Click here for a Spotify playlist with the songs mentioned in this newsletter.

Note from the Editor

As music critics, our job is to sift through an absurd amount of music and use whatever techinical knowledge and musical history we’ve picked up from an unhealthy amount of listening to decide what might be worth your time. Ideally, we do this through something resembling an objective lens.

But we’re not scientists. Music isn’t math. It’s messy, emotional, and human. No matter how objective we think we’re being, this is still subjective. We’re ultimately just asking you to trust our taste. As Rick Rubin once said, “I know nothing about music, but I know what I like.” At the end of the day, our taste is still just taste. And people should listen to what they enjoy.

So this week, we’re dropping the pretense. Instead of chasing objectivity, this issue is about our writers’ personal favorite songs of the year. Each of us picked ten tracks and wrote a little about why they stuck. Unsurprisingly, we don’t all agree. Case in point: Taylor Swift’s “Wood” appears here, despite some pretty damning things I wrote about it earlier this year.

If you make it all the way to the bottom, cast your vote and let us know whose taste you trust most.

Next week, we’ll swing back in the other direction with our fifth annual Year in Review. Sadly, it will also be the final Mic-Check newsletter, at least in its current form. Mic-Check will officially join the growing pile of defunct music blogs, magazines, and newsletters. There may be the occasional blast or something new down the line, but no promises.

Thank you to everyone who’s read along. Mic-Check started during the pandemic as a way to keep me busy through a bleak winter and somehow grew into something much bigger. Next week will be our 191st issue, written by half a dozen contributors and landing in the inboxes of tens of thousands of you. Thank you.

One last thing. Before Mic-Check existed, I read a study suggesting people tend to stop actively discovering new music around age 30. Pushing back against that was part of the newsletter’s original goal. It hasn’t escaped me that Mic-Check is ending right as I approach my own 30th. I guess fate has a sense of humor. C’est la vie.

We’ll see you next week. And hopefully again after that.

Andy
Managing Editor

Andy’s Favorites

Agriculture, “Bodhidharma” (Metal)

There’s a certain cliché where people say they like all kinds of music except metal. “Bodhidharma” shifts between obscene force and eerie restraint before exploding into the best guitar solo I heard all year, daring you to admit that maybe metal was never the problem.

Annahstasia, “Believer” (Rock)

“Believer” is the kind of song that makes you want to lie on the floor and stare at the ceiling while it carries you somewhere else. It recalls “Purple Rain,” not as pastiche, but in the way its soulful, psychedelic guitars linger, straining to hold something bigger than the song itself.

Big Thief, “How Could I Have Known” (Folk)

Love locks on the Pont des Arts are an enduring reminder that love lost is never actually lost. The closing track on Double Infinity centers on that image, the music offering the kind of warm hug that time can’t erase.

Ethel Cain, “F*ck Me Eyes” (Pop)

“F*ck Me Eyes” plays like a small-town “Bette Davis Eyes,” sketching a girl all the boys want in motel rooms after dark but no one brings home in the morning. It’s all dolled up in pop sheen, feeling almost irresponsible under Ethel Cain’s heavy hand.

Gigi Perez, “At The Beach, In Every Life” (Folk)

When “Sailor Song” took off last year, I found myself praying Gigi Perez wouldn’t be a one-hit wonder. Her debut arrived this year to near-total critical silence. It’s a strange fate for something this beautiful, especially a title track that proves the "one-hit wonder" prayers were entirely unnecessary.

The Hellp, “Country Road” (Pop)

“Country Road” takes John Denver’s country-folk classic and runs it through sleek, bloghouse-era electronics, turning West Virginia backroads into a druggy blur on Sunset Boulevard. It’s a terrible idea. Executed perfectly.

Jean Dawson, “Rock A Bye Baby” (Funk)

The ’80s revival has long since worn out its welcome, but Jean Dawson has cycled through enough masks that slipping into Prince-by-way-of-Minneapolis synth funk doesn’t feel forced. “Rock A Bye Baby” feels less like nostalgia and more like another identity in Dawson’s growing rolodex.

Joey Valence & BRAE, “LIVE RIGHT” (Hip Hop)

I’m too young to have lived through the Beastie Boys and just old enough to feel out of sync with Joey Valence & Brae, their spiritual second coming, which is why “LIVE RIGHT” lands perfectly. It’s party rap fueled by an uneasy reckoning with getting older, written for those of us now weighing the logistical benefits of an early night.

