It's been another vibrant year for Arabic music, with a steady run of 2025 releases spanning pop, hip-hop, indie and electronic tracks across the region, from Morocco and Egypt to Lebanon, Palestine and the Gulf.
Established stars such as Nancy Ajram, Amr Diab and Tamer Hosny delivered songs that reaffirmed their place at the centre of Arabic pop, while a new wave of exciting artists including Saint Levant, Shabjdeed and Faraj Suleiman released tracks shaped by displacement, political anxiety and personal reckoning.
Independent and alternative artists also continued to push the sound forward. From the experimental work of Nadah El Shazly and Shkoon to guitar-led releases by Postcards and Rasha Nahas, the year reflected a growing confidence in independent Arabic music that has long been bubbling away outside the mainstream pop scene.
Presented chronologically, here are 50 of the best Arabic songs released in 2025.
1. Fealan Mabyetneseesh by Tamer Hosny and Ramy Sabry (January 6)
Elissa and Saad Lamjarred's 2022 hit Min Awel Dekika demonstrated that Arab pop collaborations can work, despite their relative rarity. Perhaps the solid partnership between Egyptian pop titans Tamer Hosny and Ramy Sabry will inspire more artists to join forces in the studio.
This lush ballad fully capitalises on their respective strengths. Trading verses, both singers navigate the emotional spectrum of heartbreak, from isolation to denial, adding extra dynamism to a song that might have felt standard if recorded solo.
2. Al Harbein by Bessan Ismail (January 7)
Al Harbein is shaping up to be one of the biggest songs of the year, with more than 45 million YouTube streams in its first two months. Syrian singer Bessan Ismail captures attention with a slick, polished Arab Levant pop style and surprisingly rich, deep vocals in a song exploring the emotional weight of regret and the reflections it inevitably brings.
3. Exile by Saint Levant (January 14)
Personal identity and homeland continue to be key themes in Saint Levant’s increasingly salient body of work. Both strands feature in this pulsating single, as the Palestinian-Algerian artist strips away the anguish of being away from home and compares the predicament to a tumultuous relationship. He sings: “So tell me, where did the time go? Do you ever think of me?” Such searching questions are tempered by winningly nonchalant vocals and muted dance beats that make Exile all sound so current and cool.
4. Counting Two Lives by Faraj Suleiman (January 17)
A key piece in Palestinian singer-songwriter’s album Maryam, the plaintive track about seeking permanence in a war-torn land is especially poignant. The focus on everyday domestic comforts we often take for granted, from the scent of cooking to “the stillness of the carpet” makes this ballad even more heartbreaking.
5. Ma Nasaitak by Othman Sharari (January 20)
Saudi sheilat music has been having a moment over the past three years. These folk songs, characterised by autotuned vocals and extended verses delivered in a form of sung poetry, have amassed billions of views on YouTube. The genre thrives on themes of celebration, from weddings and mass gatherings to tribal pride, to the occasional love song. Ma Nasaitak by Othman Sharari falls into the latter category, though it steers clear of the excessive lovesick regret typical of Arab pop ballads. Instead, Sharari delivers a more resolute perspective on a fading relationship: “I've had enough of love. Oh, the misery of my heart, where is the cure?”
6. Barki Byesmaani by Ghaliaa (January 24)
After building a regional cult following with a series of beautiful stand-alone singles and last year’s Le’beh EP, Syrian singer and Abu Dhabi resident Ghaliaa is set to raise expectations even further with her coming debut album, Nafsi El Oula. Even though the lead single, Barky Byesmaani, is only two minutes long, it captures her intimate, hushed singer-songwriter style while expanding her sound with bright arrangements. An ode to personal freedom, it’s another confident step forward for the talented artist.
7. Tarat Tarat Tat by Lella Fadda (January 25)
This striking track by the Egyptian-Italian singer is a searing critique of the challenges Arab women face – whether in oppressive relationships, societal expectations or rigid gender roles. “If he hits me, it's for my own good. If he hits me, it's normal – he’s my friend,” Fadda raps in a hushed monotone, underscoring how such disturbing realities are normalised. Backed by a minimal yet hypnotic beat, with down-tuned acoustic guitar and bass, Tarat Tarat Tat is a compelling statement and an introduction to a bold new voice in the Arab indie music scene.
