2025 may be wrapping up, but the tracks that defined the year are far from fading out. From heart-thumping anthems and soul-stirring ballads to long-awaited surprise reunions and unexpected breakout stars, this year’s Filipino music scene has seen consistent reinvention, rule-breaking, and boundary-pushing creativity.
Whether it was legacy acts re-sparking an old flame, new-gen pop acts breaking glass ceilings to reach the global stage, or unbeatable No. 1s that made waves across the entire country, 2025 was the year that proved there are no limits to where Filipino music can go.
So, as the year comes to a close, here are the 25 tracks — handpicked by the Billboard Philippines team — that defined the very best of Filipino music in 2025.
“Kalimutan Ka” — Skusta Clee
Skusta Clee has always been a masterful songwriter— and if there’s any proof of that, it’s the fact that he was able to shake up the industry with a ballad. Steering into a deeply emotional state with a song that resonated with millions, Skusta Clee showed the power of vulnerability in modern Filipino hip-hop and pop.
With its honest and raw songwriting, the song took over the Philippine music charts as a certified hit, even climbing to the No. 8 spot of the Billboard Philippines Hot 100 on the week of June 28, 2025. As a mark of its impact on the Philippine soundscape, the track was nominated for the People’s Choice Award for Song of the Year.
At the end of the day, “Kalimutan Ka” is a song that not only highlights Skusta Clee’s versatility but also proves that a powerful story can transcend genres, making the track a standout moment in his discography — Rome Saenz, Regional Writer
“Hari Ng Kapalpakan” — BLASTER
As the lead single to his sophomore album, “Hari ng Kapalpakan” is a dreamy and climactic track that showcases BLASTER’s aptitude for sophisticated yet memorable production. Here, the IV OF SPADES member switches from beat to beat, melody to melody, at a seamless and almost skyrocketing pace.
In spite of the song’s heavy themes, BLASTER crafted a melody that makes the self-deprecating and self-critical lyrics feel nearly weightless. With its perfect balance of introspection and sonic bravado, “Hari ng Kapalpakan” captures BLASTER at a point of fearless creativity, proving he can turn personal missteps into art that resonates with listeners in a way that hits deep. The song’s richly textured production make for a rollercoaster ride of a five-minute runtime – solidifying the song as one of the most memorable and best tracks to come out of 2025. — Rome Saenz
“Baduy” — VVINK, DJ Love, Pio Balbuena
Just when you thought you’ve heard everything to come out of the P-pop scene, VVINK has changed the game. What was once kitschy has now become the standard of cool — just as their third single, “Baduy,” perfectly (and willingly!) embodies.
Blending hyper-pop production with the Philippines’ novelty sound of budots, the track is an absolute burst of energy that adds a new set of sounds to the growing P-pop scene. Through giving credit and recognition to budots pioneer DJ Love’s longtime influence on OPM in a mainstream manner, it allows the song to feel significant for the evolution of Filipino pop music, all while its upbeat nature and playful rhythm linger in our heads and ears well after one playthrough.
With VVINK’s take on “Baduy,” they recontextualize the very meaning of the word — reclaiming it as they turn it into an empowering, yet joyful celebration of Filipino pop culture. — Gabriel Saulog, Lead Writer
“Ikaw Sana” — Rob Deniel
One of Rob Deniel’s reimaginings of an Ogie Alcasid classic, his rendition of “Ikaw Sana” feels like a modern soundtrack to a Filipino romance film. His tender vocals add to the fresh revamp of a track that remains timeless, allowing the balladeer to embrace his own artistry without sounding too much like the original.
This rendition feels like something you’d hear on a bus during an hours-long trip to the province, which is perfect for when you want to be gently serenaded by an easygoing track while you relax and have that main character moment. — Ralph Regis, Lifestyle and Culture Writer
“Pag Ibig ng Ikaw At Ako” — Earl Agustin
“Pag‑ibig ng Ikaw at Ako” is a tender pop single from Filipino chart-breaking funk/pop artist Earl Agustin, released in March 2025 as part of his debut album Himig at Pag‑Ibig. The song marries Agustin’s smooth, soulful vocals with nostalgic ’80s‑inspired synths and warm production, wrapping a story of intimate love in swoon-worthy melodies, and latches on as a track you can’t forget.
Telling a story of a love that’s unforgettable and long-lasting, Agustin’s songwriting struck a chord with the Filipino listening audience who endlessly yearn for a bit of romance in everyday life. Whether heard as part of the album or standing alone on playlists, “Pag‑ibig ng Ikaw at Ako” captures a quiet, heartfelt moment that prods on one’s heartstrings. — Rome Saenz
“FURR” — Costa Cashman
As he continues to journey through his solo career, Costa Cashman of O SIDE MAFIA continues to rise as a growing force in the Philippine hip-hop scene, and “FURR” is a great example why. When he initially revealed his tough side in hard-hitting rap tracks like “Tumesting Ka” and “TALKSH*T,” “FURR” delves into his relationships, and does such with bravado and swagger.
