2025 was a notoriously slow-moving year for music charts, and many would argue that it was also poor for the quality of those songs. Obviously that’s a subjective measurement, and even given that it’s usually one that can vary with little pattern over the years. We went into 2026 hoping it would improve and get back to the delight that was 2024, and in my opinion we’re off to a good start!

Djo’s “End of Beginning” initially became a hit in 2024, however it’s seen a resurgence and new peak recently due to Djo, real name Joe Keery, being on Stranger Things, which just released its final season. I personally love this song, it’s got a great synth line and rises amazingly in the final chorus, and I hope it manages to reach #1!

The biggest singer in the world right now came out with an album late last year, and reviews were… mixed. “The Fate of Ophelia” was the #1 off of it, and while it has a solid melody and a good line here and there, the chorus is incredibly stupid, the five-measure structure is clunky in parts, and most egregiously, Taylor Swift doesn’t even understand who Ophelia was or what she did.

Bruno Mars. How does he keep doing it?

Okay, to be fair, “I Just Might” sounds a lot like “Skate.” But “Skate” was my favourite song off of the Silk Sonic album, so I will absolutely take more of it.

Olivia Dean is the new queen of pop. “Man I Need” is the greatest song of all time. Britain’s sins have finally been absolved.

“Golden” is around half a year old but I’m still putting it in. This song blatantly rips off “I Am” by IVE, but “I Am” is the second-greatest K-pop hit of the decade, only behind IVE themselves ripping off “I Am” and making it even better, resulting in “Rebel Heart.” So, ripping off “I Am” is actually a wonderful idea.

I was a bit scared to listen to it at first, but “Choosin’ Texas” is a basic country song executed as well as it can be. It just sounds incredible. The lyrics are also a bit basic, but Ella Langley hits all the emotional notes, so it still works. Big W for women.

So, Zach Bryan is back with a new album. He does his usual thing on it and as usual it sounds quite beautiful. As of now I’m not quite sure what he’s saying in the verses of “Plastic Cigarette” but it’s probably a bit insightful or something idk.

Raye’s “Where Is My Husband!” is another in the long line of songs trying to be Beyoncé’s “Crazy In Love.” Fortunately, this is Raye, so (and this might be a hot take) it’s actually better. Her flair for short bursts of rapping interspaced with an undertone of a seedy lifestyle makes for captivating storytelling, and the production packs an appropriate punch.

You can really tell “Lush Life” was made in the mid-2010s, because it’s a tropical-sounding beat and why is Zara Larsson, a Swedish woman, trying to emulate a Jamaican accent???

Oh for fucks sake David Guetta is back, and- wait, what’s this? He’s finally made another song that isn’t complete and utter dogshit? And it’s a song where Tones and I doesn’t sound like she’s about to rupture something?! What the fuck??? Well, at least the song’s title is stupid – “Gone Gone Gone,” nope, don’t like that.

I like Luke Combs a lot. Unfortunately, he only has one schtick. Fortunately, it’s really good. Unfortunately, he’s been doing it for nearly a decade now and it might finally be starting to run a bit thin. “Sleepless in a Hotel Room” does have some cool vocal effects, though, so there’s that I guess.

I do not care about Tate McRae’s personal life. I do not care that she broke up with the Kid Laroi and is mad about it or whatever. This beat is dogshit and she doesn’t save it. I do find it funny that the cover art was censored by Google Images, though.

I don’t know much about EsDeeKid (though to be fair I don’t think anyone does), but it’s really impressive that a rapper from Liverpool with a strong scouse accent could get this big all of a sudden. I imagine that this is what people who like Yeat think he raps like.

Sabrina Carpenter’s album Man’s Best Friend was pretty good. “Tears” is a pretty good song.

So apparently a song from 2008 by a duo including Zooey Deschanel went viral. Huh. Well, the lengthy-named “I Thought I Saw Your Face Today” is… fine to good. Yeah.

Katseye’s “Internet Girl” is honestly a banger musically; this beat and synth makes it sound like it’s straight out of a mid-2000s Need for Speed game. Certainly a lot better than “Gnarly,” the last time they tried to get wild with the production. Unfortunately, they then open their mouths. 4/10.

“What You Saying” by Lil Uzi Vert is somehow not terrible.

“Chanel” by Tyla isn’t quite as good as the masterpieces that were “Water” or “Push 2 Start,” but it’s a bit of a different sound for her and it works well enough.

“Stateside” is honestly a bit better when it’s only PinkPantheress; I greatly respect the decision to actually make the beat significantly different on the remix, but unfortunately it’s for the worse. I think the original has a better sense of urgency that adds to her frantic delivery. Still, Zara Larsson gives a good performance.

“Mutt” by Leon Thomas has been around for a couple months now, and it’s really good, but I really just wanted to bring it up because I want everyone to know that he was the singing voice of Tyrone from the Backyardigans.

Santan Dave’s career output has been frustratingly inconsistent, but I agree with the general consensus that his new album The Boy Who Played the Harp lives up to the potential. “Raindance” has Tems on the track, who has an angelic voice as usual, and Dave somehow manages to reference Swalla by Jason Derulo without looking like a complete doofus.

I don’t like “Die on this Hill” by Sienna Spiro.

Okay, fine, I’ll admit it. “Fame is a Gun” is a great song. Addison Rae has made a song I’ll go to bat for. It’s finally happened.