8. Wayak by Nada Nader and Lemhallwess (February 5)
Moroccan trap-hip-hop meets Egyptian RnB in this standout pairing between rapper Lemhallwess and singer Nada Nader. His deep, gruff raps dovetail into Nader’s sweet vocals, creating a vibe-heavy track that will have you nodding along in no time.
9. Tnkr by Wegz (February 11)
Being at the top of the game is not as glamorous as it seems, according to Wegz. The rapper, considered a leader in the hip-hop scene, turns up the intensity with a defiant track taking aim at jealous peers and the apathy of the commercial music industry to Egyptian hip-hop.
10. Argeen by Soulja (February 13)
Named after the Sudanese-Egyptian border crossing, Argeen by Sudanese rapper Soulja channels that cross-cultural journey by blending traditional North African rhythms with vocals inspired by Egyptian and Sudanese folk music. Soulja reflects on the pain of displacement and how a sense of stability can be found with family and community.
11. Ana Min by Marilyne Naaman (February 15)
The Lebanese singer took on double duty in Ramadan, performing the theme song Ana Min for the well-received Syrian drama Bil Dam, while also appearing in a supporting role. Translated as 'who am I?', the affecting and sparse ballad echoes the central refrain of the series' main character as she prepares to see her mother for the first time.
12. Ghost Town by 47Soul (February 17)
Known for their punchy mix of dabke and electro-shaabi, Palestinian group 47Soul pull things back with Ghost Town. Sung in Arabic and English, the track reflects on the destruction in Gaza and the journalists documenting it. The sound is more stripped-down than usual – steady reggae-lite grooves than their usual electronic fare. It’s not a protest anthem or a eulogy, but something in between – a song that doesn’t push a message as much as sit in the heaviness of the moment. A sharp left turn, but it lands.
13. Taht Sabe’ Ard by Al Shami (February 26)
In one of the more intriguing musical offerings of Ramadan, Syrian singer Al Shami stays true to his signature sound in the theme song for the hit Levantine police drama Taht Sabe’ Ard. The track blends bold folk melodies with soft-spoken Arabic rapping – an ear-catching fusion that perhaps underscored the series’ broad appeal.
14. Aktar wa Aktar by Sherine (March 1)
Egyptian singer Sherine reminds us of her pedigree with this effervescent song about the importance of family ties. Translated to 'more and more' and released as part of a campaign for a telecoms company, the track is vintage Sherine – blending upbeat, playful instrumentation with her signature vulnerable vocal delivery. The song comes at a time when tabloid headlines about Sherine's personal life have often overshadowed her artistry. Aktar wa Akyar is a testament to the artistic heft and charm that made her a household name.
15. Qulubuna Aqrab by Tamer Hosny (March 1)
Critics of Tamer Hosny are quick to argue that his success relies more on undeniable charisma than artistic risk. While there may be some truth in the idea that Hosny has rarely pushed his vocal limits in the recording booth over the past two decades, when he lands on the right song the results can be near perfect.
This frothy single, also released as part of a promotional campaign for a telecoms company, leans on his signature emotive croon for a sunny take on the ups and downs of family life. Paired with an emotional video tracing a couple’s journey from their wedding day to becoming grandparents, Qulubuna Aqrab is the kind of bittersweet song Hosny can deliver in his sleep – and in this case, we’re all the better for it.
16. Qalbi Fil Madinah by Maher Zain and Harris K (March 9)
A blockbuster pairing, nasheed superstars Maher Zain and Harris J came together for this standout Ramadan release. While many nasheed tracks forego instrumentation, this one is backed by Mediterranean-infused guitar melodies reminiscent of Amr Diab's work. Yet despite the contemporary flair, the song stays true to its spiritual roots, with both artists trading verses in a heartfelt tribute to the sacred city of Madinah in Saudi Arabia.