With bars like “Pasensya ‘la ‘kong feelings, importante nauwi ka / Gusto kita ngayon, baka bukas ay hindi na / Pakita mo lahat, dapat wala akong ma-miss out,” Costa Cashman is rapping from a persona that’s cold, confident, and non-committal. He’s talking about pursuing women purely for the moment – physical chemistry without feelings or responsibility.
Furthermore, produced by Fern., the beat of the track itself is addictively catchy and oozing with the same swagger and confidence as the lyrics. Here, the production delves into an early 2000s R&B, almost Neptunes-like pocket of sound, shifting Cashman’s flow into something more lax and slick. — Rome Saenz
“The Moment” — Lola Amour, Psychic Fever’s KOKORO
“You, me, in the moonlight. Feel free till the sunrise. And if the moment is right. Imma show ya what lovin’ is like,” Lola Amour sings, joined by Japanese singer KOKORO of the boy group PSYCHIC FEVER from EXILE TRIBE. “The Moment” perfectly captures the thrilling excitement of a love built on anticipation.
Featured on the band’s sophomore album Love on Loop, the track’s pop‑funk sensibilities are quintessentially Lola Amour, evoking vibrant neon lights and the sense of possibility that comes with where the night — or the moment, rather — might take you. — Ralph Regis
“Weaponized” — Pedicab
As their comeback single after two whole years, Pedicab’s “Weaponized” is a strong reminder of what the local rock scene has been missing in their absence.
Having reached backwards into the ’90s big beat playbook, the track repurposes its blunt-force rhythms for a moment that feels just as disorienting. Given its timely and resonant themes that critique the omnipresence of technology and social media, it embodies such angst through amplifying that pressure in sound — jagged guitar stabs scrape against droning bass lines, while its syncopated drums lock into a relentless, almost mechanical churn,
While it remains true to the dance-punk nature of their earlier work, it also carries a pulse of low-grade anxiety that mirrors the unease of a world that is overstimulated and perpetually online, clanging and coiling around the beat with a sense of urgency that never quite resolves. Because even as it invites the body onto the dance floor (or more specifically, the mosh pit), it leaves the mind restless, caught between surrendering to the groove and reckoning with the discomfort it so deliberately amplifies from its lyricism. — Gabriel Saulog
“Sandali” — Cup Of Joe
Coming off the success of Cup of Joe’s Silakbo album and their chart-topping single “Multo,” 2025 saw the release of the band’s latest single, “Sandali.” Listeners can still catch echoes of the Baguio-based hitmakers’ previous work, but the track flows and breathes as if the band is stepping confidently into a brand-new era. The catchy hook and chorus remain, while also highlighting the vocal capabilities of the group’s non-vocalist members, beyond just Gian and Rapha.
With “Sandali,” you can hear the band simply having fun, embracing their post-“Multo” success without feeling pressured to churn out another hit. The track serves its purpose by showcasing more of what they can do. With the chorus, you can’t help but sing along and dance your way through. — Ralph Regis
“Law of the Scale” — Badburn
“Law of the Scale” finds local hardcore veterans Badburn operating at full throttle, delivering a track that’s heavy, disciplined, and unapologetically intense. Anchored by thick riffs and a relentless rhythm section, the song wastes no time establishing its intent. The band’s control is evident: every breakdown lands with purpose, every shift feels earned. Rather than relying on typical hardcore protocol, Badburn double down on precision and power, resulting in a track that feels honed rather than chaotic. “Law of the Scale” won’t convert casual listeners, but for fans of tightly executed heavy music, it’s a strong statement of form, and one of the band’s most focused releases to date. — Jason Caballa, Managing Editor
“TANGA” — KAIA
KAIA’s growing discography is already comprised of a ton of bops that deserve far more recognition, yet their 2025 comeback, “TANGA,” is surely something that warrants your attention.
From the moment the twinkling synth keys begin to envelop the track’s first few seconds, it immediately transports you into the dreamy, if romantic, headspace that perfectly mirrors the lovelorn state of mind that many of us have become familiar with. Written and produced by local hitmaker Zack Tabudlo, this song could easily be noted as the perfect example of P-pop excellence — luring us in with its infectious chorus, catchy hooks, and the quintet’s heavenly vocals all throughout
In its own way, this earworm really does sink its teeth in you well past its initial listen. Despite its sweet taste, it never overwhelms you, for it begs to be replayed over and over again. Easily, “TANGA” might just be their breakout single to (finally) push them further into the limelight, just as they rightfully deserve. — Gabriel Saulog
“Pag-Ibig Ay Kanibalismo II” — fitterkarma
How does it feel to find your ride-or-die?
