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    The Best Songs of 2025, So Far

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    Ten tracks that push boundaries, uncork emotions and can get the block party started.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs. After six months of listening, here’s what they have on repeat. (Note: It’s not a ranking, it’s a playlist.) Listen on Spotify and Apple Music.Bad Bunny, ‘Baile Inolvidable’Heartache and heritage mingle in “Baile Inolvidable” (“Unforgettable Dance”) from Bad Bunny’s album “Debí Tirar Más Fotos” (“I Should Have Taken More Photos”). The song bridges current and vintage sounds, underscoring the multigenerational continuity of Puerto Rican music. It begins as a blurred dirge of synthesizer lines and Bad Bunny’s vocals, mourning a lost romance; “I thought we’d grow old together,” he sings in Spanish, then admits, “It’s my fault.” But the track switches to an old-school salsa jam, with organic percussion, horns and a jazzy piano. The lessons of the girlfriend who taught him “how to love” and “how to dance” have stayed with him. — Jon Pareles▶ Listen on Spotify, Apple Music or YouTubeDrake, ‘Nokia’After making headlines for a war of words with Kendrick Lamar, Drake returned with one of his loosest projects.Jeenah Moon for The New York TimesAfter the conclusion (?) of his war of words with Kendrick Lamar, Drake briefly hibernated, then re-emerged with one of his loosest projects, “Some Sexy Songs 4 U,” with longtime collaborator PartyNextDoor. Its charming center is “Nokia,” a saucy and cheeky electro-rap track that calls back to the sweet woe-is-me plaint of “Hotline Bling,” perhaps the peak of universal-approval-era Drake. — Jon Caramanica▶ Listen on Spotify, Apple Music or YouTubeB Jacks featuring Zeddy Will, ‘Get Jiggy’A post-drill hip-house throwback that restores lightness to contemporary rap. These two young rappers — B Jacks from New Jersey, Zeddy Will from Queens — find a middle ground between the dance floor and the comedic internet, making a song that works as a party anthem, a meme soundtrack or a savvy entry in the long lineage of club-focused hip-hop. It’s summer block party manna. — Caramanica▶ Listen on Spotify, Apple Music or YouTubeObongjayar, ‘Not in Surrender’Obongjayar’s “Not in Surrender” finds its way to euphoria.Diego Donamaria/Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Karol G’s Ode to Curves, Plus 7 More New Songs

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      Hear tracks by Alejandro Sanz and Shakira, St. Vincent, Stereolab and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Karol G: ‘Latina Foreva’The Colombian singer and rapper Karol G cheerfully fends off some unwanted male attention by praising Latin women instead: “Those curves don’t even exist in NASCAR.” The inventive pop-reggaeton production stays light and changeable, with little keyboard blips and string lines making sure the familiar beat is always laced with bits of melody.Alejandro Sanz featuring Shakira: ‘Bésame’Husky meets breathy in “Bésame” (“Kiss Me”), the new duet by Alejandro Sanz, from Spain, and Shakira, from Colombia: a 20-years-later reconnection after their 2005 megahit “La Tortura.” They trade endearments over a track that connects Latin pop to Nigerian Afrobeats — and, in the bridge, tosses in some flamenco handclaps for more trans-Atlantic fusion.Guedra Guedra: ‘Drift of Drummer’Abdellah M. Hassak, the Moroccan electronic producer, records as Guedra Guedra. Guedra is a Tuareg dance that shares its name with a cook pot that becomes a drum when covered with an animal skin. “Drift of Drummer” mixes field recordings that Hassak gathered in his travels across Africa with hand drum machines and synthesizers. Juggling ever-changing layers of percussion over a brisk implied pulse and a terse bass line, the song is a cauldron of rhythms, humanized by snippets of speaking voices.St. Vincent featuring Mon Laferte: ‘Tiempos Violentos’St. Vincent is joined by another high-drama songwriter and singer, Mon Laferte, for a third iteration of “Violent Times,” which appeared on her 2024 album “All Born Screaming” and its Spanish-language version, “Todos Nacen Gritando.” The ominous horns, looming drumbeats and James Bond-theme chords of the original track remain. Where Laferte takes over certain lines, she brings her own sharp-clawed sweetness.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      New Songs From Pulp, Bon Iver, Rauw Alejandro and More

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      Listen to tracks by Bon Iver, Valerie June, Rauw Alejandro and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Pulp, ‘Spike Island’“This time I’ll get it right,” Jarvis Cocker vows on “Spike Island” from “More,” the first album since 2001 by Pulp, the 1990s Britpop standard bearers. Due in June, the new album grew out of songwriting spurred by a Pulp reunion tour that started in 2023. The band has reclaimed its old glam-rock swagger, backed by strings, and Cocker is just self-conscious enough: “I exist to do this — shouting and pointing,” he sings. True to Britpop, the song’s chorus (“Spike Island come alive”) is a British rock self-reference, to an annoying D.J.’s exhortations at a 1990 Stone Roses concert. And in an equally self-conscious video, Cocker prompts A.I. to make Pulp’s 1995 album cover photos “come alive,” with hilariously suboptimal results.Stereolab, ‘Aerial Troubles’After 15 years between albums, Stereolab has completed a new one: “Instant Holograms on Metal Film,” due May 23. Its first single, “Aerial Troubles,” has the band sounding like its old self, imperturbably setting out patterns within patterns while the lyrics critique late capitalism. “An unfillable hole / An insatiable state of consumption — systemic,” they sing in call-and-response. “We can’t eat our way out of it.” Synthesizers buzz and drums tick steadily as Stereolab calmly anticipates “the new yet undefined future / That holds the prospect for greater wisdom.”Turnstile, ‘Never Enough’From its beginnings more than a decade ago, Turnstile thoroughly established its hardcore bona fides without ever ruling out melody, allowing its music room to expand. “Never Enough,” which will be the title song of Turnstile’s first album since 2021, sets its succinct lyrics in two very different ways. Its intro and outro use stately, billowing, organ-like chords. But its middle section is a fortress of punk-grunge guitars and barreling drums. It crests into a singalong-friendly refrain — “It’s never enough love” — before the track dissolves back into a rich keyboard haze.Bon Iver featuring Dijon and Flock of Dimes, ‘Day One’A couple struggles against self-doubt and depression and tries to reconcile in “Day One” from “Sable, Fable,” Bon Iver’s cathartic new album. “It got bad enough I thought that I would leave,” Justin Vernon moans. Jenn Wasner (Flock of Dimes) advises, “You may have to toughen up while unlearning that lie.” Together, they sing, “I don’t know who I am without you.” While the chords and tempo come from gospel, the production is fractured and glitchy, questioning its own comforts.Valerie June, ‘Endless Tree’Constant bad news on TV? Pervasive isolation and hopelessness? In “Endless Tree,” from her new album “Owls, Omens and Oracles,” Valerie June recognizes dire times — she’s not naïve — and preaches hope, community spirit and “getting the courage to do something small” anyway. “If you’re on the couch and you’re feeling alone / May you feel moved after hearing this song,” she urges. An increasingly frantic orchestra and chorus join her, revealing some tension behind the positive thinking.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More