Strange folk, lost pop, disco oddities and, um, Dido – here are the forgotten tracks that became this year’s most replayed revelations
• The 50 best albums of 2025
• More on the best culture of 2025

I grew up listening to the Mamas and the Papas’ hits but had never heard their albums before this year. I had no idea anything as creepy as Mansions lurked within their sunny oeuvre. Its sound is ominous, its mood one of stoned paranoia, its subject rich hippies sequestered in the titular luxury homes, haunted by the sensation that the flower-power dream is going wrong.

A breakout star of the underground rap scene shows vulnerability and wit in her genre-bending tracks

From Cambridgeshire
Recommended if you like Manga Saint Hilare, Kojey Radical, Little Simz
Up next Happiness from Agony out now

“One of the coldest writers but man don’t say it ’cause I’ve got vagina,” JayaHadADream raps on her recent track Bug, calling out those who underestimate her talent – and laying bare her lyrical confidence. In a fertile underground rap scene, the Jamaican-Irish, Cambridge-via-Nottingham artist has cut through thanks to her command and vulnerability, as well as a sharp eye for bullshit. The track Main Characters (featuring Big Zuu), also from her recent mixtape Happiness from Agony, is a critique of the fake love and hollow posturing that saturates the music industry.

In just two years, Rae has gone from star TikTok dancer to being Grammy-nominated for best new artist. She reflects on her critically acclaimed debut and how she’s learning to reclaim and relinquish control

No one in pop has had a year like Addison Rae. She may not be the biggest star – that remains Taylor Swift – or even the most commercially successful breakout act. But the dreamy dance-pop haze of her debut album, Addison, made her into an artist’s artist, loved by the likes of Charli xcx and Lana Del Rey – the leftfield pop acts who paved the way for someone like her. Like a pre-Brat Charli, or perhaps Sky Ferreira, the 25-year-old is the pop connoisseur’s choice, justly earning comparisons to Del Rey, her fellow Louisiana girl Britney Spears and Ray of Light-era Madonna, while knowing her way around her R&B and Jersey club. She’s up for best new artist at next year’s Grammy awards – and with Addison and its knowingly anaesthetised single Headphones On placing in the Guardian’s top five albums and tracks of 2025 respectively, she’s our artist of the year.

So it’s crazy to flick back just two years to when Rae wasn’t just a flop, but a punchline. In 2021, she released her debut single Obsessed, a perfectly average Benny Blanco-produced single that attracted disproportionate hatred because Rae was then just a TikTok star whose breezy dance videos had made her the platform’s fifth most-followed figure. The song flopped. Two years later came the AR EP: featuring a Charli guest verse – she asked to feature on a leaked demo that she loved – it made Rae a cult favourite. Last summer, she returned the favour, guesting on a remix of Charli’s Von Dutch: “While you’re sitting in your dad’s basement … Got a lot to say about my debut!” Rae taunted.

Dev Hynes’ deeply personal response to his mother’s death embodied the many unexpected shades of grief in pastoral hymnals and post-punk

• The 50 best albums of 2025
• More on the best culture of 2025

There’s a lot of grief across the best albums of this year. It’s unsurprising: 2025 has felt like a definitive and dismal break with government accountability, protections for marginalised people and holding back the encroachment of AI in creative and intellectual fields, to cherrypick just a few horrors. Anna von Hausswolff and Rosalía reached for transcendence from these earthly disappointments. Bad Bunny and KeiyaA countered colonial abuse and neglect with writhing resistance anthems. On a more personal scale, Lily Allen and Cate Le Bon grappled with disillusionment about mis-sold romantic ideals. For Jerskin Fendrix, the Tubs, Jennifer Walton, Jim Legxacy and Blood Orange, grief was, straightforwardly, grief for lost loved ones.

Each of those albums was as distinctive and profound as any personal experience of loss always is. Dev Hynes’ fifth album as Blood Orange felt uniquely keyed into the fragmented, distracted headspace that comes after someone passes, in his case, his mother. Essex Honey’s restive nature was summed up in its painful opening lines, which you could read as the dying’s acceptance of death starkly contrasting the living’s ability to meet them on those terms: “In your grace, I looked for some meaning,” Hynes sings on Look at You. “But I found none, and I still search for a truth.”

Beyond Wham! and Elton, Guardian writers from across the generations select the songs that conjure the personal magic and memories of the season

I’m always fascinated by the ways in which my generation manage to participate in the circulation of music. Amateur TikTok edits resurrect forgotten gems and turn obscure starlets into sensations; home producers fabricate entire albums if their favourite rapper doesn’t release enough. Such is the case with Doom Xmas, the brainchild of Grammy-winning Spanish producer Cookin’ Soul, which refashions the work of late cult rapper MF Doom into Christmas music. There are filthy Grinch soundtrack flips, hectic Latin Christmas skits and a chopped-and-screwed Nat King Cole that’ll change the way you hear The Christmas Song.

