Last summer was transformative for the music industry, delivering the unmistakable neon green hyperpop hits of the Brat era. It also delivered the most streamed song of that year – Billie Eilish’s “BIRDS OF A FEATHER.” Fresh, inspired sounds were overflowing, with “Espresso,” “Good Luck, Babe!” and “Not Like Us,” all vying for the coveted title of Song of the Summer.
It’s a tough act to follow – and summer 2025 didn’t quite pull it off.
Instead of driving music forward into the next era, it moved…backwards? This summer gave us an influx of 70s and 80s influenced pop along with 2000s throwback imitations. The soundtrack of summer 2025 fits into a cultural landscape of retro styles and aesthetics turning toward an idealized past to avoid a grim present and even bleaker future.
With political and economic anxiety at a new high, it’s not surprising that the arts are suffering. But despite the lack of a collectively defined song of the summer, there have still been several notable albums to make their bid. Here’s a breakdown:
Album of the summer
Lorde – “Virgin”
“Virgin” was not just an album release – it was an event. Hundreds of fans gathered at Washington Square Park in New York City to hear “What Was That,” the first single Lorde has released since 2021. It’s an angsty hit that marks her return to pop music after the more mellow, folk-influenced “Solar Power.” The other two singles, “Hammer” and “Man Of The Year,” are also high points on an album that combined lifting melodies, a subtle but effective production style and lyrics that served as a self-exploration into gender identity, heartbreak and disordered eating. The final track, “David,” is a bookend that captures the album’s dark atmosphere and raw display of emotion.
Pop powerhouses
Conan Gray – “Wishbone”
Conan Gray, who briefly attended UCLA in 2017, returns to his roots with “Wishbone,” an album that feels like the soundtrack to a coming-of-age movie. It’s written in the style that he first became known for – lyrical ballads that candidly explore themes of unrequited love, childhood trauma and self-image. The album is cohesive, almost to a fault – some of the musical content can feel repetitive. But the two singles, “This Song” and “Vodka Cranberry,” are stand-outs, with powerful imagery and storytelling. “Eleven Eleven” is also a triumph, as it ties together the central ideas, characters and symbols with a bridge that could almost be a nursery rhyme. It might have fit better as the closing song, wrapping up the storyline of this indie-pop rollercoaster.
Tyler, The Creator – “DON’T TAP THE GLASS”
“DON’T TAP THE GLASS” is an artistic concept that takes the form of throwback, funky dance music. “Sugar On My Tongue” and “Ring Ring Ring” are highlights, with catchy, dance-worthy beats. The somewhat provocative phrase, “Don’t tap the glass” comes across as a direct instruction: Don’t interrupt this freeing moment of creative expression with meaningless distractions or unnecessary analysis – just enjoy the music. So even though some of the lyrics may feel less polished than some of his previous work, that may have been part of the point.
Addison Rae – “Addison”
Addison Rae’s self-titled album is one of the most talked-about debuts this year. It’s glossy, playful and feels like it was infused with sunshine, beach days and 2000s nostalgia. Rae’s career trajectory has been impressive – going from being perceived as yet another social media personality to beginning to build a well-established brand in pop. Britney Spears is a clear influence, especially in songs like “Aquamarine” and “Fame is a Gun,” but also in the aesthetic Rae has developed. Lana del Rey influences can also be detected, especially in more sultry songs like “Summer Forever” and her massive hit, “Diet Pepsi.” Rae has a long way to go, but is off to an exciting start.
Sabrina Carpenter – “Man’s Best Friend”
Sabrina Carpenter built a glittering 80s disco dream-world – but did she go too far into her own universe? Carpenter’s highly anticipated follow-up to the chart-topping “Short n’ Sweet” was not without its flaws. Carpenter continues to play into the musical persona she has crafted over the last several years, with a sound that is light, airy and heavy on innuendos. This leaves listeners to wonder if Carpenter has leaned too far into her external aesthetic and lost some of her raw authenticity. Despite this, the album excels at showcasing Carpenter’s signature wit and humor and delivers feminine whimsy framed by a vintage feel. She may not have delivered the song of the summer, but she at least gave us an album to blast in the car while trashing your ex.
