The 20 Best U.K. & Ireland Albums of 2025: Staff Picks
Written by admin on December 19, 2025
Sam Fender, PinkPantheress and more elevated British and Irish music in 2025.
FKA Twigs, Lily Allen, Sam Fender and PinkPantheress
Jordan Hemingway; Charlie Denis; Sarah Louise Bennett; Charlie Engam
In mid 2024, there was talk that the U.K. wasn’t producing future stars nearly fast enough and that its reputation as a great exporter of music was threatened. Then, Charli xcx’s Brat happened and encouraged the industry to be bullish with its next crop of artists and to back them in the long run.
2025, then, saw the best-case scenario of that vision with a run of outstanding LPs from British and Irish musicians to reclaim its place at the centre of pop music culture. Olivia Dean’s sophomore album The Art of Loving rapidly established her as a main pop girl to contend with, while Yungblud’s Idols placed him at the centre of the rock universe. Sam Fender’s People Watching was both a critically acclaimed masterpiece and commercially successful to boot, and earmarked him as a musician with serious long-term potential.
There were storming comebacks for artists like Lily Allen whose shocking and salacious West End Girl dominated online discourse for weeks, while Pulp’s first album in over two decades was a reminder of the band’s capabilities in the studio after an indefinite hiatus. That these artists made their case via stunning full-length collections that demanded attention is vital for the health of the entire ecosystem.
The future appears bright too, as Dove Ellis, Jacob Alon and Jim Legaxcy all released stunning debuts, while CMAT and Lola Young came good following years of excitement behind the scenes. A relatively dry creative period feels like a long, distant memory after a year of music from this truly original cast of characters. Find our 20 favorite U.K. and Ireland albums below, listed alphabetically by artist.
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Antony Szmierek, Service Station at the End of the Universe
A fascinating, fiercely funny concept album inspired by sci-fi classic Hitchhiker’s Guide to the Galaxy and the Stockport Pyramid, a local architectural anomaly in Greater Manchester. Smizeriek’s half-spoken, half-sung vocals deliver each line – humorous or occasionally heartbreaking – with equal conviction, and mark him as a true original in the indie and dance space. – THOMAS SMITH
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Blood Orange, Essex Honey
Following the death of his mother, Dev Hynes returned home to Ilford – a town on the threshold of both Essex and London – to process his grief. The experience prompted him to reassess his childhood and teenage years, stories of which are explored on his fifth studio LP Essex Honey which is a recognizable blend of indie, pop, R&B and jazzy elements. Guest stars include Lorde, Caroline Polachek and Turnstile’s Brendan Yates, though the dispatches and sounds on this future cult classic are all Hynes. – T.S.
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CMAT, Euro-Country
CMAT’s breakthrough year had been coming: 2022’s debut introduced a playful character on the indie scene, and its 2023 follow-up Crazymad, For Me showcased her crossover potential and garnered BRIT Award and Mercury Prize nominations. Her third LP Euro-Country and a lengthy run of shows across the summer saw her win over one festival field at a time. “Take a Sexy Picture of Me” is a trojan horse of a pop song, a deceptively dark tale of online trolls and body-shaming packaged in a startlingly catchy chorus. – T.S.
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Dave, The Boy Who Played the Harp
Pushing into even deeper introspective territory, this exquisite record maps out a personal journey for the rapper within the wider context of being young and searching for answers. With contributions from James Blake, the quality of the songwriting and production shines outright; the messages of standout tracks “My 27th Birthday” and “History” fall like a feather, splicing between gentle piano and sparse arrangements. The record’s swaying moods allow for Dave to transmute his own wranglings with identity into a collection of gorgeous, explorative songs. – SOPHIE WILLIAMS
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Dove Ellis, Blizzard
In just a handful of months, the Galway-born, Manchester-based singer-songwriter has established himself as one of the scene’s most promising names. A support slot with Geese in North America built hype, and his self-produced debut LP Blizzard – a stunning, arresting collection – quickly garnered rave reviews and comparisons to Jeff Buckley. Ellis’ star looks set to grow even further in 2026 – time to get in on this on the ground floor. – T.S.
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FKA Twigs, Eusexua
Moments of emotional overload permeate FKA Twigs’ playful and balletic third studio album. Eusexua surges forth and pulled back, often within the same song, exploring ideas of physicality and transformative club experiences against increasingly daring production. It was the multi-disciplinary artist’s first record to hit the U.K. top 10, while she is currently eyeing the biggest shows of her career – including a night at London’s 20,000-capacity O2 Arena – for next summer, as part of her Body High tour. We’ll meet you there. – S.W.
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For Those I Love, Carving the Stone
Across nine sprawling, evocative and occasionally ravey tracks, For Those I Love – the project of Dubliner David Balfe – built a deep, rounded portrait of political polarisation, his conversational delivery barely concealing his existential anxiety. A voracious hunger seethes through this record, as Balfe yearns for a deeper meaning, frustrated by exploitative work and class structures across different communities in Ireland. Yet there are moments of stillness to be found in all of the turmoil, turning even the darkest musings into something beautiful. – S.W.
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Jacob Alon, In Limerence
The Scottish songwriter shows off the emotional possibilities of modern folk music on In Limerence, their Mercury Prize-nominated debut album. The songs, filled with memory, movement and flight as Alon muses on their unconventional journey direction in life, displays both their strength as a lyricist and a deep love for humanity. Standout track “Fairy in a Bottle” gorgeously conveys a sense of gratitude for having recognized a love when it could have easily dissolved in a secret that went unspoken, or a deep conversation avoided. – S.W.