The singer’s tears over the Islamic State terrorist plot against her show and Southport attack make this behind-the-scenes docuseries about her world-conquering tour more moving than anyone could have anticipated

Swifties had long guessed that there would be a documentary going behind the scenes of Taylor Swift’s blockbuster Eras tour. The 2023 Eras Tour concert movie didn’t show any of the inner workings of this three-and-a-half-hour behemoth, which ran for 149 dates from 2023-24. Fans put some bits together, such as how Swift arrived on stage being pushed inside a cleaning cart. Plus, given the two albums she wrote during and about the Eras tour – 2024’s The Tortured Poets Department and this year’s The Life of a Showgirl – it wouldn’t be Swiftian to overlook another lucrative IP extension.

What fans could never have imagined was that Disney was set to start filming as the Eras tour was due to hit Vienna on 8 August 2023 – the first of three shows in the Austrian capital that were cancelled owing to an Islamic State terrorist plot. We learn this in episode one of the six-part docuseries The End of an Era, when Swift and her longtime friend Ed Sheeran are backstage at Wembley, hours before he guests at her first concert after the thwarted attack. “I didn’t even get to go,” Swift tells him of Vienna. “I was on the plane headed there. I just need to do this show and re-remember the joy of it because I’m a little bit just like …” She can’t find the words.

Unhurried trippy bass lines and poet Iona Lee’s commanding, velvety voice conjure a glamorously unhurried sense of hypnosis

From Edinburgh
Recommended if you like Dry Cleaning, Massive Attack, Nick Cave
Up next Warm Days in December out now, new EP due early 2026

As fixtures of Edinburgh’s gig-turned-performance art scene, Acolyte’s eerie, earthy psychedelia is just as likely to be found on stage at the Traverse theatre as in a steamy-windowed Leith Walk boozer. Their looped bass lines and poet Iona Lee’s commanding, velvety voice conjure a sense of slow-burn hypnosis – and just like their music, Acolyte are glamorously unhurried. They’ve released only a handful of songs in the seven years since Lee and bassist Ruairidh Morrison first started experimenting with jazz, trip-hop and spoken word, but now the group (with Daniel Hill on percussion and Gloria Black on synth, also known for throwing fantastical, papier-mache-costumed club nights with her former band Maranta) are gathering pace.

Topped by Rosalía’s multilingual, ultra-ambitious Lux, here are the best albums of the year as voted for by 30 Guardian music writers
• More on the best culture of 2025

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Connoisseurs of all things delicate and deeply felt will love the music put out by A Colourful Storm, the Melbourne-based DJ’s indie label

From Melbourne
Recommended if you like the C86 compilation, AU/NZ jangle-pop, Mess Esque
Up next Going Back to Sleep out now

Melbourne-based DJ Moopie, AKA Matthew Xue, is renowned for engrossing, wide-ranging sets that can run the gamut from gelid ambient music to churning drum’n’bass and beyond. He also runs A Colourful Storm – a fantastic indie label that massively punches above its weight when it comes to putting out charmingly moody experimental pop music, from artists as disparate as London-based percussionist Valentina Magaletti, dubby Hobart duo Troth, and renowned underground polymath Simon Fisher Turner.

In 2017, the label released I Won’t Have to Think About You, a compilation of winsome, C86-ish indie pop. Earlier this year, it put out Going Back to Sleep, a quasi-sequel to that record which also functions as a neatly drawn guide to some of the best twee-pop groups currently working. Sydney band Daily Toll, whose 2025 debut A Profound Non-Event is one of the year’s underrated gems, contribute Time, a seven-minute melodica-and-guitar reverie. Chateau, the duo of Al Montfort (Terry, Total Control) and Alex Macfarlane (the Stevens, Twerps), push into percussive, psychedelic lounge pop on How Long on the Platform, while Who Cares?, one of Melbourne’s best new bands, channel equal parts Hope Sandoval and Eartheater on Wax and Wane.

Elsewhere, Going Back to Sleep features tracks from San Francisco indie stalwarts the Reds, Pinks and Purples; minimalist Sydney group the Lewers; and sun-dappled folk-pop from Dutch duo the Hobknobs. It’s an unassuming compilation that’s almost certain to become well-loved and frequently referenced among connoisseurs of all things delicate and deeply felt. Shaad D’Souza

This year’s outstanding tracks – from post-punk rap to indie-disco and operatic pop – as voted for by 30 Guardian music writers

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Uncredited vocals on song I Run by British dance act Haven alleged to infringe copyright as impersonation of Smith

Jorja Smith’s record label has called for a share of the royalties from a TikTok-viral song that it claims used an AI-cloned version of the British singer’s voice.

The song I Run, by British dance act Haven, went viral in October and was due to chart in the UK and the US after reaching No 11 on the US Spotify chart and No 25 on the platform’s global chart.