17. Colorblind by Postcards (March 28)
An evocative, mysterious and almost mystical track by the veteran Beirut band, this is from their new album Ripe. The lyrics speak to disillusionment and the desire to break free from the expectations of society. Musically, it leans into a dreamy shoegaze feel. Julia Sabra’s vocals are ethereal; they float over gnarly guitars and a hefty, driving rhythm section. The sound is glacial, yet emotionally urgent. It’s another reminder of how this seasoned band has become masterful when it comes to dynamics – being both vulnerable and unflinching. More than a decade into their career, they’re only getting better.
18. Souf by Shkoon (April 10)
The German–Syrian duo has long been known for blending Arabic musical heritage with western electronic sounds – but Souf may be one of their strongest examples yet. It’s a track that merges electronic textures with the deep spirituality of Sufi music. Sparse and meditative, it builds through layers of synths and percussive beats, as well as a steady pulse and throb that carries the song forward. The Sufi chants are haunting but also strangely welcoming. The result is at once otherworldly and grounded, and a reminder that Shkoon’s approach to fusing Arabic melodies with electronic music isn’t surface-level – it’s deliberate, textured and quietly radical.
19. Ma’rafha by Adonis (April 10)
A highlight of Adonis's deeply introspective album Widyan, Ma’rafha – meaning “I don’t know her” – melds a sparse piano motif with minimal electronic beats. Part of a concept album about someone stepping away from society after a traumatic moment, the song sits in the quiet devastation of a break-up. Anthony Khoury, singing in the voice of the protagonist, isn’t focused on the rupture itself – but on the self-protective urge to erase everything attached to it. “If they ask me who’s the beautiful one,” he sings in the refrain, “I tell them I don’t know her. I don’t know her.”
20. Sa7bi by Shabjdeed (April 12)
Phonetically spelt Sahbi – meaning “my friend” – the title plays on a double meaning: a nod to friendship, but also a sharp indictment of fake alliances and the broader political decay surrounding support for the Palestinian cause. It’s a powerful and haunting track – mournful, but fuelled by rage. Rage at personal betrayal and a deeper anger at the world’s abandonment of Palestine. Driven by an urgent trap beat, Shabjdeed’s delivery borders on something manic – tense, sarcastic, furious – yet still held together by a vibrant, tightly controlled flow.
21. Bosakber by Marwan Moussa (April 22)
Taken from his raw new album The Man Who Lost His Heart, Bosakber is a powerful look into Marwan Moussa’s grief over the loss of his mother. The song moves through different aspects of that loss – trauma, emotional detachment, the way each day feels different. It’s part of a growing wave of Arabic hip-hop that’s engaging with mental health in a direct way. There are some striking lines here, such as: “I talk to myself, I am sick” and “The world’s worries made you forget your name”. The production is sparse but layered with beats blended with Sufi chants, folk melodies and subtle electronics. A tense, hypnotic track, this is proof that Moussa isn’t afraid to go deep.
22. Skaba by Al Akhras (April 23)
This year will go down as a pivotal moment for Jordanian singer Al Akhras, with his single Skaba becoming the most streamed song on Spotify in Lebanon.
Drawing its name and melodic reference from the well-known Syrian folk refrain Skaba Ya Damooh Al-Ein, the track reworks dabke rhythms into a contemporary sound, driven by fluttering synths and call-and-response vocals.
Its allegorical lyrics centre on a mare bound by her owner, a familiar image in Levantine folk poetry, used here as a metaphor for longing, desire and the pull of freedom.
23. Ah Yallila by Ammar 808 (April 29)
Now this is how you celebrate heritage for a new generation. Tunisian producer Ammar 808’s Ah Yallila is a bold fusion of not just genres, but also tradition and futurism. Taken from the new album Club Tounsi, the track reimagines Mezoued – a Tunisian folk genre tied to the working class. The song features haunting folk melodies, evocative ney flutes and the buzzing drone of goatskin bagpipes – all anchored by deep electronic basslines and the producer’s signature rumble of the TR-808 drum machine. Ah Yallila is a track that shows the Arab world has its own language for electronic music.
