Last updated on December 31, 2025, updated every month.
The December charts are shaped by a wave of comebacks driven by tours, anniversaries, remixes, and viral circulation.
From Incognito’s Nights Over Egypt re-entering club rotations via fresh remix packages, to Oasis, The Kooks, and Linkin Park seeing catalog spikes tied to live activity and social-video exposure, legacy tracks are reclaiming attention across platforms.
TikTok-driven revivals fuel renewed visibility for Jazmine Sullivan, Next, Ida Maria, Jocelyn Brown, and DJ Kool, while holiday cycles push Bryan Adams, East 17, Billy Ocean, and the Crosby–Bowie duet back into heavy rotation.
Big Beat
Death In Vegas retains an iron grip on the Big Beat chart as “Aisha” holds steady at number one, anchoring a lineup that shows remarkable stability through the close of the year.
Armand Van Helden’s “My My My” stays firm in second place, its sleek vocal loops and insistent groove keeping the pace intact as Fatboy Slim’s “Star 69” completes a familiar top three.
Underworld’s “Jumbo” continues to pulse at number four, while Death In Vegas’ “Scorpio Rising” and Groove Armada’s “I See You Baby” preserve their mid-chart positions with unshaken confidence.
The minor reshuffling at the lower end sees William Orbit’s “Barber’s Adagio For Strings” rise to fourteenth, its sweeping melancholy nudging ahead of Basement Jaxx and signaling a renewed affection for crossover electronica.
Meanwhile, The KLF’s trilogy of classics shifts positions yet again, with “Last Train to Trancentral” edging past “Justified & Ancient,” suggesting that nostalgia for their early-’90s peak remains vibrant even in the digital age.
Across the board, Big Beat closes 2025 as a genre rooted in consistency, its heroes holding fast and its legacy cuts refusing to fade from the mix.
2000S Garage Rock
The Garage Rock revival continues its swagger into December, led once more by The White Stripes’ tense rendition of “I Just Don’t Know What To Do With Myself.”
Barely any movement disturbs the upper ranks—Babyshambles’ wistful “Albion” and The Raconteurs’ “Steady As She Goes” remain locked in place, emblematic of the scene’s enduring fascination with raw emotion and taut rhythm.
Jet’s “Are You Gonna Be My Girl” trades spots with Black Rebel Motorcycle Club’s “Love Burns,” bringing a subtle shake-up just below the top five while The Hives’ raucous mainstays remain lodged in the heart of the chart.
Further down, a welcome new face arrives as The Kooks debut at number eighteen with “She Moves In Her Own Way,” injecting a sun-dappled Britpop edge into a lineup otherwise built on garage grit.
The single’s breezy charm offers a melodic contrast to the distortion and snarl surrounding it, a late-year surprise that broadens the playlist’s tone without breaking its spirit.
With most positions solidifying, December’s chart feels less like upheaval and more like a confident reaffirmation of guitar music’s instinctive pulse.
Britpop
Britpop ends the year as it began—with The Stone Roses’ “Sally Cinnamon” shimmering comfortably at the summit.
Oasis’ “Some Might Say” and Saint Etienne’s “You’re In a Bad Way” complete an opening trio that defines the era’s optimism and melodic craft.
Momentum remains steady through the top ten, though a notable re-entry stirs the close of 2025 as Oasis return with “Don’t Look Back in Anger,” sliding in at number twenty.
Its timeless chorus and crowd-unifying spirit feel like an encore to the band’s enduring presence elsewhere on the chart, with half a dozen titles reaffirming their unmatched grip on the Britpop canon.
The rest of the list stays true to its golden-age character—Cast, James, and Black Box Recorder hold firm—leaving the sense of a scene comfortable in its heritage yet still capable of quiet renewal.
As the curtain falls on the year, Britpop remains a nostalgic constant, proudly humming to itself in familiar major chords.
90S Sophisti-Pop
Within the refined world of 90s Sophisti-Pop, the mood shifts just slightly as Chris Rea’s “Auberge” continues its reign, a cool, steady drive through winter’s close.
Molella’s “With This Ring Let Me Go” stays at number two, keeping its continental flair alive beside Sade’s “Kiss of Life,” still gliding effortlessly in third.
The key change comes from Rea again, as “Girl in a Sports Car” climbs sharply to fourth, reinforcing the singer’s quiet dominance of the genre’s upper tier.
