Hip-Hop/R&B – Concert: 2/22 – Miguel @ Toyota Oakdale Theatre
2025 was truly a legend (wait for it) dary year for music, especially album releases. In celebration of the new year, here are my top five albums that were released this past year, in order they were released.
Kansas Anymore (The Longest Goodbye)”, which is the deluxe version of ROLE MODEL’s album titled “Kansas Anymore.” This album came out on Feb. 14 and was immediately on repeat. The original 13 tracks, which were released in July of 2024, were already personal favorites of mine, so when four more were added, I was thrilled. What I love most is how the deluxe doesn’t just feel like an add-on; each track expands the emotional world he built, blending vulnerability, nostalgia, and that soft indie pop warmth he does so well. To be honest, I love each and every one of these songs. However, if I had to pick, my personal favorites would have to be “Slut Era Interlude,” “So Far Gone” featuring Lizzy McAlpine, “Look At That Woman” and “Old Recliners,” each one hitting a different part of my soul in the most dramatic and delicious way. Every listen reveals something new, whether it’s a lyric that suddenly makes too much sense or a production detail I somehow missed before. It’s the kind of deluxe album that doesn’t just extend the story, it deepens it, making the whole project feel even more complete and intentional than before.
I love a good Tyler release, so I was so happy on a Monday morning in July when “DON’T TAP THE GLASS” by Tyler, the Creator was released. This 10-song dance album instantly became a core memory of my summer, throwing me headfirst into 28 minutes of pure, chaotic, brilliant joy. I’m obsessed with how hard-hitting every single track is, each one building this wild, electric momentum that only Tyler can create. The production punches, the transitions snap, and the whole thing feels like he bottled up adrenaline and handed it to us. To this day, “Sugar On My Tongue” is still stuck in my head, and I consider “Ring Ring Ring” one of my all-time favorite songs. Honestly, what makes this album so special is how it balances Tyler’s signature weird but genius creativity with moments that feel surprisingly nostalgic and warm. It’s the kind of project that reminds you exactly why being a Tyler fan is so fun; he keeps us on our toes, keeps the energy high, and somehow still delivers music that sticks with you long after the summer fades.
As my Jersey Shore summer was ending this past August, Conan Gray released his newest album, “Wishbone.” In a prequel to this album, Gray released two singles, “This Song” and “Vodka Cranberry,” which were already on repeat for me and hinted at just how dramatic and heartbreakingly gorgeous the whole album would be. Every track feels like a scene from a coming-of-age film, full of yearning, chaos, glitter, and that soft melancholy Conan does better than literally anyone. It felt illegal not to stream it constantly. “Eleven Eleven” will forever be one of my favorites, partly because it’s stunning and partly because I, too, am a superstitious angel-number girl who will absolutely make a wish at any repeating number I see. Beyond that, the album captures that feeling of wanting something so badly it aches, and honestly, I am still eating that up four months later.
On Oct. 17, bbno$ released his self-titled album, and it has stayed a constant favorite of mine. If you’re a frequent weekly reader, you already know I was lucky enough to talk about this release back in October, but I truly am not yet over it. As I said back then, the album totally captures his goofy, confident energy, but with new beats that feel fresh and unexpected. My favorite from this album is still “bag TF up”. The intro immediately puts you in a hype mood, which perfectly sets the tone for this album. Every track feels like a burst of chaotic joy, like he’s daring you not to have fun. Even on the songs where he experiments a little more or switches up his flow, that playful spark is still there, carrying the whole project. It’s one of those albums that you throw on once, and suddenly you’re in a good mood without even realizing it, which is exactly why it’s become such a comfortable listen for me.
Last but certainly not least, on Nov. 21, Tate McRae released the deluxe version of her hit album “So Close To What.” This deluxe included five new songs, followed by the original hits. These new songs give off “just got broken up with, but I know I’m hot” energy. “ANYTHING BUT LOVE” has quickly become a favorite of mine, as well as “TIT FOR TAT” and “NOBODY’S GIRL.” It is so obvious how much emotion went into both the writing and the execution of these songs. You can literally hear the confidence building in every chorus and every little vocal run, like she’s reclaiming her power in real time. The new tracks don’t just fit into the album; they elevate it, adding this fierce, glossy layer of heartbreak glam that only Tate can pull off. It feels like she cracked her chest open, sprinkled glitter on the pain, and handed it to us as a gift.
