Albums: Any album that was officially released during the calendar year of 2025 is eligible. Also, with the evolving nature as to what is considered a full album release in modern times (“full” records seem to span anywhere between 7 and 700 songs these days), I’m also considering extended-play releases as eligible. Neither compilation albums or today’s endless slew of reissues/deluxe editions of a previously released album are eligible.
25) Kip Moore- Solitary Tracks (Virgin)
Solitary Tracks unequivocally provided Kip Moore with a new career high, and restores the artistic momentum provided by 2020’s excellent Wild World. His country labeling has distracted the general public from realizing that Moore has actually been one of the most consistently pure rock artists of the last decade. His electrifying Heartland Rock sound and now-cliched Bruce Springsteen comparisons have been a constant thread through his artistic narrative, and those qualities, combined with his gifted lyrical craft are given their most fully realized showcase to date throughout Tracks. As the album title suggests, this is a pensive and reflective body of work, with Moore delivering some of the most striking rock ballads I’ve heard in eons, from the title track and “High Hopes” to the gorgeous “Pretty Horses” and the wrenching “Bad Spot”. These moments and many others find Moore delivering new peaks for his talents as a storyteller and both a solo and collaborative songwriter. If you’re using Springsteen albums as a litmus test, the bulk of the record leans far closer to Tunnel of Love, than say The River. A high-water mark for rock records in the year 2025.
My Top Three Tracks: “Solitary Tracks”, “Pretty Horses”, “Bad Spot”
24) Lola Kirke- Trailblazer (One Riot)
The fourth studio outing from this singer and actress is a stirring revelation, both for newly discovered listeners as well as those who have previously followed her enigmatic recording career to date. She continues to wrap her confessionally incisive songwriting within a warm blanket of sounds ranging from country and rock to soul and folk, while her resonant vocals recall everyone from Rosanne Cash to No Doubt-era Gwen Stefani. It’s a complex and boundary-less sonic identity that frames the perfect showcase of an artistic narrative that vibrantly combines raw emotion, rich imagery, nostalgic but bittersweet memories, and sardonic humor. Compositional pairings with the likes of co-writers like Daniel Tashian, Liz Rose, Caitlin Rose, Natalie Hemby, and Ashley Monroe further strengthen the diverse reach of the music, combining country and folk directness with an illuminating pop-worthy hypnotism. Kirke’s been quietly living the name of this album for sometime now, and this record deserves to be the moment that announces her presence to the wider universe.
My Top Three Tracks: “Raised By Wolves”, “Marlboro Lights & Madonna”, “2 Damn Sexy”
23) Lorde- Virgin (Republic)
Virgin found Lorde returning after another typically long hibernation between records, and witnessed her pivot back to the darker, more introspective aesthetics that she traded in for the sunnier vibes of 2021’s Solar Power. With her songwriting as cutting and gripping as ever before, these songs find the artist unpacking the weighty moments that have come to define the back-half of her twenties: from the lukewarm reception of Power and messy romantic and familial relationships, to personal reckonings with both an eating disorder and her own gender identity. Given the gravity of both these subject matters and her talent as a performer and songwriter, it should come as no surprise that the collection resulted in some of the most captivating pop and rock songs so far this decade. Virgin is both a return to the origins of Lorde’s catalog, but also a bold artistic step forward given the swath of uncharted lyrical territory it tackles. For those thinking she never fulfilled the potential heights suggested by her debut, you’ve got some catching up to do..
