K-Pop, Afrobeats & “heart-on-sleeve pop”: Spotify breaks down 2025’s biggest music surprises

Spotify Wrapped is back and powered by the billions of streams that users around the world delivered throughout the year.

To explore the biggest shifts in sound, Spotify executives have explored the data that defined 2025. Ronny Ho, head of dance and electronic development, and James Foley, lead of global editorial strategy, share their thoughts about 2025’s biggest trends and genres, and their predictions for music in the future.

Which 2025 music trend caught you off guard the most this year?

Ronny: It’s not necessarily a 2025 trend, but I’m pleasantly surprised by the globalisation of K-Pop this year. We couldn’t ignore the impact of K-Pop Demon Hunters, putting groups like HUNTR/X and Saja Boys at the forefront of pop music culture. Although fictional, they’re represented by real artists from around the world, including South Korea and the U.S. In addition to the aforementioned K-Pop Demon Hunters, KATSEYE, another group that became popular from a TV show, skyrocketed to stardom in 2025 and recently kicked off their headline tour.

James: The continued growth of Afrobeats isn’t surprising, but perhaps the ways in which it now permeates global music has caught many unawares. This year has seen it morph further out of its West African roots into a staple of mainstream culture — the sonics are being adopted by other genres and places, further accelerating its reach. It’s now firmly part of mainstream pop and rap in North America and Europe. Notably especially is the cross-pollination happening with Latin artists such Kapo and Beéle, who interpret Afrobeats through their own lens while collaborating with some of the mainstays of the genre.

Several new genres and microscenes picked up steam in 2025. Which ones stood out, and why do you think they resonated with listeners?

James: There’s something very gratifying to witness in the remarkable rise of Copenhagen’s alternative pop scene. It’s a perfect storm of a generation of super-talented independent artists — Erika De Casier, Smerz, and Astrid Sonne to name a few — the real life spaces and institutions in the city which have nurtured and supported musical innovation and collaboration, and a supportive industry infrastructure. The music is this fearless blend of trippy, left-field, sometimes experimental textures while retaining an accessible edge. On paper it’s incongruous, but in your ears, it’s just incredible.

Ronny: Rock is continuing to have its moment, especially influencing country music. This new wave of country rock is about the return of rock bands to the mainstream country sound, with groups like Treaty Oak Revival and Ole 60 growing massive fan bases in just a few short years. This is the next step in the expansion of the country genre, growing from the acoustic homegrown-y Zach Bryan arm of the genre but incorporating heavier production. Think big guitar and drum sounds over more mainstream country lyrics and imagery.

I’ve been noticing a wave of heart-on-sleeve pop taking over Spotify lately — the kind that feels pulled straight from a rom-com’s big montage moment. Artists like Olivia Dean, who has seven songs on the Global Chart, Role Model, Alex Warren, and Sombr are leading the way with songs that are emotionally direct and impossible not to feel. It’s romantic pop at its purest: earnest, catchy, a little self-aware, and perfect for anyone who wants life to sound a bit like falling in love on-screen.

What was your favourite music trend of the year?

Ronny: I love that U.K. garage has properly crossed over in the U.S. this year! Speed garage was amongst the fastest-growing subgenres in music this year, and that’s thanks, in part, to the internet. Artists such as Sammy Virji and Girls Don’t Sync have added a modern touch to garage while paying homage to the classic sound.

James: The surge and increasing international resonance of talent out of Ireland has been my favourite trend. There’s been a lot on repeat — the heartbreaking and hilarious CMAT on her album EURO-COUNTRY; KNEECAP’s bilingual rap, which is laced with humor and political intention; and hard-hitting, sophisticated bangers from KETTAMA. Irish artists in all their diversity are on a roll. Their music is connecting in ever more corners of the world and personally I couldn’t be happier about it!

We know social media is a discovery engine. In 2025, how did social platforms shape music trends?

Ronny: Social platforms continue to blur the lines of what it means to be regional. Artists are finding fans all around the world and genres are crossing borders faster than ever. As James mentioned, sub-Saharan Africa continues to showcase its cultural impact, with Afrobeats merging with Latin sounds and Afro house instrumentation weaved into pop and dance production.

We also saw the revival of trip-hop as nostalgia continues to play a massive part in culture today. Trip-hop was the soundtrack of the mid-’90s, built on smoky vocals and hip-hop–leaning beats from icons like Portishead and Sneaker Pimps. Today, we’re hearing it everywhere, from the lush, atmospheric textures of FKA twigs and PinkPantheress to the glossy downtempo R&B of Oklou. Even Addison Rae’s brand of moody pop traces back to the genre.

Looking ahead, are there any early signs or shifts that could hint at what’s coming in 2026? Any bold predictions?

James: Connecting the dots on what our editors are seeing and hearing around the world, it’s clear that artists have many more exciting moments ahead. This momentum is driven by a new generation of truly borderless listeners who don’t care about long-held boundaries of language or location. Specifically, I think we’ll see more Asian artists breaking through globally across a broader mix of styles and sounds. You can already see hints of this in the international reception for artists like Japanese rapper Yuki Chiba and Indonesian indie soul band Thee Marloes.

Ronny: Every year, we see harder, more aggressive sounds gain popularity and I predict that in 2026, it will infiltrate the mainstream. Whether it’s gabber, rage rap, country rock, Latin trap, or punk, we’re seeing communities galvanise online as much as they are in real life.