The 50 Best Indian Songs of 2025 

There’s no easy way to quantify the best songs of the year when there are hundreds of new songs coming out every week in the country. But, we know a powerful, memorable and important song when we hear one. 

This year saw fist-raising voices from across languages and genres, even as others celebrated the power of love, devotion, and even food. From newly-crowned hitmaker Kushagra, Bharath, and Saaheal’s “Finding Her” to Gujarati rapper Bhadrankar’s “Lafangey Parindey,” Faheem Abdullah and Huzaif Nazar’s “Sajde” and the unexpectedly baller team-up between Tsumyoki and Gini on “Don’t Even Text,” there was plenty of diversity to dive into in 2025. Here are our top songs of 2025, in no order or ranking. 

Dreamhour x Dokodoko – “Human Ideal”

Dreamhour and Dokodoko’s “Human Ideal” tore through the clutter with nu metal fury and Pritam Adhikary Goswami’s visceral screams over ominous vocals, marking a daring escape from genre constraints into something totally unhinged. The thrilling pivot — complete with a mind-melting music video — proves how the Sikkim/Siliguri-origin duo can soundtrack the downfall of humanity.

The Down Troddence, T.M. Krishna – “Maharani” 

Folk-metallers The Down Troddence’s “Maharani,” bringing in Carnatic vocal doyen T.M. Krishna, was the crossover no one saw coming. It spawned a defiant anthem against oppression that’s as musically audacious (and more polished than their previous songs) as it is urgent. 

Mali – “Dr. Dust” 

Mumbai-based singer-songwriter Mali’s “Dr. Dust” was her lone release this year, and that’s just as well. With producer Rohan Rajadhyaksha casting long shadows over a dark, trip-hop-influenced exploration of blind faith and cult manipulation, it’s a rare moment where an Indian pop artist commits fully to darkness.

Bloodywood – “Tadka”

Considering their broad global fanbase, it was only a matter of time before folk-metallers Bloodywood thought writing about Indian food was a great idea. “Tadka” is delivered in their expectedly exhilarating style, but also leaves room for nuance when they talk about the power of cuisine, connecting kitchens, roadside stalls, and family homes in one slick package.

Siroyi, Siddhant Bhatia – “8 Haath”

Siroyi’s “8 Haath” channeled classical training and fusion sensibilities into a searing critique of how Indian women are expected to be everything at once. In a gimmick-heavy music world, she brought rage, but ensured she wasn’t overplaying her hand when it came to showing off her musical chops.

Aksomaniac, Shreyas, Fatboi Raccoon – “Paapam” 

Indian hip-hop needs more boundary-pushing explorers like Aksomaniac and Shreyas Sagvekar. With producer Fatboi Raccoon’s roving beats, “Paapam” becomes a sensual, unflinching look at desire and intimacy, a Marathi-Malayalam crossover that would’ve never existed if it weren’t for these two risk-takers. 

The Yellow Diary, Shilpa Rao – “Saaye” 

After “Roz Roz” became one of their biggest hits starting in 2021, The Yellow Diary and Shilpa Rao teaming up again was a no-brainer. Both have grown in the years since, making for a more understated, heartwarming song about togetherness. 

Sijya – “Do I Know” 

There’s a wonderful vagueness in Sijya’s Leather & Brass EP that’s well captured in “Do I Know.” Tunneling, cavernous melodies, and a thumping beat make for a powerful yet open-ended treatise on existentialism, or something like it.   

Midhaven – “The Veiler”

When a band says they’ve put out their heaviest song, you can either treat it with skepticism or welcome it with excitement. Thankfully, Mumbai prog/sludge band Midhaven make it an easy decision right from the opening riffs of a seismic song that proves they’re sharpening their craft more than ever before.

Kushagra, Bharath, Saaheal – “Finding Her” 

Singer-songwriter Kushagra with producer Bharath and lyricist Saaheal made for quite the dream team with “Finding Her,” a waltzy, schmaltzy love song that won hearts and evoked bittersweet memories of lost love.  

