Stripes.
Britpop
The Britpop chart welcomes one new entry: Black Box Recorder’s “Child Psychology” debuts at number 18. Splicing spoken word with a detached tone, it recounts childhood traumas and features the controversial chorus, “Life is unfair, kill yourself or get over it,” which led to bans on UK radio and U.S. censorship.
To make room, The Beautiful South’s “Don’t Marry Her” exits the chart. Meanwhile, Cast’s “Walkaway” retains the number one spot, and Shed Seven’s “Chasing Rainbows” climbs to second. Oasis’s “Some Might Say” drops to tenth after previously holding second place.
The appearance of Black Box Recorder introduces a darker tone to an otherwise melodic and anthemic chart. Elsewhere, EMF’s “Unbelievable” and Lush’s “Nothing Natural” see significant upward movement.
90s Sophisti-Pop
The 90s Sophisti-Pop chart sees a single new entry: Simply Red’s “Thrill Me” arrives at number 16. Featuring Mick Hucknall’s smooth delivery, the song originally appeared on the 1992 album “Stars” and was later remixed for various formats, including club-oriented versions.
The Beautiful South’s “A Little Time” exits to accommodate this change. Sting retains three entries in the top 12, including “Shape of My Heart” which continues to lead. Everything But The Girl and M People both remain strong with multiple placements across the chart.
Shifts are minimal, suggesting a steady appreciation for mid-tempo, lyrically introspective pop rooted in the late ’80s and early ’90s. “Thrill Me” blends into the list with thematic and stylistic consistency.
2010s R&B
The 2010s R&B chart introduces one new entry: Sam Smith and Normani’s “Dancing With A Stranger” enters at number 19. Blending slick R&B and minimal pop, the song explores emotional deflection in the wake of a breakup. Released in 2019, it peaked at No. 7 on the Billboard Hot 100 and achieved Multi-Platinum status.
To accommodate the new arrival, Bryson Tiller’s “Don’t” drops off the chart. The top three—The Weeknd’s “Try Me,” A$AP Rocky’s “Everyday,” and Kendrick Lamar & SZA’s “All The Stars”—remain unchanged.
Jorja Smith’s “Blue Lights” climbs to sixth, switching positions with Kehlani’s “Nights Like This.” The list overall maintains stability, with most movements confined to minor reordering within familiar names.
Neo-Mellow
The Neo-Mellow chart sees no new entries this month, with Gary Jules & Michael Andrews’ “Mad World” retaining the top spot. Keane continues to dominate, holding three titles in the top 10, including “Everybody’s Changing” and “Somewhere Only We Know.”
Dido’s “White Flag” gains traction, climbing to eighth, while Michelle Branch’s “Everywhere” drops slightly to ninth. David Gray’s “The One I Love” moves up to position 13, overtaking Vanessa Carlton’s “A Thousand Miles.”
Despite internal shifts, the chart remains composed of the same 20 songs, reflecting consistency in listener engagement with the mellow pop soundscape of the early 2000s.
P0st-Disco
The Post-Disco chart welcomes one new entry: Patrice Rushen’s “Forget Me Nots” enters at number 20. Built around a standout bassline and saxophone solo, the track was later sampled by Will Smith in “Men in Black.”
Maze’s “Joy & Pain” exits the chart, while Cheryl Lynn’s “Encore” climbs into the top three, pushing Maze’s “Back In Stride Again” down to 15. Evelyn ‘Champagne’ King and Shalamar maintain strong multiple entries, sustaining the genre’s core feel.
The appearance of Rushen’s 1982 track underscores the ongoing relevance of groove-heavy production in the genre’s enduring appeal.
Yacht Rock
The Yacht Rock chart sees one new entry this month: Daryl Hall & John Oates’ “Maneater” returns at number 20. Known for its Motown-inspired rhythm and metaphorical critique of greed, it joins “Out Of Touch” as the duo’s second title in the top 20.
In contrast, Billy Ocean’s “When the Going Gets Tough” exits the list. Michael McDonald and Chicago continue to hold dominant positions, with Chicago occupying four consecutive rankings from six to eleven.
Most other placements remain steady, signaling the stable presence of classic radio staples in the mellow soft rock segment.
Diva House
The Diva House chart welcomes two new entries. Rozalla’s “Everybody’s Free [To Feel Good]” debuts at number three. Originally released in 1991, the track became a staple of London’s early ‘90s dance scene with its optimistic hook.