My Top Three Tracks: “What Was That”, “Man of the Year”, “Favourite Daughter”
22) The Lumineers- Automatic (Dualtone)
Automatic follows in the footsteps of its 2022 predecessor, Brightside, reuniting the pair with producer David Baron, who led them to their most simplistic production to date after the audacious narratives of 2019’s concept record, III. Baron’s stripped production and the pair’s increasingly-plaintive lyrics on these songs require several listens to completely immerse yourself in, but rest assured that a gorgeously intimate emotional impact awaits. (Wesley Schutlz’s lead vocals remain among the most vibrantly resonant in all of music.) Brightside always felt a bit incomplete, almost like a demo, as if Baron and the band were trying too deliberately to distance themselves from the weighty arrangements and themes of III. Automatic, despite being recorded in a mere fraction of the time it took to create Brightside, feels like the more wholly-realized collaboration. It strikes a desirable balance that remains steadfast in a simpler soundscape, but without forgoing the meaty subjects and haunting emotions of the band’s compositions and vocals. Quite simply, this record re-centers The Lumineers back to the stirring sweet-spot that gave them the longevity they achieved once all the (well-deserved) “Ho Hey” buzz inevitably wore off.
My Top Three Tracks: “Asshole”, “You’re All I Got”, “Plasticine”
21) The Head and the Heart- Aperture (Universal)
Aperture refreshingly played as the re-centering and return-to-form that The Head and the Heart so critically needed in 2025. Produced solely be members of the band, and fully enveloped in the warm, rootsy trappings of their original folk-rock soundscape, this is indeed a reemergence of the ensemble that core listeners originally fell in love with on their titular bow back in 2011. The group has always been deeply introspective and observant of the complicated world around them, but new tracks like lead single, “Arrow”, “After the Setting Sun”, “Blue Embers”, “Time With My Sins”, and more all welcome new shades of romance, reflection, solitude, and full-circle darkness-to-light moments into their already-sturdy catalog. They also sound wholly rejuvenated vocally and sonically, with their signature harmonies positively glowing, and their pop-sprinkled but utterly organic and folky arrangements splendidly radiating from the speakers. This record digs deep into your soul, stirs it and shakes up all of its complex emotions, and then jubilantly soothes it back to its most fulfilling state.
My Top Three Tracks: “Time With My Sins”, “Arrow”, “Fire Escape”
20) Turnpike Troubadours- The Price of Admission (Bossier City)
Their six-year drought of recordings may have been a painful one, but with the arrival of The Price of Admission, just eighteen months after predecessor A Cat in the Rain, it feels safe to declare that the Turnpike Troubadours are back and remain at peak form. They’re still contemporary country music’s best-kept secret, much like they have been for the majority of the past fifteen years. They continue to demonstrate a steadfast commitment to their honest and gritty country sound, even as they subtly swayed toward a more polished mainstream production standard over time. These standards have rightfully earned the Troubadours one of the most loyal fanbases and some of the most consistent acclaim of the past two decades. And those diehards are rewarded for their loyalty multiple times over through Admission, especially on fiddle-fueled jaunts like “Be Here”, dusty honky-tonk throw-downs like “Ruby Ann”, the wrenchingly mournful “On the Red River”, and a firecracker jam like “The Devil Plies His Trade (Sn 6 Ep 3)”, where an intersection of Appalachian bluegrass and blistering country-rock makes for a tremendous full-band showcase. And as ever before, even the more tempo-driven moments benefit from the beautiful dichotomy provided by Evan Felker’s sly, multi-dimensional chops, with the lonesome undertones of his singing never too far out of reach.
My Top Three Tracks: “On the Red River”, “Searching For A Light”, “The Devil Plies His Trade” (Sn 6 Ep 3)”
19) Alison Krauss & Union Station- Arcadia (Down the Road)
Through the decades, the gathering of Alison Krauss and her exquisite bluegrass band, Union Station in the recording of a studio album has increasingly become a rare and special occasion. It takes but one line into the wondrous album opener and first single, “Looks Like the End of the Road” to reaffirm that, despite all her other rewarding endeavors, Krauss’ voice always sounds most naturally majestic when singing with the boys of Union Station. Hearing this woman emote remains one of the most entralling experiences in all of modern music. The same could be said for the musicianship of bandmates Jerry Douglas (dobro), Ron Block (guitar/banjo), Barry Bales (bass) who all remain legendary in the mastery of their respective instruments. They themselves may no longer technically qualify as “new” grass, but as long as they continue to produce records like Arcadia, they remain the gold-standard for all others to follow in that sphere. And while past trends may indicate the next step on the journey may be another decade down the road, here’s hoping the end of the road is nowhere on the map for Alison Krauss & Union Station.