Saya Gray, “EXHAUST THE TOPIC” (Folk)

Stubbornly radical, Saya Gray makes ultra-unconventional pop music that refuses imitation, each song existing as its own singularity. “EXHAUST THE TOPIC” is as good an example as they come, a song so allergic to the status quo that you’ll never hear anything quite like it again.

Viagra Boys, “Man Made of Meat” (Punk)

“Man Made of Meat” opens with a belch and a Chandler Bing reference, then dives into McDonald’s parking lots and your mom’s OnlyFans. It’s grotesque by design, using lizard-brain internet punk to mock modern masculinity and consumer culture, laughing at you while stuck in the same meat grinder.

Kofi’s Favorites

Amaarae, “S.M.O.” (House)

Amaarae has always had a strong sense of self. She named her most recent album Black Star after the symbol at the center of the flag of her home country, Ghana. “SMO” fits squarely into her oeuvre of infectious, braggadocious electronic Afropop.

Audrey Hobert, “Thirst Trap” (Pop)

Audrey Hobert could have easily hidden behind her pedigree. Instead, she emerged as one of the most refreshing and promising pop acts of 2025 with her debut album Who’s the Clown? “Thirst Trap” stands out as a testament to the unique, unifying power of a truly great pop song.

Erika de Casier, “The Garden” (R&B)

There’s something inherently sensual about trip-hop, particularly in its subdued vocals and production ideas that sneak in and peter off. “The Garden” uses the genre in its full form, almost floating you to its titular makeout spot.

LOLITAH, “Bounce” (R&B)

Some songs feel too good to be true. “Bounce” by Lolitah is an impossibly groovy track that refuses to be played just once. A modern iteration of the best parts of Kelis, The Neptunes, and Darkchild, it’s made even more impressive by the fact that Lolitah’s career is still in its infancy.

Lorde, “Broken Glass” (Pop)

Lorde has a knack for intensity, and her fourth album Virgin is no exception. Amid its reclamation of innocence as a means of self-discovery sits “Broken Glass,” a song that, beneath its pop-radio sheen, is so visceral it feels ripped from the diaries of anyone who’s ever fallen victim to diet culture.

Nourished By Time, “Tossed Away” (Pop)

In an interlude on Nourished By Time’s The Passionate Ones, a voice asks how to get someone out of a cult. While the album traces the forces that pull people in, exploitation, loneliness, lies, “Tossed Away,” with its mix of ’80s instrumentation and ’90s balladry, offers a solution: it’s still worth reaching out, even when we feel discarded.

Perfume Genius, “It’s a Mirror” (Rock)

They say the longer you stare at your reflection, the more imperfections you notice, until the mirror bends, breaks, and shatters, and the person staring back is no more than a stranger. “It’s a Mirror” by Perfume Genius sets this idea to gothic Americana, with a payoff worth the wait.

Rochelle Jordan, “Ladida” (House)

Imagine this: you walk into a dark club at midnight. A couple of drinks in, the bass syncs with the liquor in your body and pulls you toward the dance floor. The song is “Ladida,” from Rochelle Jordan’s masterful exploration of house, DnB, and alternative R&B on Through the Wall. You get lost in its breezy groove. The rest is history.

ROSALÍA, “Magnolias” (Classical)

Rosalía’s LUX is a transformative, lush genre clash that employs ancient texts and religious imagery to answer the unanswerable. “I, who come from the stars / Turn to dust today / To return to them,” she sings on the heart-wrenching “Magnolias.” Perhaps the only certainty we have in this life is our mortality.

Sudan Archives, “A BUG’S LIFE” (House)

“A Bug’s Life” celebrates total freedom, set to a chaotic, impulsive house beat. The production choices raise eyebrows at first, but eventually blend into a cacophony of sound that makes the track feel liberating in every sense.

Ethan’s Favorites

⁠Addison Rae, “High Fashion” (R&B)

If I could buy stock in an artist’s career, I would have dumped my savings into Addison Rae’s pop trajectory. Up to the release of “High Fashion,” each single she dropped ahead of her debut album was better than the last. “High Fashion” is a cutting-edge example of her artistry. It’s singular, and it’s damn near perfect.

Alan Sparhawk & Trampled by Turtles, “Screaming Song” (Folk)

After losing his wife and bandmate Mimi Parker in 2022, Low frontman Alan Sparhawk has turned grief into music. Backed by Trampled by Turtles’ bluegrass backbone, he distills that pain into one of 2025’s most chilling moments, capped by a fiddle solo that captures loss and heartbreak with devastating intimacy.