Rock/Alternative – Concert: 2/1 – Pollyanna @ Space Ballroom
2025 felt like the year of Geese as their new album “Getting Killed” has helped them grow rapidly in popularity, especially in the indie rock circles. I did write about this album earlier in the semester when it came out, and in that, I talked about the impressive blend of genres and the distinctive vocals from Cameron Winter. Those two things really are the most impressive things about the album to me. I love how the album has so much range in both style and genre, but also mood and tone. Winter’s voice carries a lot of emotion, and it feels like you can hear pain, anger and desperation in his voice in many of the songs, along with so many other emotions. Another highlight of the album is the production by Kenny Blume, formerly known as Kenny Beats. The album has the same sound that you would come to expect from Geese after their past music, but the album feels more experimental with more unique and syncopated rhythms, and the album remains clear and cohesive throughout. Even with the high production quality, the band still has a raw and emotional sound throughout. “Getting Killed” is a fantastic album, and I highly recommend you give it a listen if you have not already.
The almost self-titled album “Viagr Aboys” by Viagra Boys was my first time listening to anything by the band, and as soon as I turned the album on, I was in love. The album is weird and chaotic from the start, as the first song, “Man Made of Meat,” calls people out for looking at feet on the internet. I knew right away that it was going to be a wild ride, but through all the chaotic and wacky lyrics and topics of the songs, the album feels really sincere and authentic. The music is an impressive blend of many genres like post-punk, garage rock, art punk, and many more. Sometimes it feels like the songs are talking about nonsense, but at the same time, they can feel emotional and heavy. The song “River King” is a perfect example of this. The album sometimes feels like stupid random nonsense, but the band’s artist bio on Spotify sums it up perfectly in my opinion, “Through it all, the band looks out at the endless expanse of Walmarts and crystal healers, searching for some twisted solace: the important part of being alive in the big, stupid world is figuring out the world inside of you that is equally big and stupid.”
“Worldwide” by Snõõper was my favorite album of the year. I wrote about this album for the WQAQ weekly when it was first released, and as soon as I heard it, I knew it was going to be one of my favorites for a while. The album is super high-energy and fast-paced with plenty of catchy hooks and melodies. The vocals of singer Blair Tramel might be my favorite part of the band, as her vocals have this kind of fuzzy effect over them that helps the album have a bit of a raw punk sound. A perfect example of their high energy and experimental sound was their cover of the Beatles’ “Come Together,” which is played at a frantic pace. Immediately, when listening to the album, it sounds like music that would be fantastic to see performed live, just full of energy and catchy riffs. The album is very short at around 28 minutes, but it is a very satisfying and fun listen that provides a very unique and fresh take on the genre of punk rock with a blend of things like dance-punk, garage punk, and post-punk.
Oldies – Concert: 2/13 – The Temptations & The Four Tops @ Toyota Oakdale
Highlights of the Year 1925 ( Country / Blues / Early Pop)
Before I get into specific top songs of 1925, it’s important to see how far we’ve come as a musical nation in the past century. The mid ‘20s marked some of the most important years in early American music. The start of electrical recording, the booming of commercial radio and also the time that jazz, blues, and early pop began spreading across the country instead of staying regional. With more than 4 million homes equipped with radios in 1925, people were suddenly exposed to voices and sounds that they had never heard before. The shift from local hits to national events shaped taste, culture and future genres for all musicians. Just like today, hearing the songs played on the radio would promote the physical record, a 78rpm shellac disc (25-75 cents each) and then played on home phonographs.