My Top Three Tracks: “Looks Like the End of the Road”, “Granite Mills”, “Forever”
18) Molly Tuttle- So Long Little Miss Sunshine (Nonesuch)
Rest easy, bluegrassers. The sky is not falling, and no, Molly Tuttle did not abandon her artistic path or abort all of her critical goodwill on So Long Little Miss Sunshine. But you’re correct, she also didn’t unveil a traditional, or even a merely progressive bluegrass set with it either. What she did do however is expand gorgeously and exponentially upon the potential that her prodigious talents have always afforded her. The production from Jay Joyce is never anything but organically crisp and spacious, clearing the path for Tuttle, her angelic pipes, and pristine instrumental talent to excavate an expanded sonic space that capably spotlights a nimble balance of both her formative roots and exploratory artistic curiosities. So Long is a sparkling gem, be it bluegrass, pop, folk or otherwise. It affirms that Molly Tuttle’s ability to balance the slick economies of pop song-craft with authentic musicianship is as astute as her exquisite vocal, instrumental, and lyrical talents. Clearly, these rich qualities will remain pillars of her catalog, regardless of stylistic direction, and this album is another impressive leveling-up for one of today’s most gifted artists.
My Top Three Tracks: “Golden State of Mind”, “I Love It”, “That’s Gonna Leave A Mark”
17) Twenty One Pilots- Breach (Fueled By Ramen)
Breach, the eighth studio release from alt-rockers Twenty One Pilots, as well as the purported conclusion to the cryptic narrative arc that began with 2015’s Blurryface, continues the unique legacy of the band within the popular music story of the 2010s and 2020s, i.e. a visionary act that has crafted new ways to marry the unconventional with the conventional. It’s a setlist that presents the reliable, vintage Pilots sound that we’ve come to expect and enjoy: a dizzying blend of classic rock, alt-rock, Hip-Hop, and pure pop, among other influences. Per usual, all of this joyous sonic chaos is anchored by Tyler Joseph’s guttural storytelling and idiosyncratic lyricism. For those of us uninitiated in the most devoted cult-levels of 21P fandom, even the deepest interpretations of this album are probably still rather surface-level. But if anything, this fact only elevates the long-term intrigue of the album, and the band’s overall catalog. It leaves an entirely untapped potential of revelatory glory still left to discover, through the numerous Easter eggs, expensive music videos, and other pieces of astutely-insulated lore that they’ve meticulously crafted. Frankly, that’s a pretty damn exciting prospect to consider as a listener.
My Top Three Tracks: “Drum Show”, “Garbage”, “Days Lie Dormant”
16) Trisha Yearwood- The Mirror (MCA)
For three-and-a-half decades, Trisha Yearwood has reigned unrivaled as the best friend a country songwriter could ask for. As the genre’s premier vocalist, she amassed one of the most cherished album catalogs of all time, and did so as a champion for a golden scene of songwriters who graciously supplied her with what would become career classics for both them and her. A well-kept secret however was that Yearwood herself had songwriting aspirations when she first arrived in Nashville in the mid-1980s, but it was a talent she left mostly buried…until The Mirror. It not only features her first of any co-written material, but comprises only songs with her name in the writing credits. It represents a brave artistic choice, both on par with her lofty reputation, but also risky precisely because of that reputation. But, unsurprisingly, it’s a high bar that both Yearwood and The Mirror more than clear. Trisha’s physical voice has lost none of its magic luster with time, while the production strikes that polished but sturdy early-2000s contemporary country sweet-spot. Yearwood has this time composed rather that merely assembled a rich body of songs that more than live up to her normal excellence, lyrically, thematically, and narratively. Another shining triumph and a generous bonus in an already-staggering career.