Kunwarr – “Piche Tere”

Punjabi artist Kunwarr, along with lyricist Taseer and producers Dishant and Chiveer leap for a global sound with “Piche Tere.” In total loverboy mode over house and UK drill-informed beats, Kunwarr brings a refreshing addition to Punjabi pop lore in 2025.

Sudan, Frizzell D’Souza – “Ghost” 

Haunting vocals drift through minimalist production on “Ghost.” Producer and singer-songwriter Sudan’s ethereal tone haunts you, while Frizzell D’Souza adds lush textures that make a sparse beginning feel unexpectedly intimate.

When Chai Met Toast, Job Kurian – “Dreamland” 

If the distinct folk and multi-lingual draw of When Chai Met Toast wasn’t an invitation enough, they called on Job Kurian for a Malayalam verse, added chenda, komb, and elathalam on “Dreamland.” It’s a shiny ode to home that may as well be Kerala’s official tourism anthem.

Street Stories – “Left Me On Read” 

Hungover on Blink-182 and Green Day, Dimapur-based Street Stories serve up a short punk heartbreak story on “Left Me On Read.” It’s got barbs and bass riffs, all packed into a minute. 

Rascals Of The First Order – “Feels Like Shit”

A lot of Bengaluru band Rascals Of The First Order’s debut EP Caged Authority is pure unadulterated rock, but the crowning glory is the stoner epicness of “Feels Like Shit.” Mixing funk, rap and molten riffs, the rage bubbles just right. 

Serpents of Pakhangba – “Invocation of Pakhangba”

Taken from their latest mind-alteringly avant-garde album Air and Fire, Serpents of Pakhangba’s “Invocation of Pakhangba” is a smoldering, hair-raising reintroduction to the band. Featuring the Manipuri pena and metal riffs, there’s a mystique that few others can match. 

Justh – “Unse Jaake Kehdo”

Almost a year and a half after “Chor,” singer-songwriter Justh returned with “Unse Jaake Kehdo.” The stirring love song retains his simple, heartwarming wisdom and charm, and throws in uplifting gems like “Hum toh khud ko phir pasand karne hai lage.” (“I’ve begun to love myself again”) 

Bhumi, Pixlpxl, Flameboi – “Thalapathi”

Tamil pop’s future is in safe hands thanks to the likes of Bhumi fka Bebhumika. She’s already elevated film songs like “Oorum Blood,” and with her EP Uyir Ponaalum, she added more fervor. “Thalapathi” is an ode to star power like Rajinikanth but also buoyed by folk drums and sweet hooks.

Utsavi Jha – “Maan Jao”

Pop artist Utsavi Jha pivoted from lush and atmospheric songs to a danceable love anthem with “Maan Jao,” produced by Bharath Rajeevan. There’s a nostalgia-tinged music video, but even without it, Jha’s yearning vocals seal the deal, giving us a cheery earworm. 

Skrat – “Circus Act”

Chennai rock trio Skrat still have a good thing going, and thankfully, they’re keeping the engine running to a roar with songs like “Circus Act.” Retaining their fun-loving balance between dancey and ragey, it’s all focused into nearly six-minutes of lore that’ll keep everyone moving.   

Sid Sriram – “Sivanar”

Globe-trotting and genre-hopping are perhaps two of Sid Sriram’s favorite things, and he does both on “Sivanar,” taking a thiruppugazh (14th-century Tamil devotional song) composed by the saint-poet Arunagirinathar and rendering it with reverence and an otherworldliness that clearly comes from treating music as a spiritual medium.

Brodha V – “Hengaithe Maige”

Resolved to be in his own lane as a rap star, Brodha V pats himself on the back with the kind of Kannada wordplay only he can ace on “Hengaithe Maige” (“How Do You Feel Now?”). Over a shimmering dance beat, it really makes you wonder: is there anything the seasoned rapper can’t do? 