Everything But The Girl’s “Missing” and a trio of Sting compositions remain vital mid-chart fixtures, the latter proving the enduring magnetism of polished introspection.
Basia and The Beautiful South maintain a graceful balance in the lower half, their presence underscoring the sophistication and songwriting subtlety that define this curated landscape.
The closing chart of 2025 paints Sophisti-Pop as timeless—elegant, unhurried, and forever cruising in smooth control.
2010S R&B
R&B in the 2010s collection finds itself in a moment of expansion as Kendrick Lamar’s “All The Stars” retains its throne, a blend of cinematic scope and sharp lyrical precision that continues to resonate.
Asap Rocky’s “Everyday” edges upward into second, overtaking Jorja Smith’s luminous “Blue Lights,” while the rest of the upper half holds steady in glossy equilibrium.
The chart’s most exciting movement comes near the close, where The Weeknd re-enters with “Blinding Lights” at seventeen—a late surge that reasserts his global dominance and reconnects the decade’s R&B with its neon-hued pop sensibilities.
Following close behind, Jazmine Sullivan’s “Bust Your Windows” storms in at eighteen, its cinematic revenge narrative and powerhouse vocal performance cutting through the polished calm of its neighbors.
Billie Eilish and Khalid’s “Lovely” completes the trio of fresh arrivals, a hushed yet affecting closer that tilts the mood toward introspection.
Together these entries bring a sense of narrative renewal to an otherwise stable field, suggesting that emotional honesty and genre fluidity continue to define R&B’s most enduring decade.
Neo-Mellow
Neo-Mellow ends the year in tranquil balance, with Gary Jules’ haunting “Mad World” maintaining its gentle reign at number one and Jason Mraz’s “I’m Yours” holding second place in unshakable calm.
Keane continue to occupy twin high ranks as “Everybody’s Changing” and “Somewhere Only We Know” remain locked in at third and fourth, their melancholy melodies defining the chart’s emotional center.
Michelle Branch’s pair of early-2000s staples, “All You Wanted” and “Everywhere,” linger just beneath the upper tier, emblematic of the era’s soft-edged sincerity that this genre celebrates.
The most notable shift sees Craig David’s “Unbelievable” rise to ninth, overtaking Dido’s “Thank You,” a subtle change that freshens the mood while maintaining the same understated warmth.
Otherwise, the order remains a portrait of constancy, closing 2025 with the serenity and melodic comfort that have long made Neo-Mellow a haven of reflection amid pop’s restless churn.
P0St-Disco
Post-Disco takes on new life as the year turns, with Incognito’s lush “Nights Over Egypt” debuting straight at number one to unseat long-time leader “Just a Touch of Love” by Slave.
Its ascent marks a refined evolution of the genre’s lineage, channeling classic soul textures through late-’90s production polish and setting a cosmopolitan tone for December’s chart.
Imagination’s “Just an Illusion” holds strong in second, proving the era’s glossy sensuality remains evergreen, while The S.O.S. Band and Club Nouveau preserve their mid-chart command with their signature rhythmic poise.
David Grant’s duet “Could It Be I’m Falling in Love” arrives at number seven, adding a note of British elegance and romantic restraint to the otherwise American-dominated lineup.
Patrice Rushen, Evelyn “Champagne” King, and Shalamar continue to orbit the lower half, their enduring appeal demonstrating how deeply this sleek blend of funk and soul still grooves within modern playlists.
By year’s end, Post-Disco stands reenergized—vintage in feel but newly illuminated by contemporary reinterpretation.
Yacht Rock
Yacht Rock sails through December with few surprises, its surface glassy and calm under a fading winter sun.
Neil Diamond’s “Hello Again” remains the quiet ruler at number one, its sentimentality untouched, while George Benson’s “In Your Eyes” and Chicago’s “Hard to Say I’m Sorry” continue to glide smoothly just beneath.
The fleet of soft-rock mainstays—Michael McDonald, the Eagles, Don Henley, and Fleetwood Mac—keep the rhythm steady, their precision harmonies and polished arrangements defining the genre’s effortless appeal.
Only one newcomer disturbs the familiar horizon: Billy Ocean’s tender “Suddenly,” arriving at number twenty, its romantic lilt and velvety delivery a perfect bookend to his earlier chart triumphs.
The track’s graceful re-entry lends a touch of nostalgia to an otherwise unshaken chart, reaffirming that Yacht Rock’s charm lies in its smooth continuity and timeless emotional ease.