Well, fitterkarma have found a way to describe it in the most gruesome yet catchiest way possible.
Notable for its laidback alternative rock sound, “Pag-Ibig Ay Kanibalismo II” is a heartfelt love song with a wicked twist — a declaration of devotion mixed in with deadly desires. With this, the genre-bending art rock band have crafted a fatal tale of romance rooted in obsession, weaving together a story of two individuals so enamored with each other to the point where their love consumes them completely.
Here, infatuation and self-destruction beautifully merge into one, resulting in one of this year’s biggest hits that keeps you insatiably craving for more. — Mayks Go, Writer and Photographer
“SI LODS NA BAHALA” — Waiian
In a genre that often glamorizes excess and a lavish lifestyle, Waiian turns heel and gets nitty-gritty into the reality of his daily life with “SI LODS NA BAHALA.”
The track stands out from most rap songs this year with credit to its balance of honesty, wit, and quiet confidence that reflects a more introspective side of the rising rapper. Rather than chasing spectacle, the track thrives on restraint — letting Waiian’s storytelling take center stage. All throughout, his lyrics feel conversational yet deliberate, unpacking pressure, faith, and self-determination with a clarity that resonates deeply in a time defined by uncertainty. KASHIRA and PISTOLGRIP’s production is understated but purposeful, giving the song room to breathe and allowing every line to land with weight.
“SI LODS NA BAHALA” doesn’t demand attention through volume or bravado, yet it earns it through authenticity. But that sincerity, paired with Waiian’s sharp writing and emotional control, is what makes the song not just a memorable one — but significant in his evolution as an artist. — Gabriel Saulog
“Unang Halik” — TJ Monterde
If there’s anything that TJ Monterde taught us last year, it’s that the most honest of feelings can truly make for the best of songs.
The beloved balladeer flawlessly proves this once again with his latest single “Unang Halik.” Another heartfelt dedication to his wife, the song sees Monterde gleefully reminiscing on the beginning of their journey together, beautifully translating all the emotions that came from their first kiss into song. — Mayks Go
“Ikaw Lagi” — ALYSON
The first single from ALYSON‘s sophomore album, After Ours, “Ikaw Lagi” marks a brand-new era for the five-piece OPM city pop band. While it doesn’t stray far from the sound of their debut album, DEFINITELY, LOVE!, it still showcases what makes their music stand out in the broader Filipino music scene.
Released in November 2025, the song’s charm lies in its catchy, upbeat vibe, making it a perfect soundtrack for the summer. “Ikaw Lagi” features a variety of instrumentation without feeling overproduced, while still paying homage to classic OPM sounds. — Ralph Regis
“All These Ladies” — BGYO
BGYO have always the potential to become of one of P-pop’s biggest acts, and “All These Ladies” prove exactly that. Undeniably one of the boy group’s best songs yet, the single sees Gelo, Akira, JL, Mikki, and Nate take on a more flirty and suave persona — one that fits them so well — as they sing and yearn for, well, “all these ladies.” It’s vibrant, energetic, and incredibly catchy, making it an honest-to-goodness pop song that beautifully showcases the group’s impressive blend of catchy hooks, smooth vocals, and infectious beats. Overall, “All These Ladies” is an easy-to-love track that highlights BGYO’s potential to create bouncy, feel-good tracks that anybody can listen to. — Franchesca Basbas, Digital Editor
“Palaisipan” — Loonie, Arthur Nery
Combining Loonie’s sharp, distinct flow with Arthur Nery’s entrancing vocal tone, “Palaisipan” showcases a laidback mixture of hip-hop and R&B that feels both nostalgic and familiar but fresh and exciting at the same time.
Here, the two effectively voice out the unanswered questions and capture the frustrations that come from a relationship shrouded in ambiguity, resulting in a song that is candid as much as it is undeniably catchy. — Mayks Go
“Umaaligid” — Sarah Geronimo, SB19
There’s always a different kind of explosive energy when different music icons join forces. Such can be said when Sarah Geronimo and SB19 teamed up for “Umaaligid.”
Here, we see these titans of Philippine pop charge into darker and bolder musical territory, employing an eerie synth-infused pop rock sound befitting of noir films, backed by the perfect blend of Geronimo’s and the SB19 members’ distinct vocal deliveries.
