1. Hayley Williams – Ego Death at a Bachelorette Party
It is imperative that everyone listen to this album. What Hayley Williams has done is truly on another level; metaphorically shedding her skin as the front person of Paramore and becoming her own entity. This journey is necessary and stunning, and it is quite unlike observing her past solo album cycles. Ego Death at a Bachelorette Party is so heartbreakingly beautiful, letting those who choose to listen comfortably sit with many levels of uncertainty.
Fans’ first taste of this album was in response to saving public radio; Hayley dropped off a demo CD to WNXP Nashville, with tracks “Mirtazapine” and “Glum” for public radio listeners’ consumption. Williams had inscribed the CD with, “Thanks for keeping me company. Long live public radio.” Hayley’s material is relatable to the point where anyone could picture themselves writing these songs.
With songs like “Whim” and “I Want to Be in Love. To Believe in Us, Sans-Sabotage,” Hayley demonstrates one of her favorite songwriting methods: light, airy instrumentals backing lyricism that could shatter your whole world.
On tracks like “True Believer,” Hayley does not shy away from the truth about growing up in the Deep South. Critiquing racial inequities and the gentrification of Nashville, Williams utters, “They say that Jesus is the way, but then they gave Him a white face. So they don’t have to pray to someone they deem lesser than them,” also referencing the poignancy and harrowing reality of Billie Holiday’s “Strange Fruit.”
With twenty tracks for every season, every mood, I believe that this record will be celebrated across genres and for many years to come. And for those who are familiar with Paramore but not Miss Williams independent of the band, I highly recommend taking that hour to really digest this record. Ego Death at a Bachelorette Party deserves the space to grow within each listener.
2. Knox – Going, Going, Gone
Knox is a true superstar; his 2025 effort, Going, Going, Gone, is perfectly crafted pop. Riding high off his TikTok fame, Knox utilized that momentum to distinguish himself among his counterparts. But what makes Knox’s album really stand out among other palatable efforts is the undeniable amount of fun infused into every single track.
While most know of Knox’s inescapable “Not the 1975,” it’s truly such a small piece of what makes this album, as well as Knox as an artist, incredible. The opening track, “Now & Then” (co-written by The Summer Set’s Brian Logan Dales, but we’ll get to them in a minute), weaves together different sonic elements, creating a rich experience while still honoring Knox’s pop roots.
Arguably, the middle of the album is Knox’s sweet spot, hitting listeners with a burst of infectious hooks and choruses that will be stuck in anyone’s head for days. True romantics and those who have been scorned will be eternally appreciative of tracks such as “50/50” and “Oxygen Thief.” On the latter track, Knox woefully exclaims, “If love is the death of me, darling, I’ll dig my own grave,” convincing even the most skeptical of love to believe again.
Knox’s unwavering songwriting ability is something to be noticed. Crafting lyrics that are so painfully relatable, you swear he took a peek inside your own diary.
Going, Going, Gone only feels like the beginning. Knox’s trajectory is one that will undoubtedly prove he has real staying power.
3. The Summer Set – Meet Me at the Record Store
The Summer Set are an absolute staple in every elder emo’s life. Don’t be fooled, though—they have grown up, and so has their sound. Meet Me at the Record Store shows a band that has matured alongside their fans, tackling the complexities of getting older, love, and heartbreak, all within forty-one minutes.
These themes within the record are simultaneously personal and universal. As vocalist and lyricist Brian Logan Dales sings on “34,” “’Cause I’ve been scared of getting older. I’m only good at being young,” capturing that bittersweet feeling of nostalgia and growth. And even though the band members are in happy relationships, they still deliver cathartic tracks such as “Miserable” (featuring Jax), aimed at exes or other past heartbreaks.
This track also delivers one of the best bridges in TSS history: “Baby, when I’m with you, you know that I’d rather be standing in line at the DMV—or doing literally anything else,” proving once again that they still have the ability to tap in and capture raw emotion while being comical with the delivery.