As 2025 closes, the genre’s compass still points to calm waters and sentimental horizons.
Diva House
Diva House experiences a radiant reshuffle as Incognito’s “Nights Over Egypt” ascends dramatically to number one, displacing CeCe Peniston’s “Keep On Walkin’” after its lengthy tenure at the top.
The new leader brings a sultry sophistication to a chart otherwise brimming with euphoric anthems, introducing a lush, jazz-infused texture that broadens the palette of dance-floor glamour.
Peniston, La Bouche, Cappella, and Corona maintain formidable presence through the upper ranks, their enduring floor-fillers continuing to define the genre’s bold spirit.
Deeper in the lineup, Jocelyn Brown’s classic “Somebody Else’s Guy” makes a long-overdue return at number twenty, its soulful resilience and heartfelt delivery bridging generations of vocal-powered house music.
The overall structure remains buoyant and familiar, shimmering with late-’90s optimism but refreshed by soulful undercurrents that promise longevity.
By year’s end, Diva House reaffirms its power to balance fierce rhythm with emotional depth, its pulse as strong as ever.
Vintage Power Pop
Vintage Power Pop closes 2025 with a minor shake-up among its melodic titans, though Blondie’s “The Tide Is High” remains unmovable at number one, an enduring anthem of sunlit confidence.
XTC advance with “Mayor of Simpleton,” climbing to second and trading places with Squeeze’s “Tempted,” whose classic blue-eyed soul now rounds out the top five.
The remainder of the upper field—Nada Surf, Cheap Trick, and Todd Rundgren—hold steady, their melodic hooks reaffirming the genre’s allegiance to craft and clarity.
Weezer and XTC both gain renewed attention mid-chart, while Blondie’s “Atomic” continues to glitter at tenth, a reminder of new wave’s seamless integration into Power Pop’s sleek frame.
No new entries arrive this month, but the rearrangement among legacy acts infuses just enough movement to keep the playlist vital.
With its shimmering guitars and crisp harmonies, the final chart of the year proves that Vintage Power Pop still thrives on balance—bright, articulate, and eternally catchy.
Eurodance
Eurodance closes out 2025 in a pulse of nostalgia and motion, its chart led once again by Culture Beat’s “Anything,” a track that has become emblematic of the genre’s enduring energy.
The follow-up, “Crying in the Rain,” maintains its hold in second place, cementing Culture Beat’s twin dominance at the top as Dr. Alban’s “It’s My Life” rounds out an unshaken top three.
Strike’s “U Sure Do” and ATC’s global hit “All Around the World” remain the heart of the mid-tier, their shimmering choruses defining the season’s club pulse.
La Bouche’s “Sweet Dreams” climbs slightly, reviving its 1990s heat, while The Outhere Brothers’ “La La La Hey Hey” edges upward in playful defiance of polished anthems around it.
The closing segment sees Scooter’s “Fire” and 20 Fingers’ “Lick It” trading places, small shifts that signal how novelty and nostalgia continue to coexist within Eurodance’s glittering rotation.
December ends not with disruption but with reaffirmation—the beat steady, the synths radiant, and the spirit still burning bright beneath the strobe lights.
Heartland Rock
Heartland Rock greets December with a winter glow and a welcome twist as Bryan Adams ushers in the season with “Christmas Time,” debuting powerfully at number two behind Neil Diamond’s steadfast “Hello Again.”
The appearance of a holiday anthem in this rugged chart feels natural, given Adams’s melodic grit and the song’s timeless warmth.
Bob Seger’s “Hollywood Nights” and “Night Moves” keep the nostalgia alive in fourth and sixth, while Foreigner continues its polished consistency across multiple entries, from “I Don’t Want to Live Without You” to “Urgent.”
Certain mainstays like The Black Crowes and America hold steady, underscoring the genre’s mix of anthemic hooks and road-worn reflection.
With Adams balancing seasonal tenderness and familiar rock muscle, Heartland Rock closes 2025 with both sentiment and strength, reminding listeners that sincerity still drives its enduring appeal.
New Jack Swing
New Jack Swing finishes 2025 on a sultry note, its mix of funk and R&B polish as irresistible as ever.
Stephanie Mills’ “Never Knew Love Like This Before” remains at number one, her soulful presence undiminished as Jodeci’s “Cry for You” and Atlantic Starr’s “Always” round out a steadfast top three.