24. Radiya by Lina Makoul (May 6)
Lina Makoul’s latest single is a quiet, introspective yet club-ready track that centres on the idea of contentment not as fleeting relief, but as a deliberate state of being. There are no dramatic turns or sweeping hooks – and that’s the point. Radiya is about presence, not spectacle. In its clarity and calm, it offers a new emotional language that Arabic pop rarely taps into, and that alone is a notable feat.
25. Khatiye by Bessan Ismail and Fouad Jned (May 10)
A collaboration between Syrian singers Bessan Ismail and Fouad Jned, Khatiye is already on track to be one of the year’s biggest hits – racking up over 70 million views in its first week. And it’s not hard to see why. A euphoric pop song with a welcome dose of drama, it plays with familiar themes of heartbreak and resilience. While not necessarily saying anything new, track really shines in its production. Vivid and dynamic, Khatiye shifts from quiet to loud and almost feels like two songs in one as each singer delivers distinct verses. Rooted in Arabic folk melodically, but built on widescreen, glossy pop production, Khatiye feels familiar but still surprising.
26. Shining in the Dark by Fulltone x Parallelle (May 15)
A collaboration between Egyptian electronic producer Fulltone and Amsterdam-based French duo Parallelle, Shining in the Dark is a fun, sun-kissed piece of dance and funk nostalgia. Both acts bring their signature flavours – techno, jazz, soul, funk – to recreate a track that leans into 1980s and 1990s house with thick basslines, bright synths and chirpy hooks. And it just feels fun. The kind of track that would fit just as well in a 1980s action film as in any of Europe’s hottest clubs. It’s refreshing, danceable and played straight with no irony. Shining in the Dark is retro-pop done right.
27. Doori by Flipperachi (May 29)
Sometimes, hard work pays off in unexpected ways. For Bahraini rapper Flipperachi, grinding away for nearly two decades to become one of the most recognisable faces of Khaleeji hip-hop has resulted in an unlikely breakthrough. His 2024 track Fa9la became an unexpected hit after featuring in the Bollywood espionage film Dhurandhar.
The achievement means a new wave of listeners can now dig into his rich back catalogue. That includes the single Doori, a sharp showcase of Gulf production and bouncy, colloquial slang, delivered as another tightly wound rhythmic treat.
28. Laini Tani by Nadah El Shazly (June 6)
The title track of Nadah El Shazly’s new album unfolds slowly, with scattered electronics and harp giving her vocal space to roam. Nothing feels hurried in this languid piece, which shows one of the Arab indie scene’s most accomplished experimental artists easing into a lighter touch. Sultry and nourishing, it marks a shift from the density of her earlier work and sets the stage for another arresting album.
29. Ha Wlidi by Jaylann (June 13)
Jaylann delivers a summer-ready anthem. The song features a looping hook that fuses traditional Moroccan percussion and melodies. Fun, rhythmic and propulsive, Jaylann’s vocal are commanding – showing she can move between forceful rapping and delivering a great pop hook. It’s a joyful tribute to a country and a sign of an artist with confidence.
30. Ghanneeli by Rasha Nahas (June 15)
Palestinian singer Rasha Nahas expands on the cinematic and atmospheric qualities that have long shaped her work. Ghanneeli carries a pensive air as it reflects on what it means to find moments of calm in uncertain times. The arrangement is subtle and heavy on ambience, but it is Nahas’s serene vocals that are front and centre, evoking a sense of vulnerability alongside strength. Dreamlike and reflective, the track marks another step forward for the artist, who continues to set her own tone with each release.
31. Warana Eh by Nancy Ajram (June 19)
Nancy Ajram’s three-decade career is full of summer anthems, and Warana Eh joins that sun-soaked pantheon. A breezy, feel-good single, it celebrates the simple joys of the season, blending Arabic pop with touches of Latin percussion and a general atmosphere of warmth.
The track doesn’t try to break new ground, nor does it need to. It plays to Ajram’s strengths, pairing slick production with her radiant vocal delivery. The result is unmistakably hers: confident, uplifting and timed perfectly for long drives and seaside evenings.