Californian singer-songwriter Lukas Frank is picking up rave reviews for his second album’s epic choruses and lush orchestrations

From Los Angeles
Recommended if you like John Grant, Scott Walker, Father John Misty
Up next A cover of Duran Duran’s The Chauffeur is out now, with another single due in February

After several years of perseverance, things are happening for Storefront Church. The audience at this month’s sellout gig at St Pancras Old Church in London included Perfume Genius and members of the Last Dinner Party and the Horrors and their self-released second album, Ink & Oil, is picking up rave reviews. One used the term “emotional flood” to describe the album’s epic, baroque pop, big pianos and drums, sweeping choruses and Travis Warner’s lush, cinematic orchestrations.

Ticketmaster said they would ‘lead by example’ after Dean called out companies when tickets for her North American tour appeared on resale sites at prices in excess of $1,000

Ticketmaster has given fans of Olivia Dean partial refunds after the British singer condemned ticketing companies for allowing touts to relist tickets for her North American tour at more than 14 times their face value.

After the tour sold out in minutes on 21 November and tickets appeared on resale sites at prices in excess of $1,000, Dean addressed the major ticketing companies on Instagram: “@Ticketmaster @Livenation @AEGPresents you are providing a disgusting service,” she wrote. “The prices at which you’re allowing tickets to be re-sold is vile and completely against our wishes. Live music should be affordable and accessible and we need to find a new way of making that possible. BE BETTER.”

The company is being sued under the new Elvis act, which protects a person’s voice from exploitation without consent

The estate of Johnny Cash is suing Coca-Cola for illegally hiring a tribute act to impersonate the late US country singer in an advertisement that plays between college football games.

The case has been filed under the Elvis Act of Tennessee, made effective last year, which protects a person’s voice from exploitation without consent. The estate said that while it has previously licensed Cash’s songs, Coca-Cola did not approach them for permission in this instance.

The masked singer’s jagged pop deals in suburban bleakness, English nationalism and jilted romance against a backdrop of DIY drum machines and acoustic guitar

From Darlington, County Durham
Recommended if you like Blood Orange, Dean Blunt, Elliott Smith
Up next The Dirt Pt 1 EP out now

As the internet spits out underground artists like mouthwash, it’s becoming harder to separate the visionaries from the vibe-hackers. But Pollyfromthedirt’s jagged pastoral pop demands more than just a passing scroll. Released independently this week, the County Durham native’s first EP clashes brass band samples, shuddering Midi strings and awkward acoustic guitar together. There’s a trace of Elliott Smith in his grey-skied songwriting, yet made entirely his own by the crude drum machines, pitched-up vocals and DIY production. At best, like the EP’s weirdest track, Kalm, the music departs from traditional song structure and coalesces into delay-steeped, swirling ambience.

Ian Brown and Tim Burgess were among those to pay tribute to Mani, whose death was announced by his brother and nephew

• Alexis Petridis: ‘Mani’s writhing, relentless bass was the Stone Roses’ secret sauce – it taught indie kids how to dance’

Gary “Mani” Mounfield, best known as bassist of the Stone Roses and later a member of Primal Scream, has died aged 63. The cause of death has not been shared.

His brother Greg Mounfield posted the news on Facebook: “It is with the heaviest of hearts that I have to announce the sad passing of my brother.” His nephew also shared the news.

Overpowering, explosive and intense, the trio’s contemporary form of psychedelia is rebooted for the troubled, disturbing climate of 2025

From Brighton
Recommended if you like Osees, Ty Segall, the noisier bits of King Gizzard
Up next Currently working on a debut album for release next year.

A city with its own psych festival, and indeed a gig promotion company called Acid Box, Brighton has no shortage of lysergic left-field rock bands. But while most of their local contemporaries tend to the more recumbent end of the psychedelic spectrum, Oral Habit deal in what they call “the ear-rattling psychic dream of choked-up acid punks”, a sound that feels overpowering, explosive and intense: you could say it’s more closely aligned to the disoriented racket of mid-60s freakbeat than the pie-eyed beatitudes of the Summer of Love; equally you could suggest it’s a very contemporary form of psychedelia, rebooted for the troubled, disturbing climate of 2025.

The Catalan star’s epic new single is delighting and dividing classical music fans in equal measure

The Top 10 of today’s Spotify Global Top 50 looks like business as usual: two Taylor Swift songs; Lady Gaga and Bruno Mars’ Die With a Smile hanging around for an eighth month; the eminently normal male pop stars Sombr and Alex Warren doing brisk business.

But nestled among the crowd-pleasers is something of an outlier: a gothic, baroque assault powered by Vivaldi-style strings and operatic singing in German and Spanish.

Far from being the preserve of ecclesiastical listening, the reissue of O’Connor’s 1973 album is a compelling feast of drum machine, acoustic guitar and synth organ

From Sydney, Australia
Recommended if you like Shirley and Dolly Collins; Efficient Space’s Sky Girl compilation
Up next Fire of God’s Love reissued by Freedom to Spend on 14 November

As any nun worth her salt might tell you, revelation can come from the most unlikely places. Such is the case with Fire of God’s Love, a 1973 album by the Australian nun Sister Irene O’Connor.