Top contenders
Wolf Alice – “The Clearing”
“The Clearing,” the fourth studio album from critically acclaimed rock band Wolf Alice, follows the theme that seems inescapable this summer – a vintage sound coupled with modern-day lyricism. This indie-rock gem features strong 70s influences and excels at establishing a cohesive sound and atmosphere. “Thorns” serves as a vocal showcase, “Midnight Song” offers a softer moment and “The Sofa” and “White Horses” beautifully explore escapism, sense of place and identity. This album was highly anticipated after the artistic success of “Blue Weekend” in 2021. Comparatively, “The Clearing” was a step in a different musical direction and it will be interesting to see where this path will lead.
HAIM – “I Quit”
On the seventh track of HAIM’s fourth studio album, Danielle Haim sings, “But the distance keeps widenin’ between what I let myself say and what I feel.” This summarizes “I quit,” as the music depicts this internal struggle. HAIM tells the story of a relationship that has become more like an addiction – something (or someone?) that you just can’t quit, no matter how loud you scream it from the rooftops. “All over me” includes lyrics that openly contradict each other with a dry humor. Even the unserious nature of the album cover alludes that the band is laughing at themselves, amidst emotional chaos. With a low-key, somewhat grungy sound, HAIM tells the tale of walking out and slamming the door – but keeping a key just in case.
Turnstile – “NEVER ENOUGH”
With “NEVER ENOUGH,” Turnstile brings a fresh take on hardcore punk and as a bonus, a feature film. This visual representation of their fourth studio album debuted at the Tribeca Film Festival. The band has long been experimenting with genre boundaries and this album is an example of their creativity and boldness. It also landed them their first ever number one song on a Billboard chart (for Alternative Airplay) with the first single, ”NEVER ENOUGH,” a song that speaks to the feeling of struggling with self-doubt and constant criticism.
Rising stars
Audrey Hobert – “Who’s the Clown?”
“Who’s the Clown?,” the debut from emerging artist Audrey Hobert runs like the inner dialogue of the awkward but lovable side character who’s finally getting her own storyline. Hobert got her start in music co-writing some of the biggest hits on Gracie Abrams’ “The Secret of Us.” Hobert’s writing comes off as overtly personal. It’s almost like we shouldn’t be hearing it – the racing, unfiltered thoughts of someone in an anxious spiral. Hobert thrives in the uncomfortable, finding glory in what others might deem embarrassing. “Sue me, I want to be wanted,” she exclaims in her first single, a directness that she makes her own. It may be too much for some. Rather than be selective with her self-deprecating humor, the album is oversaturated with repetitive, somewhat goofy lines, which can take away from the overall effect. The whole album can be summarized by the song “Phoebe,” an ode to shamelessly embracing who you are, even when you feel like a clown.
sombr – “I Barely Know Her”
The artist, sombr, found what works for him and he’s sticking to it. This gloomy, permanently yearning indie-pop artist has cracked the TikTok stardom formula and made his way into the mainstream, recently performing on the main stage at the 2025 VMAs. His debut album, “I Barely Know Her” plays right into the aesthetic he’s curated. Some of the more well-known tracks, “back to friends,” “undressed” and “we never dated,” are full of catchy hooks that can easily get stuck in your head. But they are also relatable glimpses into the pain and confusion of a situationship, with forthright lyrics that are effective in their simplicity. Listeners may begin to crave a change, whether it’s new thematic content or a different beat and melody – something to shake up the album that’s not a variation of a previous song. This is what makes “12 to 12” sonically more interesting and “canal street” stand out for its lyricism. With any luck, sombr will continue to evolve as an artist and push the boundaries of the genre.
Notable releases
Alex Warren – “You’ll Be Alright, Kid”
This is the debut album from the artist behind the number one song (“Ordinary”) on Billboard’s 2025 Songs of the Summer Chart.
Hayley Williams – “Ego Death at a Bachelorette Party”
Front woman of alternative band Paramore, Hayley Williams embarks on her first solo album since ending her 20-year contact with Atlantic Records.
Justin Bieber – “SWAG”
Global superstar Justin Bieber released a double-album with several collaborations and a sound that leaned more towards R&B than pop.
KATSEYE – “BEAUTIFUL CHAOS”
This girl group is making waves and catching attention, fresh off of taking home an award at the 2025 VMAS.
Mac DeMarco – “Guitar”
Indie artist MacDeMarco released his sixth studio album, defined by stripped down production and contemplative lyrics.
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Featured Illustration via Adobe Stock