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Jim Legxacy, Black British Music
A mix of intensity and sophistication distinguishes this genre-busting gem, with Legxacy’s cooing, emo-leaning vocal catching on thumping basslines and animated percussion. In the space of a few years, the 25-year-old has landed production credits for superstars Dave and Central Cee while putting out material that’s remained consistently individual and musically flexible. In all its ecstatic chaos, this was the biggest and best statement yet from an irreverent, box-resistant artist who has already made a major mark on British music and culture. – S.W.
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Just Mustard, WE WERE JUST HERE
The Dundalk group’s third album WE WERE JUST HERE is a loud, bludgeoning noise-rock record that also rewards careful listening. The melodies that are scattered throughout are smartly executed and utilized – namely on the title track and “Dandelion” – and bear resemblance to My Bloody Valentine’s knack for accessibility amidst the drama. No wonder The Cure’s Robert Smith is such a big fan, and continues to bring the band along on tour. – T.S.
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Lily Allen, West End Girl
“I can walk out with my dignity, if I lay my truth on the table,” offers Lily Allen on “Let You W/In,” outlining the manifesto for her magnetic fifth LP. Returning to music after a seven-year hiatus, the singer-songwriter releases the tension that had been accumulating in the aftermath of major life change (the record appeared to concern her separation from actor David Harbour). She mulls over the hypocrisies and epiphanies, with electronic percussion more subtly woven into glistening pop songs, always remaining bracingly frank when assessing the intricacies of her emotional trauma. – S.W.
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Lola Young, I’m Only F–king Myself
The south Londoner’s voice, heartfelt and soaring yet with a touch of guardedness, says so much in its tone alone. It’s something that deeply felt throughout I’m Only F–king Myself, where ideas of devotion and destruction appear hand in hand, each rendered precisely as terrifying and alluring as the other. Compared to Young’s previous output, this record leans heavier on experimenting with The Cure-like new wave, melodic R&B and flashes of punk melodrama, all melding into an end product that sounds fascinatingly tactile. – S.W.
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Loyle Carner, Hopefully!
For the good part of the past decade, the London rapper has provided an alternative to the “manosphere” to his young fanbase, favoring vulnerability and honesty over macho bravado. Now a father of two, Carner’s fourth album Hopefully! reckons with the pressures — and joys — of being a positive role model for his son, and sees him expand his creative palette to introduce indie and rock influences. – T.S.
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Maribou State, Hallucinating Love
Following a seven-year absence due to exhaustion and physical health battles, the dance duo return with a renewed energy and creative spark on Hallucinating Love. “Blackoak”, “All I Need” and “Bloom” find a fertile middle ground between their rave beginnings, and their capabilities as pop songwriters. Their biggest-ever shows beckon for 2026 off the back of this album’s potency. – T.S.
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Olivia Dean, The Art of Loving
Even the most optimistic predictions for Olivia Dean’s sophomore album The Art of Loving couldn’t have foreseen a rise this rapid. Since its release in late September, the LP has taken up a residency in the top 10 of the Billboard 200 (peaking at No. 4 so far) and she’s given industry heavyweights like Taylor Swift a run for their money on the U.K. Charts. It’s a testament to the sheer quality of her songs like “Nice to Each Other” and “Man I Need” that they have cut through in a crowded field. – T.S.
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PinkPantheress, Fancy That
Has anyone had more fun this year than PinkPantheress? In between promo for Fancy That, the vocalist-producer could be spotted pursuing dozens of seemingly random sidequests, from winning a youth chess tournament to appearing on an episode of Impractical Jokers. This thrill-seeking spirit felt imbued in this peppily high-tempo mixtape, on which each brief song felt instantly, inimitably hers, bouncing between pop, hip-hop breakbeats and speed garage. Her dazzling, playful personality is what sets her apart from the performed relatability of some other big stars. – S.W.
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Sam Fender, People Watching
People Watching has all the makings of a 21st century British classic. Following the release of his 2021 barnstormer Seventeen Going Under, the North Shields-born musician realized he’d struck a rich vein: personal stories of his hometown set to maximalist heartland-rock. “Remember My Name,” an ode to the region’s mining heritage was the pick of the bunch, and no doubt convinced the judges on the esteemed Mercury Prize panel to name it their album of the year. – T.S.
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Pulp, More
How lucky are we to have Pulp back in the world? More, the first full-length release from the legendary Sheffield band in 24 years, follows frontman Jarvis Cocker as he takes stock of hard-won wonders, be it the lessons of heartbreak or renewal. Speaking on BBC 6Music, close collaborator Richard Hawley described “Farmers Market,” a beautiful, awe-inspiring blubfest of a track, as “the best thing Jarvis has ever written”. He’s not wrong: In time, it very well could earn the classic status it already wears so casually. – S.W.
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Yungblud, Idols
Consider this a frontrunner in the rock categories at the upcoming Grammy Awards in February. The Doncaster rocker’s fourth album Idols was a big swing: opening track “Hello Heaven, Hello” flies past the nine-minute mark and packs key changes, time-signature shifts and serious heart. The rest of the LP follows suit, and delivers on his potential to prove that he can be a magnetic force both as a live performer and in the recording booth. – T.S.
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Wretch 32, Home?
Decorated with guest features from stars including Little Simz and Kano, this stunning rap opus serves as a thoughtful and impassioned exploration of identity, family ties and the immigrant experience, jangled by anxiety but also looking ahead towards clarity and optimism. The album pushes its author back to the forefront of the U.K. rap conversation, and was performed in full at a one-off live show at the prestigious National Theatre in London. The backings are sumptuous, too, with strings, piano and twinkling percussion. – S.W.