Frappe Ash, Toorjo Dey – “Sharmeeli” 

New Delhi hip-hop artist Frappe Ash is in his pookie era on “Sharmeeli,” off his latest album Ice Cream Frappe. Over buoyant production by Toorjo Dey, the rapper adds charm with Garhwali lyrics and there’s even a tabla section that surprises, making “Sharmeeli” ripe for replay value. 

Akshath – “Rozaana” 

A lo-fi diary entry with emotional weight, Akshath’s acoustic arrangements and hushed, humming vocals blossom into something you’d play over a moody evening walk, brimming with poetry and intimacy.

Anirudh Varma Collective, Aniket Chaturvedi, Chie Nishikori – “Saade Naal” 

One of the strongest voices in Indian fusion right now, Anirudh Varma Collective’s resplendent “Saade Naal” is like a rollercoaster, driven by Aniket Chaturvedi on saxophone and flute and Chie Nishikori on trumpet and rhythms that have a party-starting effect. 

Sufr, Arpit Bala, Toorjo Dey – “Bargad”

A modern-day soundtrack for Indian yearners stuck in maladaptive fantasies, “Bargad” builds upon contrasts. Arpit Bala’s intoxicating verse, paired with Sufr’s syrupy vocals, seamlessly glide over electric riffs and an addictive shehnai loop, leaving the listener lingering for more.

Pacifist – “Running Out”

Embodying the true essence of 2010s hardcore punk energy, “Running Out” by Pacifist circles around dystopian themes of disillusionment. 

Karan Aujla, Ikky – “Daytona”

A certified Aujla rager, backed by Ikky’s Don Toliver–esque production inspired by “Kryptonite,” “No Pole,” and “FWU,” “Daytona” is a high-octane victory anthem. Going beyond the materialistic ladders of success, Aujla vocalizes his commitment to the long game. 

Kinari – “Animal”

“Animal” by Kinari, a seven-minute critique of the performative hyper-masculine DHH scene, manages to remain unapologetically audacious until the last minute. Armed with a killer, smooth flow, each one of her verses lands with lethal precision. 

Reble, Parimal Shais – “New Riot”

A track that could score revolutions, “New Riot” is equal parts gritty and flippant, as Reble is growing more comfortable in her identity as a rapper, and unabashedly takes up space.

Ranj, Tienas – “One Stroke”

A track that is just a minute long, “One Stroke,” is almost surgical in its execution. Ranj’s effortless delivery, coupled with Tienas’s sickening, siren-blaring instrumental, heightens the listening experience.

Yelhomie – “We Outside”

Unflinchingly authentic, “We Outside,” infused with Meitei couplets, roars like a war cry. With sharp lyricism that calls out the socio-political disillusionment in Manipur, Yelhomie’s verses vocalize that the personal is indeed political.

Hanumankind, Kalmi – “Run It Up”

Using the crescendo of the Chendamelam to build a frenetic climax, Hanumankind ties culture, community, and hip-hop into one potent blend through “Run it Up.”  

Bhadrankar – “Lafangey Parindey”

Bhadrankar blends vintage R&B textures with Gujarati hip-hop in “Lafangey Parindey,” all while giving the world a taste of an ambition rooted in Vadodara identity and untouched by Western ideas of success.

Dhanji, Rasla – “Khatla Par”

“Khatla Par” by Dhanji and Rasla glides with a butter-smooth cadence, instantly setting the tone like the opening scene of a Western gangster film. Anchored by an earworm chorus and a wicked bassline, the track steadily amps up the cinematic groove.

Vengayo, Foxn – “Chikkama”

Vengayo and Foxn’s “Chikkama” is an unrelenting banger that refuses to let you stay still, redefining Kuthu euphoria with its sudden, thrilling beat switch-ups. Vengayo’s slick delivery pairs effortlessly with Foxn’s suave, old-school production, maintaining the energy throughout.