Dev Lemons, “NICE TRY” (Pop)

So far this decade, TikTok star Dev Lemons has quietly been making hard-hitting, innovative pop. With her sense of humor woven into both the music and its presentation, the experimental opening track of her debut solo LP becomes a chaotic embodiment of her chronically online, surrealist brand.

Drake, “NOKIA” (Hip Hop)

Drake miraculously swung things back in his direction early in the year with the mega-hit single “Nokia.” The album it comes from isn’t good, but “Nokia” stands out as proof that Drake’s ability to craft an omnipresent pop hit hasn’t waned, even if public perception of him has.

Earl Sweatshirt, “CRISCO” (Hip Hop)

On an album packed with concise, atmospheric songs, “CRISCO” rises above the rest on Earl Sweatshirt’s excellent new album Live Laugh Love. Earl’s stream-of-consciousness flow over a nostalgic, dreamy beat from longtime collaborator Navy Blue gives the track a uniquely warm, meditative feel.

Nine Inch Nails, “Shadow Over Me” (Electronic)

Trent Reznor and Atticus Ross’ first film score released under the Nine Inch Nails name, for Tron: Ares, is far better than the movie deserves. Closer “Shadow Over Me” packs the heaviest punch, stacking dense synths, experimental production, and a controlled ferocity the duo has long since mastered.

Playboi Carti, “Pop Out” (Hip Hop)

I challenge you to find another opening track on a Billboard 200-topping album as abrasive and daring as Playboi Carti’s “Pop Out.” While Carti’s third studio album isn’t as abrasive as Whole Lotta Red, “Pop Out” stands as an opening statement more outlandish than anything on that record.

Tate McRae, “Sports car” (R&B)

It’s easy to make grand comparisons for rising pop stars, but a song on the level of “Sports Car” is why comparisons between Tate McRae and Britney Spears feel earned, not exaggerated. Her best single to date, “Sports Car” finds McRae oozing the badass confidence of a true A-list pop star.

Taylor Swift, “Wood” (Pop)

If you ask me, The Life of a Showgirl is wildly over-hated. It’s one of my favorite releases of the year. Much of the criticism targets the lyrics, fairly so, but musically “Wood” is undeniably one of the catchiest pop songs of the year. When Taylor Swift, Max Martin, and Shellback collaborate, they produce pop gold, and this track is no exception.

Wet Leg, “catch these fists” (Punk)

This was the year British rockers Wet Leg truly hit their creative stride with their second album Moisturizer. “Catch These Fists” is the clear highlight, a dynamic dance-punk track whose blistering guitar and bass lines hit so hard you can’t help but get up and move.

Kat’s Favorites

⁠Barry Can’t Swim & O’Flynn, “Kimpton” (House)

The Scottish powerhouse DJ and producer teamed up with O’Flynn on this nostalgic piano house track, built around an Afrobeat-inspired hook. It’s one of the lighter moments on Barry Can’t Swim’s sophomore album Loner, which is well worth a full listen.

CMAT, “Lord, Let That Tesla Crash” (Country)

CMAT’s dry Irish humor, paired with her impeccable storytelling, made EURO-COUNTRY one of the most interesting releases to come out of Europe this year. “Lord, Let That Tesla Crash” is so lyrically devastating that I had to stare at a wall for a good ten minutes after hearing it for the first time.

Cheetah & Nia Archives, “Get Loose” (Jungle)

Nia Archives is at the forefront of the UK jungle revival and has recently launched her own label. Her collaboration with Bristol-based DJ and producer Cheetah is the first release on Up Ya Archives, an homage to soundsystem and carnival culture that urges you to go out, have fun, and get loose.

David Byrne & Ghost Train Orchestra, “Everybody Laughs” (Rock)

“Everybody Laughs” is David Byrne’s lead single from his new album Who Is the Sky?, which arrives full of hope and optimism at a time when the world feels short on both. The song is almost deceptively simple, delivering Byrne’s message that, at the end of the day, we’re all just people.

FISHER, “Stay” (House)

FISHER’s “Stay” is a bass-heavy, summery house track that samples Exile’s ’70s soft rock tune “Kiss You All Over.” Released through his own label, Catch & Release, it features the sunny, joyful sound he’s become known for.

Fred again.., Skepta & PlaqueBoyMax, “Victory Lap” (Grime)

Fred again.. has been running a continuous album project called USB, releasing new songs as soon as he makes them, often with help from friends. His collaboration with rapper Skepta and producer and streamer PlaqueBoyMax was announced in New York via a Twitch stream and a pop-up rave.