My Top Three Tracks: “Drunk Works” with Hailey Whitters, “Fragile Like A Bomb”, “When October Settles In”
15) Cam- All Things Light (RCA)
An undeniably turning-point record for this country-pop chanteuse, the very aptly-titled All Things Light luminously fulfills the prophecy of 2020’s predecessor, The Outside, which solidified that her artistic ambition and sonic vision would take her far beyond the Nashville scene that initially broke her. This record positively glows and inspires thanks to Cam’s pure, honeyed vocals, the enthralling harmonies, the golden folk-pop production, and the especially weighty and reflective songwriting surrounding life’s greatest mysteries and purposes. The stylistic brushstrokes beautifully and cohesively cascade between everything from funky 80s grooves and eerie pop-noir to lilting cowgirl balladry and slinky folk-pop that recalls Jewel at her peak. And her voice is utterly captivating in any of these settings, with a special allure that serves as an anchor throughout the record. It’s a gorgeously bold creative and life statement, and really serves as Cam’s coming-out party as one of the adult-pop scene’s most potent and taken-for-granted talents. May this refreshing and endearing artist no longer be slept on.
My Top Three Tracks: “Alchemy”, “Everblue”, Look at the Pretty Girls!”
14) Haim- I Quit (Columbia)
The fourth studio effort from Haim not only marked the end of a five-year recording drought for the band, but also the culmination of a turbulent transition period. These changes unavoidably inform the overall framework of I Quit, not only in the subtle new sonic ground that is explored amidst the classic Haim rock blend of the alt and soft varieties, but especially within the deep well of emotions excavated throughout the song’s subject matters. The band’s spirit remains firmly rooted in the fierce, feminist confidence and conviction that’s always been there, but there’s also an intriguing shadow of brave vulnerability lingering up above like never before. They don’t shy away from any of these fears, insecurities, guilt, anger, or bitterness that color the varying phases of a relationship’s end. The most rewarding highlight of I Quit however proves to be the vocal showcase that so many of the album’s most guttural moments provide for Danielle Haim. She’s always been a captivating vocalist, however tracks like “Gone”, “Cry”, and “Love You Right” represent new peak deliveries for her, and unveil additional layers of raw beauty residing in her unique vocal range. These moments serve as the bedrock of the record, as well as new centerpieces in Haim’s overall artistic arc to date.
My Top Three Tracks: “All Over Me”, “Cry”, “Love You Right”
13) Elton John & Brandi Carlile- Who Believes In Angels? (Interscope)
A collaborative album of powerhouse proportions, the musical union of Elton John and Brandi Carlile seems to strike pure magic in every way imaginable. From the glorious harmonies of their equally passionate and powerful vocals, to the creative vision shared between them, producer Andrew Watt and Elton’s legendary lyrical muse, Bernie Taupin, to the perspective shared by their individual paths as queer musicians in two vastly different generations. It all just blends together in such gorgeously seamless fashion. In so many prominent ways, Carlile represents the realization of all the foundational work, both creatively and socially, achieved by Elton in his own era of popular music. She sounds both proud and positively giddy to create this music with her hero, and John likewise sounds just as overjoyed and creatively invigorated to help one of his successors carry forward the magic of his music. Angels sounds like both a vintage Brandi record, and a vintage Elton record; the precise kind of musical lovechild you’d expect the intersection of their catalogs to sound like. It offers all of the essential ingredients that every high-water rock album should provide, delivering a fun, colorful, and passionate vibrancy on a scale that only the greatest musical moments can provide. If there are indeed angels to believe in, they’re certainly singing along to this.