Tevin Campbell and The S.O.S. Band maintain mid-chart momentum, their smooth rhythms providing the heartbeat of the genre’s late-decade resurgence.
The key arrival comes from Next, whose 2000 hit “Wifey” enters at number eighteen, injecting a modern layer of devotion and groove into a lineup defined by classic swing production.
Elsewhere, BDP’s “Self Destruction” and Bell Biv DeVoe’s “Poison” trade minor positions, showing how social commentary and swaggering energy continue to coexist under the same glossy umbrella.
As the year ends, New Jack Swing proves its dual nature—tender yet tough, streetwise yet romantic—still capable of lighting up the dance floor with timeless finesse.
Post-Grunge
Post-Grunge carries its raw power into December largely intact, with Candlebox’s “Far Behind” leading the way in familiar fashion and Limp Bizkit’s “Behind Blue Eyes” holding steady in second.
The upper half remains loyal to its anthemic balance of intensity and introspection, with Counting Crows’ “Accidentally in Love” and Live’s “Selling the Drama” reinforcing the genre’s melodic side.
Linkin Park’s resurgence continues as “Somewhere I Belong” debuts at number eighteen, bringing nu-metal’s cathartic edge back into the mix and giving the chart a jolt of modern tension.
Third Eye Blind’s “Semi-Charmed Life” slips slightly but retains its influence as one of the scene’s defining crossover hits, its pop sheen still wrapped around darker lyrical themes.
The overall landscape of Post-Grunge remains confident—gritty guitars and confessional tones preserved within a lineage that refuses to lose its voice.
As 2025 concludes, the genre stands as both memory and motion, evolving just enough to keep its spirit alive.
Trip Hop
Trip Hop ends the year in hypnotic poise, led again by Death In Vegas’ “Aisha,” a track that continues to define the genre’s shadowy allure.
Zero 7’s “Destiny” holds at second, its silken textures unbroken, while Roots Manuva’s “Witness [1 Hope]” climbs to third, injecting lyrical grit into an otherwise ethereal landscape.
Portishead’s “All Mine” and Björk’s “I Miss You” trade quiet positions mid-tier, the former’s cinematic unease complementing the latter’s playful abstraction.
Deeper in the list, subtle movements among Morcheeba, Massive Attack, and Everything But The Girl suggest a broadening palette—Trip Hop shifting gently between introspection and rhythmic sensuality.
Even as familiar names dominate, the shuffling of Björk’s catalog across multiple slots underscores her continued magnetism in this textured space.
By December’s close, the genre feels less like a ranking and more like a mood—slow-burning, layered, and endlessly immersive.
80S New Wave Pop
The 80s New Wave Pop chart finishes 2025 with a shimmering sense of rotation, as Fine Young Cannibals’ “Johnny Come Home” keeps its grip on the summit while Bryan Ferry’s suave “Kiss and Tell” glides into second place, overtaking Sheena Easton’s wistful “Almost Over You.”
Thompson Twins remain a gravitational force, their quartet of entries moving only slightly yet defining the genre’s melodic and emotional range from the anthemic “Hold Me Now” to the sleek optimism of “King for a Day.”
Blondie’s “The Tide Is High” surges anew into the top five, proving that the fusion of reggae-pop and post-punk glamour never truly goes out of style.
Two new arrivals—Living in a Box’s “Room in Your Heart” and Belinda Carlisle’s “Leave a Light On”—breathe late-decade sophistication into the lower chart, adding soft-focus polish to a landscape of angular synths.
Together they lend a romantic warmth to the closing lineup, turning the year’s finale into a celebration of both emotional nostalgia and immaculate production.
New Wave Pop ends 2025 glinting with confidence—still melodic, stylish, and effortlessly cinematic.
Gangster Rap
Gangster Rap closes out the year in near-perfect formation, with Panjabi MC’s “Beware” unmoved at number one, its hybrid of global beats and hip-hop swagger still commanding the street and the spotlight alike.
The upper ranks—Space Jam’s “Hit ’Em High,” 2Pac’s “Toss It Up,” and Ice Cube’s “Check Yo Self”—stay firm, capturing the genre’s enduring mix of bravado and message.
Further down, Fabolous’ “Can’t Let You Go” slides upward while Puff Daddy’s “Can’t Nobody Hold Me Down” and Jay-Z’s triumvirate of hits remain fixtures, proof of the genre’s early-2000s influence echoing into the present.