32. Billie Jean by Didine Canon 16, Dalia and MC Artisan (June 26)
Sometimes it’s not about reinventing the wheel. It’s just about releasing a proper club banger. That’s what Algerian rapper Didine Canon 16 does with Billie Jean, a stomper of a track that sees him teaming up with fellow Algerian artists Dalia and MC Artisan. The production is tight and fantastically polished, built around Dalia’s catchy, TikTok-friendly hook. Didine and Artisan deliver their verses with a mix of smoothness and gruff vocal tone. The result is a punchy and fun entry point into the vibrant North African rap scene.
33. Enti by Taz Waves (June 28)
A track that exemplifies Sudanese electronic producer Taz Waves’s debut EP Jannah Al Yasmeen, Enti bridges Sudanese folk rhythms with ambient electronica and invigorating, club-ready beat. Like the EP itself, the track glides along. It is spacious on the surface, with a burbling energy underneath.
34. Inta Ma Shi by Tania Saleh (July 2)
A key standout from new album Fragile, this track brings together some of the experimental elements that characterise Saleh's career.
Spoken word sections merge with plaintive electronic textures to reflect on emotional distance and identity loss in exile. One of the album’s most emotionally poignant songs, it echoes broader themes of the record – feeling adrift, disconnected and questioning the self.
35. Bent Bladak by Dana Salah (July 2)
As well as being a powerful tribute to Palestine, Bent Bladak offers a rare look into Tarweedeh, a traditional form of Palestinian women’s vocal protest, reimagined here through modern melodies and production.
Translated to “the girl of your land”, the track is steeped in heritage and Palestinian folklore, and is built around themes of resistance and memory. The video clip is an essential part of the release with converging storylines of a Palestinian bride preparing for her wedding and a woman helping her imprisoned lover escape.
Both narratives gradually come together, revealing the pressures placed on Palestinian women as caretakers and resistance fighters.
36. Kifek A Fira’i by Fadel Chaker and Mohamed Shaker (July 7)
Fadel Chaker is on a phenomenal run this summer, with back-to-back hits including Ahla Rasma. But with Kifek A Fira’i, he may have landed one of the defining Arabic songs of the year – a deeply emotional duet with his son, Mohamed Chaker.
The track is a poignant reflection on separation and loss, with both singers trading verses about heartbreak and loss. The song also carries extra weight considering Fadel’s circumstances: he remains in hiding in Ain al-Hilweh, the Palestinian refugee camp in southern Lebanon, while facing a 22-year prison sentence handed down in absentia over his role in the 2013 clashes with the Lebanese army.
That context lends added pathos to a ballad that, while melodramatic at times, remains a fine piece of balladry.
37. Baba by Amr Diab (July 16)
Another summer, another anthem from Egypt’s pop king. Baba is already one of the most streamed Arabic tracks on YouTube this year, proof of Diab’s enduring reach. Four decades into his career, he isn’t adding new facets to his titanium-plated pop formula. The Mediterranean touches are there, the percussion bright, and his husky vocals soar as reliably as ever, cementing their place in the sound of the Arab summer.
38. Hayaty Mestaneyany by Randa Shoukry (July 17)
Randa Shoukry's breakout single is more than just a throwback. With its polished production and a mix of 1980s post-punk riffs and lo-fi aesthetic, the track sounds both retro and fresh. But beneath the vibrant sound lies a message that hits harder.
Singing with a light, restrained touch, Shoukry almost coos her way through a song about reclaiming self-worth and walking away from situations that no longer serve you. It’s all tied together by a declarative chorus that puts it plainly: “My life is waiting for me, not you.” A strong, promising debut.
39. Darni Rassi by Aymane Serhani and Natalia Yasmine (July 18)
The Moroccan artists offer a refreshing summer duet. Serhani’s rich and warm tone gels with Yasmine’s clipped delivery in this pop number, the vocal jousting fitting the song’s theme – which roughly translates to “my head tricks me” – an ode to letting go and having fun under the sun. It’s fun, catchy and made to be played loud while cruising along the coast.