Widely regarded as one of the first million-selling records in American History, “The Prisoner’s Song” by Vernon Dalhart was a turning point for an entire genre. Then marketed as “hillbilly music”, it launched country music as a viable genre in the music industry. Having heard this story in prison from his cousin, the storytelling, delivery and emotions, including the loneliness, were all real. There would be a vigorous fight over the song-writing credits, royalties, and percentages once the song was unexpectedly popular. Dalhart took the song he heard from his cousins, Guy and Robert Massey, after Robert heard it in prison, and gave him only 5% of the earned royalties. Having been barely 6 years since the ending of World War I, the isolation of prison can be relevant to many past soldiers, relating to the unwillingness of the draft, being sent away, leaving family and finally the lines of having wings and wanting to fly back to your loved ones’ arms. The tendency for modern country to focus on heartbreak, wandering and other personal struggles directly traces back to songs like this, which were adapted by artists from Johnny Cash to Chris Stapleton. This song launched narrative storytelling and also rural music to those urban audiences that heard it for the first time, being honored with induction into the Grammy Hall of Fame in 1998.
This next single, “Yes Sir, That’s My Baby” is very upbeat and even features the light strums of a ukulele throughout to match Gene Austin’s soft voice. He was also known as “the original crooner”, aka a male singer who sings in a soft, sentimental voice. It’s very fitting that another well-known crooner, Frank Sinatra, would go on to cover this song in his Strangers In The Night album, in his signature slow way with some horns and piano. The quality of the 1925 version, like all other songs released in 1925, has a signature film or static, just from the recording techniques used at the time. But this was actually cutting-edge microphone technology; Austin was able to sing softly and intimately, a close-mic tone that would make him a radio star. This kind of music was more popular in urban areas, making this song one of the most broadcast songs of the year.
This last song, different from the other two, first made its fame first through record sales, then achieved its longevity through radio broadcasts. Because a lot of the blues audiences included a lot of communities without radio access, and therefore had to buy the record directly. Not to mention how hard it would be to be a person of color and try to market yourself on the radio in 1925. In cities with the most diverse populations, musicians and audiences were the havens of a booming genre-combination. However, the first black owned radio station was not founded until 1948, and therefore most exposure to blues would be through the purchasing of physical copies or live performances. “St. Louis Blues” performed by Bessie Smith & Louis Armstrong was one of the most important blues recordings ever made, and was inducted into the Grammy Hall of Fame in 1993. Although the song was composed by W.C. Handy and published in 1914, it would go on to be covered by various jazz artists, like Cab Calloway, Benny Goodman, Ella Fitzgerald and Eartha Kitt. This was also one of the first instances of blending jazz and blues, Armstrong using his trumpet to complete the grave duet of Bessie Smith’s vocals.
Global – Concert: 4/17 – The Last Dinner Party @ College Street Music Hall
What a year for Katseye, releasing their second EP and officially stepping away from the K-pop algorithm into their true global potential. From Gabriela to Gnarly, they’ve been marking milestones like it’s no big deal. Winning their first award at the VMAs in the fall, the group is now nominated for TWO Grammy awards, making members of their group the youngest ever of their nationality to be nominated for a Grammy. We all watched as the GAP ad took the internet by storm just hours after it was released, and their long-awaited performance at Lollapalooza definitely topped the charts. Now, with the teasing of their newest song ‘Internet Girl’ and tour in full swing, I can’t wait to see what comes next!!
Year after year, release after release, Le Sserafim keeps setting our standards higher. Their strong debut in 2022 was noticed by netizens after they didn’t waver in the face of a scandal. Instead, they have rebuilt themselves stronger than before and brought us a whole new side of what their group name really stands for, being fearless. From their record-breaking title track “Crazy” in 2024, fans knew the group was unshakable towards the hate train wrongly directed at them. With “Crazy” giving them the milestone of the first 4th-gen girl group to pass 1 billion streams in a year, Le Sserafim geared and turned the heat UP, giving us “HOT.” An entirely new genre was brought into the K-pop scene, with their B-side track “Come Over,” produced by none other than the names behind the iconic music group Jungle. This Nu Jazz/Bossa Nova song, entirely in English, made waves with its catchy hook and addictive instrumental. Following strong, they released “SPAGHETTI,” a track featuring BTS member J-hope, which has topped the charts.