JADE, “Use Me” (Pop)

Former Little Mix member JADE released her critically acclaimed debut album That’s Showbiz, Baby! in September, followed by That’s Showbiz, Baby! The Encore in December. “Use Me” is one of the seven additional tracks on The Encore, originally written for Kylie Minogue, and it shows.

Gorillaz & Sparks, “The Happy Dictator” (Psychedelia)

This year’s Britpop revival didn’t bring a Blur reunion, but Damon Albarn has at least been releasing new music with Gorillaz. “The Happy Dictator” was inspired by Albarn’s trip to Turkmenistan, where he learned that former dictator Saparmurat Niyazov once decreed that citizens should only think happy thoughts.

Pulp, “Spike Island” (Rock)

Pulp are another recent comeback from the golden age of Britpop. “Spike Island” manages to sound both nostalgic and unmistakably Pulp while still exploring a new-ish direction, with singer Jarvis Cocker saying he’s back to performing because that’s what he was born to do.

Wolf Alice, “Bloom Baby Bloom” (Rock)

Wolf Alice’s electrifying comeback single from their new album The Clearing introduces the new sound they’re pursuing, marking their first release in four years. Singer Ellie Rowsell has reached a whole new level here, showcasing both her emotional range and the raw power of her voice.

Nick’s Favorites

⁠Bon Iver & Danielle Haim, “If Only I Could Wait” (Pop)

My favorite Bon Iver moments come when Justin Vernon combines the rustic indie folk he does so well with just the right amount of electronic accents. “If Only I Could Wait” does exactly that, and on top of it, Vernon and Danielle Haim’s voices blend beautifully, accentuating each other’s best qualities.

Doja Cat, “Lipstain” (R&B)

Doja Cat combined the best of her sugary Planet Her and hard-edged Scarlet eras on her latest LP Vie, and “Lipstain” perfectly showcases the power of that mix. She’s confident, sexually forward, and dominating, while still sounding soft and delicate on the infectious hook.

Lady Gaga, “Garden Of Eden” (Pop)

Mother Monster did it again this year with her sixth solo album Mayhem, delivering yet another killer set of bangers perfect for both the radio and the dance floor. “Garden Of Eden” proved my favorite of the bunch. Nothing triggers my dopamine receptors quite like the calls of “DJ, hit the lights,” plus Gaga’s soaring vocals on the bridge are just divine.

LISA, “Moonlit Floor (Kiss Me)” (Pop)

I usually don’t enjoy songs that interpolate old classics (just look at David Guetta’s recent hits for examples), but BLACKPINK star LISA made one I actually enjoy with “Moonlit Floor (Kiss Me).” She doesn’t stray too far from the original blueprint by Sixpence None the Richer, instead adding a disco flavor and rap-sung verses that fit her modern style.

Lucy Dacus, “Limerence” (Pop)

My favorite member of boygenius, Lucy Dacus, impressed yet again with her fourth album Forever Is a Feeling, and “Limerence” stood out among an already strong set of tracks. The song’s lugubrious pace matches the stoned atmosphere she describes, and I adore how the piano work grows more intricate as the song becomes more emotionally fraught.

Ninajirachi, “London Song” (House)

The opening track from Australian DJ Ninajirachi’s debut LP I Love My Computer had an absolute chokehold on me in the latter half of 2025. Her infectious melodies and wild beat drops are pure serotonin, keeping me hitting replay again and again and again.

Quadeca & Maruja, “CASPER” (Rock)

Quadeca’s Vanisher, Horizon Scraper was easily his most ambitious album to date, and he closed it out with a devastating post-punk cut featuring UK rock quartet Maruja. The song is a masterclass in dramatic pacing, concluding with massive, punishing riffs and some of the most insane guitar effects I’ve heard all year.

sombr, “12 to 12” (Pop)

Lo-fi indie pop artist Sombr burst into the mainstream this year with his debut LP I Barely Know Her. Fourth single “12 To 12” is easily the highlight of the album, a driving dance-funk cut with a fantastic vocal performance from the 20-year-old burgeoning star.

The Weeknd & Anitta, “São Paulo” (Brazilian Funk)

Of the many bangers on Abel’s Hurry Up Tomorrow LP, my personal favorite is his foray into Brazilian funk, “São Paulo.” The song’s massive builds and drops sound incredible over headphones, and even more insane live, as I can personally attest.

Ziferblat, “Good Boy, Good Girl” (Rock)

My favorite musical discovery from Eurovision 2025, Ukrainian rock trio Ziferblat, fully won me over with their Of Us EP. “Good Boy, Good Girl” is easily the peak of the record. Despite some nonsensical English, the song has a killer pop-rock groove and an awesome guitar solo to cap it off.