Whigfield’s “Sexy Eyes” also joins at number 18. Following her hit “Saturday Night,” the track features playful lyrics and a sun-soaked music video shot in Italy. These additions push Snap!’s “The Power” and Cathy Dennis’ “Touch Me” off the chart.
Urban Cookie Collective’s “The Key The Secret” holds the number one spot, while Incognito, La Bouche, and Snap! retain significant chart presence.
Vintage Power Pop
The Vintage Power Pop chart introduces one new entry: Squeeze’s “Another Nail In My Heart” enters at number 19. Known for its witty lyrics and catchy structure, it was released in 1980 and became a UK Top 20 hit.
To accommodate this entry, The Cars’ “You Might Think” exits the chart. Blondie’s “The Tide Is High” remains at number one, while XTC, Dinosaur Jr., and Weezer continue to represent alternative strains of the genre.
Squeeze now appears twice on the chart, reflecting a renewed appreciation for their melodic craftsmanship and lyrical nuance.
Eurodance
The Eurodance chart sees two new entries this month. ATC’s “All Around The World (La La La La La)” debuts directly at number one. The track adapts Ruki Vverh!’s “Pesenka” into a globally styled anthem with an infectious chorus and a high-gloss music video featuring synchronized dance and surreal set pieces.
Just Luis’ “American Pie” enters at number 20. Reworking Don McLean’s ballad into a mid-90s club track, it blends nostalgia with a four-on-the-floor rhythm, arriving five years before Madonna’s later version.
Departing the chart are Trucks’ “It’s Just Porn Mum” and Miss Jane’s “It’s A Fine Day.” Scooter holds three spots in the top 10, while Dr. Alban remains strong with three entries, including two in the top three.
Heartland Rock
The Heartland Rock chart remains unchanged in composition this month. Bryan Adams continues to dominate with six tracks, including “Christmas Time” and “Have You Ever Really Loved A Woman?” maintaining the top two spots.
“Straight From The Heart” rises from 15 to 8, overtaking America’s “You Can Do Magic.” Don Henley and the Eagles remain firmly in the top 10, while Bob Seger holds two positions, including “Hollywood Nights” at number 11.
No new entries or exits occurred, indicating consistent listener interest in the genre’s classic staples and its leading figures.
New Jack Swing
The New Jack Swing chart sees one new entry this month: Angie Stone’s “Everyday” arrives at number 8 following her recent death in a car crash. Originally released in 2000, the track blends neo-soul and R&B, showcasing her transition from earlier projects like The Sequence and Vertical Hold to solo recognition. “Everyday” had first appeared on the *Money Talks* soundtrack and later became a defining part of her *Black Diamond* album.
To accommodate this entry, Maze’s “Back In Stride Again” drops to number 20. Shalamar secures a second spot with “Take That To The Bank” debuting at number 17, pushing Keith Sweat and Wreckx N Effect further down the list.
The upper section of the chart remains stable, with The S.O.S. Band holding firm at number one and SWV’s “Can We” staying in third. Angie Stone’s posthumous chart presence reflects renewed attention to her contributions within and beyond the New Jack Swing genre.
Post-Grunge
The Post-Grunge chart sees one new entry: Nickelback’s “How You Remind Me” returns at number 20. Released in 2001, the song reached global success with its introspective lyrics and gritty delivery. The track’s reappearance highlights its long-standing appeal and status as a genre staple.
Nickelback now holds two positions, while Staind’s “For You” drops one spot to 15. The Offspring’s “The Kids Aren’t Alright” moves ahead of “Pretty Fly (For A White Guy),” indicating minor reshuffling within the lower midsection of the chart.
Candlebox’s “Far Behind” retains its number one position, with Counting Crows and Limp Bizkit following close behind. The rest of the chart remains consistent, featuring Rage Against The Machine, Linkin Park, and Chris Cornell’s notable solo cover.
Trip Hop
The Trip Hop chart welcomes one new entry: The All Seeing I’s “Beat Goes On” debuts at number five. Originally released in 1998, the track revives the Sonny & Cher classic through a blend of drum samples and modern electronic textures, aligning seamlessly with the genre’s stylistic ethos.
This addition pushes Thievery Corporation’s “Lebanese Blonde” down to position 13, while Roots Manuva’s “Witness [1 Hope]” makes a strong climb to number three. Other mainstays like Portishead’s “Sour Times” and Olive’s “You’re Not Alone” maintain their top positions.