ADELA emerges as a commanding new voice, weaving sharp emotional clarity with an unmistakable artistic confidence. Fresh off the success of her first headlining tour, she’s carrying that momentum onto major festival stages and even opening for Demi Lovato, an impressive leap that underscores her rising star power. Her work brims with cinematic atmosphere. Smoky, intimate, and boldly stylized, yet it never loses its emotional precision. Whether she’s leaning into sultry noir-pop or baring raw vulnerability, ADELA’s sound feels meticulously crafted and unmistakably her own. “The Provocateur” only deepens this impression, proving that ADELA isn’t just experimenting with persona— she’s building a universe, and she knows exactly how to pull you into it!!
“No Genre” lives up to its name with an effortless blend of styles that shows just how versatile BOYNEXTDOOR has become. After a breakout year marked by strong chart performances, viral choreography moments, and a rapidly growing international fanbase, the group steps into this release with newfound confidence. They’ve earned rookie awards, delivered standout music-show stages, and solidified themselves as one of the most promising next-gen boy groups. The project itself moves easily between bright, feel-good pop and hip-hop-leaning hooks to breezy indie textures, all while holding onto the group’s signature warmth and sincerity. Their vocals feel richer, their storytelling sharper, and their chemistry tighter than ever. No Genre doesn’t chase a single sound; instead, it celebrates BOYNEXTDOOR’s ability to experiment freely and remain unmistakably themselves, capping off a year that firmly placed them on everyone’s radar.
“Go In Blind” arrives as a striking statement from &TEAM, a group that has spent the past year leveling up in every direction. Following their powerful Korean debut with “Back to Life” and a surge of new attention across both Korean and global charts, &TEAM steps into this release with sharpened confidence and cohesion. The track captures their signature intensity; emotional, dramatic, and meticulously polished, while showing just how much their artistry has matured. Their performances have grown bolder, their vocals more textured, and their storytelling deeper, all contributing to a year defined by rising momentum, fandom growth, and increasingly ambitious stages. Go In Blind doesn’t just signal the next chapter for &TEAM, it proves they’re ready to take it on with clarity, skill, and a hunger that’s impossible to ignore.
Country/Folk – Concert: 2/6 Turnpike Troubadours @ Mohegan Sun Arena
Here, folks, is my most-streamed song of 2025. After seeing Dylan Davidson live and hearing him sing “Wine Night,” I knew I would love it. I paid attention to when it came out, and when it finally did, it was well worth it. Davidson has one of my favorite voices right now, and it works so well in this song. He could sing the phonebook, and I’d listen to it all. I’ve plugged him in many Weekly’s before, so if you’re familiar with those, you’d know his name already. I think he has the potential to be one of the next big things, and I hope he does. No matter how big he gets or how many songs he releases, I think this will always be my favorite. It’s not only my top song of the year, but I would argue it’s one of my 10 favorite songs of all time. It’s his magnum opus, in my opinion, and easily my favorite piece of music from 2025. I’m very excited to see what Davidson has in store for the upcoming year, and if it’s anything like “Wine Night,” I imagine I will love all of it.
I was actually planning on writing a full-length album review of this album, so I’ll keep this brief, but stay tuned for the full review. In June, Parker McCollum released “Parker McCollum,” his fifth studio album. The album, which was not marketed as a “radio album,” only has one song on the radio, that being “What Kinda Man,” a phenomenal song and one of my favorites. However, I think my absolute favorite from this album is the opening song “My Blue.” I think this song, about a young boy who grows up with a lot of trauma, has some of the best storytelling across the genre, and shines as some of McCollum’s best. Some of my other favorites included “Watch Me Bleed,” “Sunny Days,” “Enough Rope” and “My Worst Enemy,” the near seven-minute closing song, a perfect conclusion to the album. I think what I love so much about this album is that it’s a perfect mix of sad, slow songs and upbeat, fun songs. The switchups are not overbearing either, as I never feel like I’m getting emotional whiplash. McCollum’s voice, the smoothness of it, just works so well on an album like this, where a smooth voice is needed. And ultimately, I truly think this is a no-skip album, which I’m not sure I can even think of many others like that. Even some of my favorite albums of all time, like “Dangerous: The Double Album,” “SOUR” and “THINK LATER,” have some skips, but this one doesn’t. Even the songs on this album that aren’t my absolute favorite, like “Come On” and “Solid Country Gold,” are still really solid, and songs I would enjoy hearing in any capacity. Another thing I love about this album is that you can tell just how much McCollum put into it. After years of receiving some shade for not being able to replicate his masterful debut album “The Limestone Kid,” McCollum put everything he had into this album, and it’s so easy to tell. This album took McCollum from an artist I enjoyed listening to every now and again to one of my five or six favorites, period. That’s truly how good I believe this album is, and it is without a doubt my album of the year. It needs more love.