My Top Three Tracks: “The Rose of Laura Nyro”, “Who Believes In Angels?”, “When This Old World Is Done With Me”
12) Jason Isbell- Foxes In the Snow (Southeastern)
Foxes in the Snow is another thrillingly beautiful entry in one of the greatest runs of albums of this era and from any other in music history. It’s a remarkable document of a glorious love story, both what made it so great, and the devastation and ripple effects felt by its conclusion. It gorgeously balances sadness and regret with appreciation, acceptance, and ultimately recovery. And all of those emotions live and breathe boldly on the surface thanks to the album’s wisely stripped and rustic arrangements. It makes for an excellent showcase for qualities we already revere Jason Isbell for: his powerful voice, his chilling lyrics, and evocative melodies. But it also demonstrates his raw musicianship, dexterity and range as a guitar player in fabulous fashion as well. The quality and clarity of new producer Gena Johnson’s work is outstanding as well, making this a record primed for your turntable. To hear it on vinyl is a true treat; it sounds like he’s strumming and singing to you directly from your living room recliner. Then there are the songs themselves, tattered with all of the layered contradictions and emotions of the human experience that Isbell is masterful at documenting. Unquestionably another landmark achievement in his storied career.
My Top Three Tracks: “Ride to Robert’s”, “Gravelweed”, “Crimson and Clay”
11) Lucius- Lucius (Fantasy)
Arriving three years after their dazzling dance-tinged Second Nature (our 2022 pick for the year’s best, BTW), Lucius’ self-titled record found singers Jess Wolfe and Holly Laessig reunited with original bandmates, Dan Molad and Peter Lalish. So it was only fitting that it also found the band returning to their core rock soundscape, while unveiling another stunning harvest of songs that continually excavate the emotions caused by life’s one constant: change. Deeply resonant and thoughtful as always, these tracks tap into life’s continual cycles. There’s the mortality of both our relationships, and ourselves, as well as the crucial people and places that center us throughout times of doubt. There’s celebration of the nostalgic memories and regrets trapped in the past that can also bring us comfort and guidance in the present. And of course, there’s plenty of romance sprinkled on in between. Never an act to stagnate, neither topically or musically, Lucius both narrates and accomplishes beautiful new transformation and growth, all while never losing site of the artistic pillars that have made them one of the very best bands to be found across any corner of the popular music landscape.
My Top Three Tracks: “Gold Rush”, “Stranger Danger” with Taylor Goldsmith, “Old Tape” with Adam Granduciel
10) Miley Cyrus- Something Beautiful (Columbia)
With 2023’s Endless Summer Vacation and its lead single, “Flowers”, Miley Cyrus finally achieved the dominant, worldwide pop moment that had been eluding her. If you thought such widespread mainstream success would lead her down a more conventional path, you obviously don’t know Miley Cyrus very well. Her ninth studio effort, Something Beautiful is as unique an artistic swing as she has made thus far: a visual concept album that she asserts was directly inspired by Pink Floyd’s The Wall. Not exactly the obvious ingredients for more pop domination in 2025, but definitely the makings for a fascinating and ambitious record that Cyrus pulls off impressively well. This is not Miley’s most accessible album, but it is arguably her most deeply inspired and gorgeously executed. Tied together by abstract pop interludes that craft a luminous backdrop of dancey disco beats, smooth jazz stylings, and a glitzy, orchestral rock tapestry, these performances push Cyrus in all the very best ways: vocally, thematically, musically, and emotionally. It’s an avant-garde leaning, but never-too-artsy, smorgasbord of euphoric pop drama. She experiments sonically with both grace and guts, and without ever sacrificing the reliable contagion of her catalog. Something Beautiful is indeed just that.
My Top Three Tracks: “More to Lose”, “Easy Lover”, “Walk of Fame” featuring Brittany Howard
9) Margo Price- Hard Headed Woman (Loma Vista)
To say that Hard Headed Woman proves to be the superlative return-to-roots event that her following had hoped and predicted it to be would be one of the year’s biggest understatements. Margo Price has emphatically proven over the past decade that she can conquer any musical style she sets out to, and I don’t doubt that she’ll continue to traverse down a sonically meandering and continually rewarding path on future releases. But this record not only proves that she can seamlessly slip back into her core-country clothing at any moment, but also demonstrates that it remains the sphere where she seems to both thrive, and enjoy herself the most. Price reunites with original producer, Matt Ross-Spang, and they immediately pick up where they left off sonically on her 2017 sophomore record. Meanwhile, her innate ability to tap into the perspectives of both genders, and likewise combine the touchstones of the past with a topical POV that is undeniably current and rooted in the challenges and concerns of modern times, makes her a pivotally unique voice, and one that will prove to have the same timeless impact of those who inspired her. It’s another peak performance from an artist who has proven to be one of the most consistent of the current era.