Seedhe Maut, Ghaatak,  Hurricane – “Abaad”

Seedhe Maut and DL91FM’s “Abaad” is a mellow, ambient rager that commands attention. Bars glide seamlessly against a high-bpm, hyperpop-reminiscent production, interwoven with piano and saxophone riffs. 

Tsumyoki, Gini – “Don’t Even Text”

Peppy from the get-go, the track featuring Gini’s dulcet vocals and Tsumyoki’s effortless flow, is a catchy ode to the “will-they-won’t-they” energy that comes with playing hard to get.

Faheem Abdullah, Huzaif Nazar – “Sajde”

A mellifluous, modern-day ballad, “Sajde” explores the undercurrents of an all-encompassing love — adulation, surrender, obsession, and heartbreak. The track possesses an old-school charm, right from its classical arrangements to Urdu lyricisms. 

KR$NA, Seedhe Maut, Hurricane – “Sensitive”

A clever callout to the fragile state of post-modern internet — cancel culture, half-baked critiques and intellectual bankruptcy — “Sensitive” urges one to not fall for the ragebait, rise above the censorship and live their truth unapologetically. 

Abdon Mech – “Noye Lhokuthu Iwu”

A swoon-worthy indie pop track that transports you to 2000s romcoms, Abdon Mech’s “Noye Lhokuthu Iwu” serenades the listener through its wistful Sumi Naga lyrics.

Param, Manni Sandhu – “That Girl”

Dropping verses over a U.K. drill beat, Param’s voice reverberates from the bylanes of Punjab across the nation. One of the few female rappers in the DHH scene, the 19-year-old Moga native wears her folk identity with pride. 

Shashwat Sachdev, Shilpa Rao, Ujwal Gupta – “Ghafoor”

An oddball that slowly grows with each listen, “Ghafoor” is a certified house-party addition that is bound to stir up the dance floor. 

Chaar Diwaari, Sanjith Hegde – “Banda Kaam Ka”

Fit for the protagonists simping over their manic-pixie dream love interests, “Banda Kaam Ka” sees Chaar Diwaari expand on the “Pyaar Diwaari” arc. Sanjith Hegde comes in full clutch with his bridge, consisting of poetic, classical verses that further heighten the romantic devotion quotient.

Lisa Mishra – “Teri Hoon”

A desi sapphic anthem that scores the quietest, most intimate glimmers of love, “Teri Hoon” is a ballad rooted in tenderness.

Dasagriva – “Jordaar Bonalu”

Telugu rapper Dasagriva comes in guns blazing with “Jordaar Bonalu,” a fiery composition of colloquial bars powered by thumping Dappu beats in the background.

Naam Sujal – “Killa Klassic”

Bound to cause a full-blown gig shutdown, this headbanger of a track by the Nagpur-based rap ace solidifies his signature penchant for lethal verbal weaponry. Part of his upcoming mixtape, Mammafication, the track offers a glimpse into the 19-year-old rapper’s archetype — equal parts ambitious, unfiltered, and cheeky. 

Shikriwal – “Real Baat”

Shikriwal’s “Real Baat” is reminiscent of Tyler, The Creator’s Flower Boy, with the saxophone instrumentals heightening the charisma. A sonic exploration of folk identity, the rapper blends jazz and Bhojpuri rap into a dreamy, immersive soundscape that unravels the poetic soul of the language.

Mary Ann Alexander – “Student of Love”

“Student of Love” shines with its dreamy arrangement and Alexander’s honey-smooth vocals, channeling sultry, syncopated 2000s R&B rhythms reminiscent of Aaliyah’s One in a Million, while SZA-esque vocal riffs take it up several notches.

Parvaaz – “Faani”

Fit for an indie coming-of-age film, “Faani” unfolds like the perfect road-trip anthem. A love child of Euphoria’s “Maaeri” and “Yu Hi Chala Hi” from Swades, the track feels like a time capsule to early 2000s I-Pop, infused with intricate harmonies and instrumental arrangements.