From the opening track, “For the First Time,” it’s clear this is a new chapter, a new era. After years since their last full-length (2016’s Stories for Monday), the band sounds fully ready to reclaim their place in our lives and remind the world that they’re an essential part of pop-emo history.
4. Sabrina Carpenter – Man’s Best Friend
After a monumental year promoting her sixth studio album, Short n’ Sweet, Sabrina Carpenter has established herself as the reigning princess of pop, and her newest effort, Man’s Best Friend, proves why. After Short n’ Sweet, many did not think that she could top it, but she does.
Delivering a record that is just as entertaining, cheeky, and fun, Sabrina proves that she is not a one-trick pony. With producer and songwriter Jack Antonoff and writer Amy Allen behind her, Sabrina serves listeners pop music that is sexy, slightly vengeful, and downright hilarious.
Each track is monumentally clever, packed with innuendos for days, and gives fans a peek into the life of a woman navigating the world on her own terms—loving, challenging, and outsmarting men along the way. This album is unapologetically Sabrina; she stands firmly behind her songs, her lyrics, and her artistic vision, from the visuals to the album’s presentation.
In an industry where so many young pop stars are told what to do, it’s refreshing to see her embrace authenticity and confidently be herself.
Man’s Best Friend gives people plenty to talk about, whether they are shocked (oh my!) by the lyrics, giggling at the clever moments, or relating to the experiences Sabrina sings about. Tracks like “Nobody’s Son” capture familiar feelings—“Here we go again, crying in bed, what a familiar feeling. All my friends in love, and I’m the one they call for third-wheeling”—and “House Tour” is genius, with its infectious ’80s-inspired melody and Whitney-esque flair. Every song on this record is an absolute delight.
5. Taylor Acorn – Poster Child
I cannot believe it took Taylor Acorn this long to get signed. She spent nine years as an independent artist before finally signing with Fearless Records in July 2025. The perseverance she has shown throughout all these years is truly remarkable, and her journey makes her newest record, Poster Child, even more significant.
Taylor’s songwriting ability on this record is remarkable. She’s earnest and honest with her lyrics, and listeners can feel the way she projects her obstacles, never trying to prove that she’s perfect. Taylor Acorn’s vulnerability is her superpower; lyrically, she’s a total beast and reignites that fire on every song.
She begins the record with “People Pleaser” and sings, “You’re pissing me off, but I’d never say that. You don’t like my hair, like my clothes, like my face. Hell, maybe I need a change.” Taylor’s journey of powerful self-discovery right out of the gate paves the way for listeners to devour every minute of this record.
While this record as a whole is filled with brutal honesty and emotion, tracks like “Cheap Dopamine” hit like a massive gut punch. Taylor belts, “Was I ever worth anything, or was I just cheap dopamine?” realizing that she’s being treated like a disposable thrill for someone else and that she needs to walk away to reclaim her worth.
On the surface, Poster Child would be categorized as pop rock, but you can definitely hear influences of ’90s alternative, as well as touches of country. Taylor doesn’t confine herself to one strict genre, and I think that’s beautiful. It gives her the space to create art not just for listeners, but for herself as well. The album Poster Child is as influential as it is honest, and I’m thrilled to see more up-and-coming women making it in the alternative music scene.
6 through 25:
Hunny – Spirit
Michael Clifford – SIDEQUEST
Slowly Slowly – Forgiving Spree
Bearings – Comfort Company
The Starting Line – Eternal Youth
Stateside – Where You Found Me
The Band CAMINO – NeverAlways
Super Sometimes – From Then & Now
Winona Fighter – My Apologies to the Chef
Beach Bunny – Tunnel Vision
Arm’s Length – There’s a Whole World Out There
Arrows in Action – I Think I’ve Been Here Before
Lydia Night – Parody of Pleasure
Heart Attack Man – Joyride the Pale Horse
408 – Over the Edge
As December Falls – Everything’s on Fire But I’m Fine
chloe moriondo – (my world is an) oyster
Yellowcard – Better Days
Hot Mulligan – The Sound a Body Makes When It’s Still
Jutes – Dilworth