My Top Three Tracks: “Don’t Let the Bastards Get You Down”, “Red Eye Flight”, “Losing Streak”
8) Sabrina Carpenter- Man’s Best Friend (Island)
Pop music fans loved what they heard on Short n’ Sweet, and were hungry for more on Man’s Best Friend. And that’s exactly what Sabrina Carpenter delivers throughout this record. Anchored by her winking songbird vocals, and against a glitzy backdrop of sparkling pop, disco-fried dance–and for a joyous moment, fiddling country–she unleashes another arsenal of infectious, surefire hits. Like Short ‘n Sweet’s track-list before it, this bop-fest finds Carpenter tackling all of the sexual politics of relationships and gender roles with the same cutting hooks, insatiable melodies, and pinches of all-out raunchiness that made its predecessor such an insatiable pop feast. The candy-coated packaging of the keen social observations present in her compositions prevents them from receiving the proper attention for the meaty relevance they carry, but it’s that presentation that also makes them so welcome. They indeed have something to say, but do so in the kind of entertaining, escapism dressing that pop fanatics ravenously crave, especially in today’s depressing social climate and world news-cycle. Turns out these tunes provide further prove that Sabrina isn’t just man’s best friend; she’s a present-day pop-fan’s as well.
My Top Three Tracks: “Tears”, “Go-Go Juice”, “House Tour”
7) Hayley Williams- Ego Death at a Bachelorette Party (Post Atlantic)
With Ego Death at a Bachelorette Party, we found Hayley Williams raising the stakes and impact of her already potent solo efforts dramatically. It’s an overflowing outpouring of moody and introspective songwriting and earthquaking performances that represent some of the most revealing and rocking moments of her entire two decades in the music mainstream. She reckons with a barrage of weighty and varied issues, from the conflict of professional glories and personal devastation, to the conflict of ones’ cultural roots and the matured, sociopolitical viewpoints of their adulthood. Throughout it all, Williams expectedly sets all of this fierce catharsis to undeniably fetching and accessible layers of slick indie-rock riffs, rapturous emo outcries, and bop-worthy beats. It feels like a descendent of albums like Jagged Little Pill and Tidal. A significant rock moment from an artist who is one of that modern scene’s most vital leading ladies, regardless of the iteration under which she releases music.
My Top Three Tracks: “Mirtazapine”, “Ego Death at a Bachelorette Party”, “Parachute”
6) Sam Fender- People Watching (Polydor)
The third full-length from British sensation Sam Fender proved to be his most fully-realized to date, a breakthrough both artistically and also in terms of expanding his deserving rock-star status State-side. Acquiring The War On Drugs’ Adam Granduciel as his primary producer, Fender unveils a wholly fleshed-out version of the indie, modern Heartland Rock identity that has always been the heartbeat of his music. The gorgeously infectious dichotomy formed by his pure tenor vocals and the rollicking anthemia of his sound (which increasingly recalls The Killers’ Brandon Flowers) has never sounded so captivating, thanks to a rewarding batch of songs that find Fender digging deep into his working class, societal reflections and how they inevitably evolve as he achieves the musical celebrity he’s spent years chasing. Like obvious influence Bruce Springsteen and his contemporaries before him, Fender has mastered the classic art of creating music that is both rousingly entertaining and deeply thought-provoking all the same, emphatically announcing him as one of the most pivotal rock breakthroughs this decade. His version of people-watching is far more than a catty past-time; it’s the ingredient for what could become one of the essentially vital musical and social narratives of a maturing generation.