The biggest reshuffle comes at the base, where Flo Rida’s “Low” and 50 Cent’s “Disco Inferno” exchange places—party-driven reminders of how mainstream rap’s pulse continues to beat within the harder frames of its origin.
The result is a December lineup that radiates authority and familiarity, tracing Gangster Rap’s evolution without losing its edge or attitude.
80S Glam Metal
80s Glam Metal roars into December with its usual gleam of excess and guitar heroics, fronted once again by David Lee Roth’s sun-soaked “California Girls.”
Ozzy Osbourne continues his double dominance with “Bark at the Moon” and “The Ultimate Sin,” while Asia’s “Heat of the Moment” and Foreigner’s “I Don’t Want to Live Without You” preserve the era’s melodic balance between arena muscle and sentimental radio polish.
Def Leppard and White Lion shuffle slightly within the middle ranks, their signature choruses keeping the chart charged with harmonic bravado.
The only newcomer, Foreigner’s vintage anthem “Cold as Ice,” arrives at number twenty, a crisp injection of late-70s rock classicism that ties the timeline together in gleaming symmetry.
By the final week of 2025, the Glam Metal chart glitters with nostalgia—still loud, still proud, and still shining beneath a permanent spotlight.
90S Mellow Gold
90s Mellow Gold drifts into year’s end with familiar warmth and just a touch of holiday spirit, as Leo Sayer’s “When I Need You” continues to reign serenely at number one.
Paul McCartney’s “Hope of Deliverance” edges into second, while Bob Seger’s “Hollywood Nights” and Elton John’s “Runaway Train” animate the upper tier with classic-rock craftsmanship and reflective energy.
Elton’s duet with Eric Clapton lends the chart a jolt of collaboration-era star power, its placement at number four signaling both prestige and timeless appeal.
Further down, The Pretenders’ “2000 Miles” enters at thirteen, bringing understated melancholy and wintry grace to a chart defined by comfort and melody.
Meanwhile, Bryan Adams, Eric Clapton, and Bonnie Raitt continue to embody the genre’s easy charm, their presence a reminder that emotion and restraint never go out of style.
Closing the year, Mellow Gold stands as a gentle archive of enduring voices, where sentiment and songcraft converge under a soft seasonal glow.
Old School Hip Hop
Old School Hip Hop concludes 2025 with its signature mix of rhythm, rebellion, and playful showmanship, led once more by the all-star anthem “Hit ’Em High” from *Space Jam*.
Newcleus’ “Jam On It” climbs to second, reclaiming its electro roots and keeping the floor alive with pure 1980s bounce.
LL Cool J holds steady across several placements, his charisma continuing to thread through the genre’s foundation from “Loungin” to “Ain’t Nobody.”
Public Enemy remains omnipresent, their socially charged catalogue still peppering the lineup from “Fight the Power” to “He Got Game,” the political heartbeat beneath the party beats.
At the base of the chart, DJ Kool’s “Let Me Clear My Throat” makes a vibrant entrance, infusing the set with live energy and infectious call-and-response that remind listeners where hip-hop’s communal roots truly lie.
As the curtain closes on 2025, Old School Hip Hop remains ageless—still raw, still jubilant, and forever foundational.
Boy Bands Retro
Boy Bands Retro ends 2025 on a sentimental high, with All-4-One’s “I Can Love You Like That” rising to the top and gently displacing their own “I Swear,” making for a self-handed torch-pass between timeless slow-jam standards.
Bell Biv DeVoe’s “Poison” and Color Me Badd’s “All 4 Love” continue to hold third and fourth, bridging the swagger of new jack swing with the tender harmonies that defined the 1990s crossover era.
A1’s “Like a Rose” climbs within the top five, balancing glossy teen-pop polish with a touch of acoustic sincerity, while Let Loose and the Jonas Brothers maintain steady mid-chart momentum.
The key emotional pivot arrives at number nineteen, where East 17’s classic “Stay Another Day” re-enters, its wintry orchestration and poignant lyricism reminding listeners how deeply boy-band balladry can still resonate decades later.
As the year closes, the chart feels both nostalgic and restorative—a soft-focus reflection of harmonized devotion that continues to echo through pop’s memory.
Indie Rock
Indie Rock wraps up the year with its gaze turned skyward as Sigur Rós’s “Hoppípolla” maintains its luminous hold at number one, its cinematic swell untouched by shifting tides below.