This album means so much to me. Avery Anna’s sophomore album “let go letters” is, in my opinion, one of the most important and meaningful albums of the last decade. The album title is inspired by a tradition started at Anna’s concerts, in which she would leave blank paper and a mailbox out by her merch table, urging her fans to write down their thoughts and pains, and “let them go.” Anna received many, many letters from people across all different walks of life. Sadly, some of those letters included trauma and pain from issues such as sexual assault, eating disorders, depression, losing friends, and suicide. All real-world, important issues that Anna decided to tackle through song. What makes this album so important to me is seeing Anna embrace these people through her music. One of the lines in the opening poem on the album, “Love, Avery,” says, “‘let go letters’ is just as much yours as it is mine.” The fact that a 21-year-old girl can tackle such issues with one of the most powerful mediums out there, and relate to all of them, is so damn cool. It’s part of what makes her one of my favorite lyricists and artists in the business right now. Outside of the message, the songs on this album are some of my favorites from her. “Depression,” a pretty self-explanatory song, is one of my recent favorites on this album. Its message is so powerful, and the slowness helps make it. “Butterfly Project” is probably my second favorite on the album, and a song that might crack my top five for her. But my favorite, easily, is “GRAVE.” The song covers sexual assault and the trauma that can come with it. The slow start, to the rock-y chorus, to the excellent bridge, it’s all of my favorite things in one song. It’s my favorite song from her, across all her discography, and like “Wine Night,” is close to my top 10 all-time. I would recommend this song to anyone, and do so to anyone who is reading this. Please listen to this album, because its message is unlike anything in not just country music, but music as a whole.
Pop & Indie – Concert: 1/15 – Bishop Allen @ Space Ballroom
“The Life of a Showgirl” by the one and only Taylor Allison Swift is my highlight release of 2025. While I am a huge Swiftie and I do get excited about everything she does, this album was extra special. It highlights the variety of genres Swift can excel in. I also didn’t really love it upon first listen; instead, it took until my second try, about a week later, to actually enjoy the album. I loved it so much that it was my top album on Spotify Wrapped! The immediate negative reaction was common amongst Swifties with this album, and I think some of us expected something different. It’s been a while since she has introduced a new genre or style into her music, and it was surprising. Swift finds such creative ways to tell stories through her music, and this album definitely showcases that talent. Overall, I’m glad we got a great album that Swift is proud of, and I can’t wait for more to come!
Kelsea Ballerini released an incredible EP titled ‘Mount Pleasant,’ and it is the raw and emotional music that I love to hear from her. Ballerini dived into her desire to be a mother in the EP’s single, “I Sit In Parks.” The rest of the songs touch on different things, such as being a people pleaser, relationships, jealousy, and the importance of checking on your friends. I’m hoping to get more releases from Ballerini in 2026!
Lastly, Maisie Peters released a few singles from her next album that will hopefully be here in 2026! Peters is one of my favorite artists, but she’s not recognized as well as she should be. She’s made some great songs and even opened on the Eras Tour. Her first two singles from the new album, “You You You” and “Audrey Hepburn,” were covered in previous WQAQ Weekly’s. I’m excited for the rest of her album to be out soon!