Björk continues to dominate with four tracks in the top 20, while Zero 7 and Morcheeba hold multiple positions, ensuring a balanced representation of UK and international contributions to the genre.
80s New Wave Pop
The 80s New Wave Pop chart remains stable with no new entries, but internal shifts suggest subtle listener preference changes. Thompson Twins continue their dominance, occupying four of the top seven positions, led by “Doctor! Doctor!” at number one.
Fine Young Cannibals’ “Johnny Come Home” climbs into the top five, overtaking Kate Bush’s “Army Dreamers,” which slips to sixth. Bryan Ferry’s “Kiss and Tell” edges up two spots, while Naked Eyes and Kim Wilde switch places mid-chart.
The number 20 position currently shows a data error, indicating a potential drop-off or missing title from last month’s roster. This does not affect the chart’s overall structure, which continues to highlight enduring 80s synth-pop and crossover ballads.
Gangster Rap
The Gangster Rap chart welcomes a major new entry with 2Pac’s “Toss It Up” debuting at number one. Released posthumously under his Makaveli alias, the track targeted Dr. Dre and featured a controversial remix following legal pressure over its similarity to Blackstreet’s “No Diggity.”
All previous entries shift down one spot, with D12’s “Purple Pills” now at number two and Space Jam’s “Hit ‘Em High” at number three. The bottom tier of the chart remains intact, preserving a lineup that includes Kanye West, Mary J. Blige, and multiple tracks by Jay-Z and Snoop Dogg.
Tupac’s re-entry underscores his lasting presence in the genre, especially through material released in the wake of his death.
80s Glam Metal
The 80s Glam Metal chart records no changes this month. Ozzy Osbourne’s “Bark At The Moon” holds the top position, followed by Cheap Trick’s “The Flame” and Asia’s “Heat Of The Moment.”
Def Leppard retains two placements in the top ten, while Poison continues to anchor the lower ranks with four entries. Dio and White Lion also maintain multiple songs in the top 20, reflecting the enduring popularity of their late ‘80s output.
This static chart reflects a solidified audience engagement with core genre tracks, emphasizing the established appeal of guitar solos, anthemic choruses, and glam aesthetics.
90s Mellow Gold
The 90s Mellow Gold chart remains unchanged in both composition and order. Leo Sayer’s “When I Need You” continues to lead, with Bryan Adams following closely behind with two entries in the top five and another at position eleven.
Bob Seger and Bonnie Raitt hold steady with their respective staples, and Paul McCartney’s “Hope Of Deliverance” stays firm at number three. Mike + The Mechanics maintain a presence with two songs mid-chart.
The consistent structure of the chart reflects stable listener interest in introspective, soft rock ballads rooted in emotional storytelling and polished arrangements.
Old School Hip Hop
The Old School Hip Hop chart features one new entry: Eric B. & Rakim’s “Let The Rhythm Hit ‘Em” debuts at number nine. Released in 1990, the track merges layered sampling with Rakim’s precise delivery. The track’s production—partly shaped by Large Professor—earned the album a rare 5-mic rating from The Source.
To accommodate this, Public Enemy’s “Brothers Gonna Work It Out” drops one spot. The top eight remain untouched, with Space Jam’s “Hit ‘Em High” still leading. Other stalwarts include Run DMC, LL Cool J, and Boogie Down Productions.
Eric B. & Rakim’s reappearance affirms their foundational role in shaping lyrical complexity within the old school era of hip hop.
Boy Bands Retro
The Boy Bands Retro chart features two new entries. McFly’s “Shine A Light” debuts at number 19. Released in 2010 and featuring Taio Cruz, the track blends pop rock and radio-friendly dance production, marking a stylistic departure for the band.
A1’s “Everytime” joins at number 20. With a subdued tempo and emotive vocal delivery, it functions as a pop ballad focused on regret and emotional vulnerability. These additions replace No Mercy’s “Missing” and New Edition’s “Mr. Telephone Man.”
All-4-One retains the top position with “I Swear,” while One Direction’s “History” moves into second, pushing NSYNC to third. East 17 continues strong with three songs inside the top 15.
Indie Rock
The Indie Rock chart is led this month by a new entry: Sigur Rós’ “Hoppípolla” enters directly at number one. The Icelandic band layers orchestral swells with their unique vocal textures, creating a cinematic track that gained recognition via *Planet Earth* and *Children of Men*.
Mono’s “Life In” drops to second, while the rest of the top 20 sees only minor reshuffling. Joe Goddard and The Flaming Lips each move up one spot, and The Wannadies now close the chart at number 20.