My Top Three Tracks: “People Watching”, “Nostalgia’s Lie”, “Rein Me In”
5) Brandi Carlile- Returning to Myself (Instercope)
In the four years since 2021’s In These Silent Days, Brandi Carlile’s buzz-worthy collaborations have only become more prolific. So, while it undoubtedly is referencing deeper meaning on a personal level, it’s apt that her long awaited solo return is titled Returning to Myself. And, given the rapid-fire communal creating and dramatic production of these other projects, it probably shouldn’t come as a surprise that this also represents Carlile’s most stripped and insular solo album to date. This serves as a fitting showcase for a batch of songs that certainly prove to be among her most personally gutting, with some of the deepest reflections on her career, her family, her friendships, and the messy state of the world. We’re at a moment in her own career arc where it’s indisputable that Brandi Carlile is building a musical legacy on par with that of these heroes she’s been collaborating with. The record’s most pivotal takeaway is its stirring reminder that the most rewarding result of turning inward to one’s need for isolation and independence, is that it ultimately leads you back to the loved ones that elevate your greatest moments, and center you throughout your most turbulent. An aching rock masterwork and emphatic reaffirmation of the special magic at the heart of Carlile’s music.
My Top Three Tracks: “War With Time”, “No One Knows Us”, “A Long Goodbye”
4) Taylor Swift- The Life of a Showgirl (Republic)
Uniting with iconic pop scientists Max Martin and Shellback in the producer’s seat, The Life of a Showgirl proved to be Taylor Swift’s most flamboyant and vibrantly pure pop record since at least 2019’s Lover, and truthfully her 2014 behemoth, 1989. It’s one of those pop albums that immediately feels loaded with potential smashes and memorable earworms. With only a dozen tracks, it easily ranks as Swift’s most concise release in eons, and while we may all appreciate the generous depths of her more prolific and bonus-track-laden releases, it’s incredible how refreshingly brisk and repeat-ready this record feels. There are still deeper, lyrical moments that give the record a solid balance. Ultimately however, Showgirl smartly puts its primary focus on pop music anthemia, and leaves zero doubts that Taylor Swift still knows how to meld her clever songwriting, charismatic deliveries, and sonic instincts to deliver hit-making pop of the very highest order. This is one of her most effortlessly entertaining outings, and one that will undoubtedly be a pop-culture fixture for months, and probably years, to come. It’s precisely the type of album that both the pop scene in 2025, and the stylistic arc of her discography, needed her to release in the present moment.
My Top Three Tracks: “The Fate of Ophelia”, “Opalite”, “Actually Romantic”
3) Amanda Shires- Nobody’s Girl (ATO)
When Amanda Shires and Jason Isbell finalized their divorce this past spring, it marked the split of the golden couple in the Americana music scene, and in many ways signaled the end of an era that brought that movement to its highest levels of mainstream prominence to date. Of course, music fans immediately began speculating as to how the separation would inform future records by both artists. In perhaps the year’s best musical swerve, it was Shires with her ninth solo album who delivered what proved to be the Southeastern-worthy divorce record we expected from her ex. Prior to this, Shires had already assembled a rich body of work, however this release proves to be a pivotal dividing line that transcends her catalog to new levels of impressive greatness. These are some of the most beautifully ominous vocal performances I’ve heard in many a cryptic moon–if ever, and Shires expectedly pairs it with her illustrious instrumental skills, with her signature fiddling sounding as emotionally resonant as ever before. But the most impressive component of Shires’ lethal triple threat certainly proves to be her excellence as a lyricist. Her pen has always been special, and every bit as much on the level of her famous former husband, for whom she’s too long been perceived to be a sidepiece. If you were thinking she wouldn’t go there, well there aren’t many aspects of her marriage or divorce that Shires doesn’t explore lyrically, but she gracefully walks that fine line of vengeful bitterness and messy with aplomb and integrity. More than anything, this record is about Amanda Shires’ own recovery and self-discovery in the process. Nobody’s Girl is not just one of the best break-up albums of its generation, but one of its finest albums, period. This is Amanda Shires’ masterpiece.