Hand-in-hand with this, they weave together a thrilling tale that touches on betrayal and backstabbing of all scales, unapologetically calling out those who wield deception and dare to spread disinformation. — Mayks Go
“Basura” — Sandwich, SUYEN
“Basura” pairs Sandwich’s seasoned alternative rock instincts with SUYEN’s youthful bite, resulting in a collaboration that feels surprisingly natural. Built on crunchy guitar riffs and a forward-driving rhythm section, the track leans into controlled aggression without tipping into excess. SUYEN’s vocal presence injects a sharp contrast to Raymund Marasigan’s familiarity, giving the song a dynamic push-and-pull that keeps it engaging throughout. Lyrically blunt and sonically unpolished in all the right ways, “Basura” thrives on its refusal to clean itself up. It’s a reminder that OPM rock doesn’t need reinvention to feel relevant — just clarity of intent and the right voices pushing against each other. — Jason Caballa
“HAYUP KA” — Janine Berdin
One of Janine Berdin’s tracks from her debut album, LAB SONGS NG MGA TANGA — “HAYUP KA” — deserves a mention for its gut-wrenching lyrics that capture anger and the act of releasing frustration toward someone manipulative and toxic. With a straightforward sonic approach, the song reflects Janine’s identity as an artist and embodies the spirit of the album as a whole.
In many ways, “HAYUP KA” is a cathartic release, delivered through a rock-heavy track that channels raw emotion. Drawing from her personal experiences, Janine turns her feelings into an infectious performance. — Ralph Regis
“Dahan” — Over October
Over October are masters at creating songs about longing and yearning that remain infectious to listen to. Much like “Ikot,” which is an experience in itself to hear performed live, “Dahan” is no stranger to that same feeling. The chorus, true to its title, slows the song’s pacing between the verses and pre-choruses, which adds to the overall structure and brilliance of the track. It’s a pop song about love, and Over October doesn’t overcomplicate things.
What is complicated, however, is the narrator’s questioning of their feelings and heart toward the one they yearn for. Listeners become enthralled by the ethereal quality that runs through the chorus — perfect for when you just want to feel that kind of silly love. — Ralph Regis
“Aura” — IV OF SPADES
Rather than leaning into flash or reinvention, IV OF SPADES’ long-awaited comeback single “Aura” opts for restraint. Built on a clean, mid-tempo arrangement, the song places emphasis on mood and melodic control, allowing the band to ease back into collective form without forcing a statement. There’s a sense of familiarity in the way it unfolds — measured guitar lines, steady rhythms, and an exemplary vocal performance that favors calm confidence over urgency. While “Aura” doesn’t aim for immediate impact, its strength lies in how settled it sounds, as if the band is reestablishing their footing before taking bigger steps forward. As a return, it works less as a declaration and more as a quiet reset — one that acknowledges the past five years without being weighed down by them. — Jason Caballa
“DUNGKA!” — SB19
SB19 have mastered the art of making explosive pop hits, but “DUNGKA!” may very well be one of their most high-octane tracks to date.
Cut off the same cloth as their unforgettable bangers like “GENTO” and “CRIMZONE,” the Filipino Music Award-winning single completely embodies some of the very best qualities that have made SB19 well deserving of their title as the Kings of P-pop. “DUNGKA!” is bold, brash, and boisterous in all the best ways, with each member’s energy and execution going full throttle at every point of the track — whether it be through their balance of belting vocals, rap-influenced segments, or dance-heavy performance.
Just as the emboldened chorus signifies, this track is merely one of many hit tracks that pave the way for the unique path that SB19 is carving for themselves (and the rest of the OPM scene) within the global pop scene. And for any hater who dares to stand in their way, “DUNGKA!” already stands on its own as their strong and singular statement against them. — Gabriel Saulog
“Blue” — spacedog spacecat
At the onset, “Blue” sees spacedog spacecat toning down the fuzz of their guitars and bringing out one of the sonic aces up their sleeves — Janine Samaniego’s violin — to the forefront of the mix. The seasoned indie rock collective’s signature layered boy-girl harmonies are still here, as well as a looseness that works to its advantage, allowing the song to unfold naturally rather than rush towards a noisy climax. While “Blue” may not completely reinvent the band’s sound, it reinforces what makes their music work in the first place: confident songwriting, strong melodic instincts, and a clear sense of identity. It’s a solid addition to their growing catalog and a reminder of the band’s consistency. — Jason Caballa
“KITBA” — Kartell’em
If anything, “KITBA” is a proud proclamation of the return of Filipino hip-hop’s prodigal sons after years of being incomplete. Here, the now-reunited alternative hip-hop collective Kartell’em chant with a fury that they’ve come back to the scene, ready to disrupt and state their name once more.
Featuring members Waiian, Yorko, Wavyier, Nickname, Ne7in, and Aftermatt, the track is electric and bursting with energy on the fronts of all members. The beat of the track may be straightforward, but ebbs and flows in each rapper’s verses add texture to what inevitably becomes a bursting beacon of energy. Furthermore, in each of their verses, not only do these emcees come in blazing with their lines, but they showcase their personalities in their songwriting at full force. — Rome Saenz