LCD Soundsystem’s “All My Friends” edges to second, a telling rise that underscores the song’s growing legacy as a modern classic of emotional release and rhythmic build.
Mono’s “Life In” drops gently to third while Gerry Cinnamon and Franz Ferdinand round out a top five rooted in both introspection and defiance.
Hot Chip continue to populate the middle ground with layered electronic warmth, but the most striking new arrival belongs to Ida Maria, whose “I Like You So Much Better When You’re Naked” bursts in at fourteen—a cheeky, unapologetic jolt of energy amid the genre’s stoic restraint.
Her appearance re-energizes a list otherwise anchored in steady veterans like Interpol and Pavement, whose continued presence reaffirms Indie Rock’s cyclical blend of melancholy and reinvention.
As 2025 closes, the chart hums with the genre’s signature duality: emotionally vast yet bracingly human.
Girl Groups
Girl Groups close 2025 in full harmony, with Jade’s “I Wanna Love You” extending its reign at number one, proof that vocal unity and soulful intent still define the category’s essence.
SWV’s “Can We” ascends to second, reclaiming ground with its blend of sensuality and swing, while No Angels and The Veronicas sustain the international pop spark that keeps the upper tier vibrant.
The real story of the month lies in the influx of legacy and sentiment near the close: The Pussycat Dolls enter at eighteen with “Stickwitu,” a modern torch song of loyalty that adds contemporary warmth to the chart’s timeless emotional palette.
En Vogue echo their own history with “Hold On” returning at nineteen, followed by Sugababes’ atmospheric “Shape” at twenty, a late-era entry that bridges R&B craftsmanship with pop sophistication.
Together these additions weave old and new into a seamless continuum, reaffirming that the girl-group tradition remains one of evolution through emotion—polished, passionate, and proudly melodic.
Pop Dance
Pop Dance strides into December with little turbulence, its rhythms holding strong as Loud Luxury’s “Body” continues to dominate the floor with effortless cool.
Lost Frequencies and Supermode remain fixed behind it, ensuring that melodic precision and nostalgia-tinged euphoria define the chart’s upper stretch.
Avicii maintains a triple presence that keeps his posthumous influence vivid, while Gorgon City, Deadmau5, and DJ Snake uphold the sleek cross-genre pulse that has turned club anthems into enduring pop fixtures.
The month’s notable new arrival is Sigma’s “Rudeboy” at number nineteen, a drum-and-bass surge that injects grit and underground vigor into an otherwise glossy lineup.
Its placement signals how Pop Dance remains porous and adaptable, forever ready to absorb the energy of newer electronic sub-currents without losing its mainstream polish.
Closing out 2025, the genre’s pulse remains unwavering—bright, kinetic, and globally attuned.
Neo Soul
Neo Soul finishes the year in radiant equilibrium, with Gnarls Barkley’s “Who Cares” still perched at number one, its blend of philosophical cool and vintage groove setting the tone for December’s introspective calm.
De La Soul’s “All Good?” and Erick Sermon’s “Music” retain their grounding presence just beneath, keeping the chart tethered to funk roots and lyrical warmth.
Aaliyah continues her graceful double presence, with “If Your Girl Only Knew” moving past “Hot Like Fire,” a shift that subtly reframes her dual influence within the genre’s lineage.
The major newcomer is Aretha Franklin’s “Here We Go Again,” entering at number twelve—her late-career confidence and soulful bite cutting clean through a field defined by smooth textures.
Her arrival bridges generations, connecting the pioneering essence of soul to its 21st-century descendants like D’Angelo and Mary J. Blige.
By year’s end, Neo Soul remains self-assured and deeply expressive—a genre forever caught between heart and intellect, groove and grace.
Art Rock
Art Rock closes 2025 with a rare and evocative reshuffle that captures both reverence and experimentation. The surprise arrival of Bing Crosby and David Bowie’s “Peace On Earth / Little Drummer Boy” at number one transforms the chart into an unexpected meeting of eras—Bowie’s avant-garde lean tempered by Crosby’s timeless warmth. The duet’s seasonal serenity offers a moment of quiet reflection amid the genre’s usual artful complexity.