My Top Three Tracks: “A Way It Goes”, “The Details”, “Piece of Mind”
2) Tyler Childers- Snipe Hunter (RCA)
Snipe Hunter is truly one of those rare wide-eyed and transformative records that reaches a special upper-echelon of popular music achievement. Tyler Childers reaches new artistic heights in an already impressive career trajectory; his songwriting and storytelling have never felt so equally uninhibited and fully-formed. Rick Rubin’s production is as exquisite and diversely connected with the individual artist he’s working with as it’s ever been, and the musicianship employed here is nothing short of excellent. Childers’ thrilling unpredictable stylistic path continues to find ways to surprise the listener, inserting servings of Appalachian punk, trippy psychedelia, and Eastern influences into his signature blend of gospel, folk, and pre-bluegrass string music, with a dash of ragtime/parlor-hall flare for good measure of course. If it all sounds chaotic on paper, rest assured it is on record as well. But it’s also splendidly captured through Childers’ precise vision and Rubin’s tasteful arrangement. And for all its expansive evolution, Snipe Hunter remains loyally tethered to the pillars that have defined a Tyler Childers album from the very beginning, all while simultaneously reinventing new and fascinating depths as to what defines a Childers album altogether. Which, I suppose, is a definitive pillar of his music in the first place. Simply put, this is a landmark record right out of the gates, not just an album-of-the-year contender, but a body of work that will have a definitive status for decades to come.
My Top Three Tracks: “Eatin’ Big Time”, “Bitin’ List”, “Dirty Ought Trill”
1) Lady Gaga- Mayhem (Interscope)
Mayhem finds Lady Gaga gloriously consolidating her fandom’s hunger for her classic heyday pop sounds with her own diverse well of sonic influences and interests as cohesively as any other record in her vast catalog. The bangers and bops contained throughout are Gaga at her finest, and they’re delivered in a bounty-level quantity, as is the ultimate wish for any classic pop record. While singles like “Disease” and “Abracadabra” and tracks like “Garden of Eden” and “LoveDrug” are the kind of club-ready synth anthems of the highest Gaga order, moments like “Perfect Celebrity” and “Vanish Into You” tip their hats to Bowie’s glam-rock signatures. Meanwhile, “Killah” recalls Prince’s funkiest rock moments and “Zombieboy” is a disco-rock dream that feels like a deliciously torrid, three-way love-affair between Michael Jackson, Blondie and Van Halen. Of course underneath all of this glorious sonic goodness you will find Gaga’s signature social commentary on everything from romance and sexuality, to personal identity and society’s pitfalls, among much else. As the album enters its final arc, the tone shifts to a more pensive one, and while some may argue that this may cut the album’s overall energy off at the knees, to me, it’s what helps make Mayhem such a wholly-rewarding record from Gaga at this stage in her career. In many ways, it signifies the inevitable coming down from the superficial highs of the club-life euphorias tailored to by the beats and sounds of the album’s earlier tracks. On a grander scale, this album’s arc could symbolize the general maturation and perspective that comes when youth ultimately fades into the realities of adulthood. Ultimately, it mirrors the overall trajectory and scope of Lady Gaga’s career to date. A career that’s one of those rare and special pop music stories untethered to the fickle trends and interests of a specific timeframe. Mayhem doesn’t just reign as the year’s very best album, but one of the best of the decade. It’s the exact sort of album an artist wants to achieve almost twenty years into a career. It’s the kind of record that cements a legacy, and feeds it new and vibrant energy to carry into the years, and hopefully decades ahead.
My Top Three Tracks: “Abracadabra”, “Vanish Into You”, “Zombieboy”
Previous: Part I
The 706 