Sigur Rós’ sudden prominence reflects a renewed interest in post-rock’s emotional depth within the broader indie scene.
Girl Groups
The Girl Groups chart welcomes one new entry: SWV’s “Right Here” enters at number 20. Released in 1992 and built around a sample of Michael Jackson’s “Human Nature,” the track became a defining hit for the trio and a staple of ‘90s R&B.
This addition displaces The Pointer Sisters’ “I’m So Excited.” Elsewhere, Jade’s “I Wanna Love You” moves into second, pushing No Angels to third. Sugababes now have two tracks in the top 15, indicating steady traction for early-2000s UK pop-R&B crossovers.
SWV maintains a strong presence overall, appearing with three songs, including their chart-leading collaboration with Missy Elliott.
Pop Dance
The Pop Dance chart features one new entry: Tiësto’s “Flight 643” enters at number nine. Released in 2001, the instrumental trance track became a foundational release in his early catalogue, reflecting the peak of the genre’s melodic minimalism.
The inclusion pushes Tiësto’s total chart appearances to four, the highest among any artist in this genre category. Benny Benassi, Avicii, and Calvin Harris retain their footholds, while Loud Luxury’s “Body” remains in first position.
All other tracks hold steady or adjust minimally, with the list continuing to reflect a blend of early 2000s and 2010s dance floor staples.
Neo Soul
The Neo Soul chart adds three new entries, led by Angie Stone’s “Everyday” at number 7. Her recent passing has renewed interest in her catalog. “Everyday,” released in 2000, blends soulful instrumentation with a warm vocal tone shaped by her early work with The Sequence and Vertical Hold.
Stone’s “Life Story” also enters at number 18. Originally featured on *Black Diamond*, it serves as a narrative of growth and reconciliation. The third new entry is Nas’ “If I Ruled The World (Imagine That)” at number 19, a politically charged collaboration with Lauryn Hill that first charted in 1996.
These additions replace entries by Lucy Pearl, Public Enemy, and Mary J. Blige, while De La Soul and Erick Sermon maintain the top two spots. SWV and Aaliyah continue to hold multiple chart positions. The month closes with a strong showing for foundational acts across R&B, hip hop, and neo soul hybrids.
Art Rock
The Art Rock chart sees one new entry. David Bowie’s “This Is Not America” enters at number 18. Originally recorded with the Pat Metheny Group for the film *The Falcon and the Snowman*, the track merges cold war themes with jazz textures and subtle vocal restraint.
This entry replaces Bowie’s “Fame 90,” which slips to position 20. The top 10 remains unchanged, with Kate Bush’s “Army Dreamers” leading, and multiple Bowie titles continuing to occupy key slots across the chart. Electric Light Orchestra and XTC also retain strong mid-tier presence.
Bowie now appears six times, reaffirming his central role in the genre’s canon.
2010s Trap
The 2010s Trap chart remains static this month with no new entries. Lil Wayne continues to dominate, holding first and second place with “She Will” and “Mona Lisa.” Kanye West’s “Runaway” and Jay Z’s “On To The Next One” maintain their positions in the top five.
The rest of the rankings show minimal movement, indicating consistent listener interest across these core tracks. Don Toliver, Kehlani, and DJ Snake also retain steady visibility.
The absence of new additions reflects stability across the genre’s standout tracks from the 2010s.
Nu Metal
The Nu Metal chart features one new entry: Papa Roach’s “Last Resort” debuts at number 20. Released in 2000, the song’s explosive chorus and themes of emotional strain made it a defining anthem of early nu-metal.
The track replaces Linkin Park’s “Points Of Authority,” while the rest of the chart sees minor shifts. Ministry’s “N.W.O.” continues to lead, followed by Candlebox and Anthrax. Kittie and P.O.D. both hold two entries each within the top 15.
“Last Resort” rounds out a chart still rooted in the genre’s peak-era staples from the late ‘90s and early 2000s.
Post-Punk
The Post-Punk chart includes one new entry: Captain Sensible’s “Wot” enters at number 3. A 1982 release, the track blends post-punk edge with funk and disco, showcasing the former Damned bassist’s solo versatility.
It pushes The Smiths’ “There Is A Light That Never Goes Out” down to fifth, and reshuffles other high-ranked Talking Heads and XTC tracks. The remaining selections stay in place, with no exits this month.
Captain Sensible’s debut adds humor and a different texture to a chart otherwise dominated by darker tones and angular arrangements.