Kate Bush holds steady in second with “Army Dreamers,” her ethereal voice still the genre’s emotional axis, while XTC’s twin appearances in third and fourth anchor the chart in precise pop intellect. Todd Rundgren’s irrepressible “Bang The Drum All Day” slides gracefully to fifth, while Radiohead, Bowie, and Electric Light Orchestra maintain an elegant middle stretch that underscores Art Rock’s blend of eccentricity and craft.
The lower ranks open their doors to new textures: Pink Floyd’s “Take It Back” at fifteen folds ecological allegory into lush production, Laurie Anderson’s minimalist masterpiece “O Superman” glides in at eighteen, and Spandau Ballet’s cinematic “Gold” brings a gleaming theatricality to nineteenth. Their presence collectively expands the genre’s borders, showing how conceptual music continues to evolve between the visual, the cerebral, and the profoundly human.
As 2025 fades out, Art Rock remains a study in ambition—restless, intelligent, and always searching for new light in familiar constellations.
2010S Trap
2010s Trap rounds out the year with poise and polish, its core hierarchy unmoved yet undeniably alive. Lil Wayne’s “She Will” holds the summit, unchallenged in its fusion of menace and melancholy, while Enrique Iglesias’ “Dirty Dancer” and Nafe Smallz’s “Good Love” maintain the sleek sensuality that defines the chart’s upper register. “Mona Lisa,” another Wayne showcase, solidifies his duality as both hitmaker and storyteller.
Kanye West’s “Runaway” edges upward again, its minimal piano and self-lacerating tone still cutting through a genre often driven by bravado. Don Toliver’s “No Idea” continues its slow climb, an atmospheric outlier nestled between the heavyweights of hip-hop’s modern renaissance.
The lone new addition, Nicki Minaj’s “High School,” lands at number twenty with cinematic flair and lyrical heat, its presence reaffirming her chemistry with Lil Wayne and her command of trap-pop narrative. With her arrival, the genre’s spectrum stretches once more—from the introspective to the extravagant, from digital pulse to human confession.
By year’s end, Trap feels less like a trend than a finely-tuned mood: introspective, opulent, and unwaveringly in control of its sound.
Nu Metal
Nu Metal’s December chart stands as a monument to controlled chaos, its top tier dominated by enduring heaviness. Candlebox’s “Far Behind” retains its grip at number one, its grunge-tinged melancholy continuing to strike a chord decades on. Ministry’s “N.W.O.” rises to second, a timely resurgence of industrial fury that lends political muscle to the genre’s volatile spirit.
Limp Bizkit’s “Behind Blue Eyes” eases into third, its cover’s uneasy sincerity contrasting sharply with the aggression below it. Kittie’s twin entries, “Brackish” and “Charlotte,” climb steadily, their defiant energy reinforcing the band’s renewed recognition in a scene once dominated by machismo.
Further down, Deftones’ textured triptych—“Change,” “Be Quiet and Drive,” and “My Own Summer”—cements their atmospheric reign, while P.O.D. and Faith No More continue to embody Nu Metal’s melodic counterweight.
By contrast, Nine Inch Nails’ “The Perfect Drug” slips to twentieth, closing the list with avant-garde disquiet rather than volume. The December configuration feels definitive: a landscape where anger and artistry coexist, as vital in reflection as in rebellion.
Post-Punk
Post-Punk ends 2025 in a state of poised melancholy, led once again by Talking Heads’ “This Must Be the Place (Naive Melody),” its warmth now less nostalgic than eternal. The Smiths’ “There Is a Light That Never Goes Out” remains a heartbeat behind, proving that romantic fatalism still has its place beneath the genre’s intellectual veneer.
XTC’s twin pillars—“Mayor of Simpleton” and “Generals and Majors”—stand firm in third and fifth, their crisp arrangements linking post-punk’s cerebral core to its pop tendencies. The Go-Betweens’ “Streets of Your Town” continues to shimmer in fourth, its sunny melancholy quietly undisturbed.
The month’s only new entry, The Mission UK’s “Butterfly on a Wheel,” glides into ninth with elegant sorrow, its gothic romanticism widening the chart’s emotional range while maintaining the movement’s tension between detachment and devotion.
Elsewhere, Talking Heads’ recurring presence—from “Love for Sale” to “The Lady Don’t Mind”—serves as the genre’s rhythmic spine, while New Order and The Smiths populate the lower end with enduring dance-floor introspection. The December edition confirms that Post-Punk remains more than a style—it’s a worldview, oscillating forever between irony and ache.