40. Matgily Tany by Pink Seasalt (August 6)
Cairo’s Mahmoud Hafez, known as Pink Seasalt, delivers a sharp dose of Arabic garage rock. Matgily Tany rides on zippy guitars and a lo-fi bedroom aesthetic, wrapped around hooks that feel both familiar and fresh. It’s a playful track that doubles as one of the year’s alternative summer anthems.
41. Shatt Gadeed by Bosa (September 7)
Arabic folk and dream-pop meet in the latest track from veteran Egyptian producer and singer Bosa. Faint guitar lines and muted percussion give Shatt Gadeed (“new coast”) the ambience of a fading sunset. Her delivery – part plaintive spoken word, part hushed singing – adds to the intimacy of a song about the hard-won clarity that comes with starting over.
42. Samrat Al-Ain by Amaka Jaji (September 18)
Libyan singer-songwriter Amaka Jaji previews his forthcoming album Nghani Norqos w Nqatel with a piece that draws from the Sufi and Tuareg traditions he grew up with. The track’s title, Samrat Al-Ain (“the dark gaze”), hints at its introspective pull. Spidery guitar lines and ambient electronics give it the sweep of a film score, while Jaji’s vocal is kept light, folded into the arrangement rather than pushed forward. The result is less about a single hook than about atmosphere, a song that surrounds the listener instead of reaching for charm.
43. My Baby Calls Me Habibi by Dania (September 19)
The Syrian-Croatian singer continues to shape her bilingual pop sound with My Baby Calls Me Habibi. Built on gentle strings and piano, it moves between English and Arabic to tell a story of love that fades without bitterness. Dania’s voice stays calm and reflective, turning what could have been into another heartbreak lament into a quiet and resonant song about acceptance.
44. Maghnatees by Maii Waleed (September 26)
Maii Waleed returns with a song that feels both intimate and expansive. Her light vocals and spare guitar lines float over restrained electronic layers, building a mood of uncertainty that lingers throughout. It’s a subtle shift in tone that shows Waleed stretching her folk-based style into new ground without losing its sincerity.
45. El Hob Gany by Tul8te (October 2)
Egyptian masked musician Tul8te continues to define his space in Arabic pop, pairing conversational lyrics with sleek production. The mix of RnB and Arabic balladry is another sign of an artist adding some freshness to the scene.
46. Ya Babour by Babylone (October 9)
The Algerian band behind Zina give another showcase of their self-styled dziri pop – a bright blend of traditional rai melodies with crisp pop and electronic arrangements. It is fun, confident and full of potential for a global audience.
47. Yom Wara Yom (OCD) by Zeyne (October 16)
This is a frank and aching reflection of life with obsessive-compulsive disorder. The Jordanian-Palestinian artist speaks of the exhaustion that comes with the condition over a looping electronic soundscape. An important and rare account of mental health in Arabic popular music, Yom Wara Yom delivers it with clarity and grace.
48. Yama by Dystinct (October 17)
It took less than two months for Belgian-Moroccan artist Dystinct’s latest single Yama to pass 60 million views on YouTube.
This is because the song crystallises what he has been aiming for throughout his career: to create Arabic pop singles that move fluidly through reggaeton grooves and Levantine influences, most notably through the use of Iraqi shoubi inflections in the verses.
The track feels immediate and alive, and suggests a potential new direction for contemporary Arabic pop.
49. Tayer by Autostrad (November 27)
The veteran Jordanian indie band reworks Hourani folk melodies into a dabke-ready jam.
Traditional phrasing and Levantine percussion are laced with subtle synths, in what is essentially a celebratory communal song that carries a strong sense of nostalgia while opening traditional folk music to a new generation.
It’s also a lot of fun, and the kind of track that is guaranteed to turn into a stomper when played live.
50. Taa Khabbik by Rahma Riad (December 12)
A late addition to the standout releases of the year, Taa Khabbik caps off a strong run for the Iraqi singer, following five well-received singles that saw her subtly stretching her balladry through soft electronica and dance-leaning production. With it, she returns to her wheelhouse in a gorgeous, bruising track built around her refined and refreshingly restrained vocals. The song reflects on how love can pull you fully into the present, loosening the grip of the past.
