IT was the year when those noisy Mancunian brothers brought the Britpop Nineties back to packed stadiums everywhere.
It was the year when Pulp made a charming first album in 24 years, with Jarvis Cocker singing about getting older with a wry smile on his face.
But I contest that one band from the era has been the most forward-facing, the most creative and the most kick-ass – Suede.
Which is why their vibrant, visceral, unflinching and wildly adventurous Antidepressants is our Album Of The Year.
Back in September to mark its release, frontman Brett Anderson told me: “We’ve fallen in love with being a rock band again.” And this week I caught up with him again to impart some good news . . .
Congratulations! Antidepressants is the SFTW Album Of The Year. Does that make you happy?
Thank you. Very!
In all the years of Suede, where does 2025 rank?
Right up there. Somewhere between 2024 and 2026.
What have been the highlights of the year for you?
The South Bank takeover gigs in September were great – playing those new songs live for the first time was special.
I particularly enjoyed the Clore Ballroom show where we just did post-reformation stuff.
I thought that was an exciting and fairly unique thing to do for a band of our generation.
Also, I just love the South Bank. Walking over the footbridge from Embankment tube and looking at the skyline always gives me a sense of awe, a feeling of London being this big, beautiful, living thing.
Which of the new songs have you enjoyed singing live the most?
June Rain has a nice dynamic and slow sense of build which works great live. Plus the first half is spoken-word so I get to sit down a bit.
I personally think the album’s opening song Disintegrate should be the Christmas No.1 . . . do you agree?
Ha! Yes, love it. A kind of resolutely unseasonal Christmas song full of dread and fear.
Which album, aside from Suede’s, has been your favourite this year and why?
I liked Sprints’ All That Is Over. It was sharp and shouty and brainy and brash. (Sprints are an Irish garage punk band).
You told me that Suede are “the anti-nostalgia band”. What keeps you facing forwards rather than reflecting on the past (unlike some of your peers)?
Hmmm, huge question. I’ve always thought the point of any artist was to create rather than to repeat and consolidate.
That search for the next great song, the next great album, the next great moment has always been the carrot I’ve chased.
I come from a fiscally poor but culturally rich family background. My mum was an artist and a dressmaker and my dad was a classical music-obsessed taxi driver who made our furniture.
When I was a kid, we didn’t have any money, so if you wanted something you made it yourself.
I’m much less interested in what I wrote 30 years ago than in what I’m going to write next.
Have you started work on the third album of Suede’s “black and white” trilogy, following Autofiction and Antidepressants?
Yes, we’ve written a handful of songs already. I want it to be harder and more extreme than Antidepressants, a relentless onslaught, incessant and uncompromising and very rhythmic.
I already have a title which I’m keeping secret.
You also spoke to me of the importance of family relationships. Does that mean Christmas is a special time for you?
My family and my band are of course so, so important to me and in many ways they feed into each other. It’s hard to write about family without coming across as schmaltzy but luckily I can find the cloud in any silver lining.
Among my favourite songs I’ve ever written are Life Is Golden and She Still Leads Me On which have both been inspired by fatherhood and family.
And yes, Christmas is especially great when you have kids.
Happily though, now my son is older, there’s less pressure for me to dress up in a Santa suit.
What are your hopes for 2026 – for you, your family, the band, and for humankind?
For the band to write a great follow-up to Antidepressants and for humankind to stop scrolling. My hope for myself is always the same – to be a good husband and father.
2. ROSALIA
Lux
THE Spanish star known for her reinvention of folk and flamenco turned her attention to more bombastic, classical genres on this fourth album.
Backed by the London Symphony Orchestra it was a lavish production sung in a variety of languages. Bonkers but brilliant. JS
People Watching
WITH its widescreen ambition, driving intensity and visceral lyrics, songs about “the human experience” couldn’t fail to draw comparisons with Fender’s “biggest hero”, Bruce Springsteen.
But it also marked the Geordie’s coming of age as a major artist in his own right. SC
4. ROBERT PLANT with SUZI DIAN
Saving Grace
FOR six years, Led Zeppelin legend Plant has surrounded himself with acoustic musicians who live near his Worcestershire home, singer Dian among them.
Together, they gave us a ravishing mix of trad and contemporary covers. Rarely has he sounded so sublime. SC
5. BIFFY CLYRO
Futique
A REFLECTIVE album shaped by friendship, family and loss, it captured Biffy Clyro at their most emotionally open.
Goodbye explored mental health, while A Thousand And One and Two People In Love delivered some of the most moving moments. JS
6. MARGO PRICE
Hard Headed Woman
FURTHER proof that Price tells it like it is. This was a stirring return to her country roots, following the trippy rock textures of Strays.
It drew comparisons with her beloved debut, Midwest Farmer’s Daughter, but was inspired by another decade of life experience. SC
7. TURNSTILE
Never Enough
THIS fourth album from the hardcore punks from Baltimore, known for their energetic live shows, crossed into the mainstream.
The title track had a catchy chorus and melodic guitar breaks while at its heart there was still an uncompromising mandate to rock out. JS
8. THE DIVINE COMEDY
Rainy Sunday Afternoon
WE’VE long been intrigued by Neil Hannon – not just because he once wrote a song called Something For The Weekend.
These 11 tracks assumed a reflective tone, with love and loss prominent themes, and featured some of Hannon’s most sumptuous tunes. SC
9. YUNGBLUD
Idols
THIS album sees Yungblud questioning hero worship and identity after a life-changing encounter with a fan.
Inspired by Britpop, it’s his most confident work yet, opening with a nine-minute rock opera and driven by limitless self-belief and ambition. JS
10. LADY GAGA
Mayhem
GAGA proved why we loved her in the first place, returning to her dance-pop roots.
She recalled the vibe of her 2008 debut The Fame yet delivered an album for the here and now.
It was marked out by strong singles Abracadabra and Disease. SC
11. GEESE
Getting Killed
THIS was a case of do believe the hype. With mesmerising singer Cameron Winter at the helm, Brooklyn’s indie rock saviours might channel The Strokes, The Stones, or even Nirvana, but they’re too weird and original to be slaves to their influences.
On the brink of greatness. SC
12. JACOB ALON
In Limerence
FEW debuts arrived so perfectly formed as this one featuring the tender storytelling of Scottish singer Alon.
With an impossibly pure voice which sat somewhere between Bon Iver and Thom Yorke, it was full of fragile hope.
Vulnerable and haunting ambient soundscapes. JS
13. PULP
More
JARVIS and Co’s first album in 24 years was dedicated to dear departed bassist Steve Mackey – and it summoned the old mischief. “I am not ageing.
No, I’m just ripening,” cried the singer on Grown Ups, a song filled with lyrical twists and turns. SC
14. CMAT
Euro-Country
WITH songs about Teslas and Jamie Oliver, there was a quirky, kitsch element to Ciara Mary-Alice Thompson’s third album.
It also plumbed deeper depths of emotional pain but was allied to soft pop melodies.
Issues tackled included social media and objectification. JS
15. MATT BERNINGER
Get Sunk
TALL, elegant, blessed with a sumptuous baritone, The National’s frontman and lyricist is an, er, National treasure.
But he managed to save wonderfully evocative songs for his second solo outing, including the intoxicating ebb and flow of opener Inland Ocean. SC
16. DAVE
The Boy Who Played The Harp
HIS first album in four years found Dave drawing on the power of his biblical namesake King David to explore vulnerability and masculinity.
With James Blake’s ghostly production on Selfish and Chapter 16 (ft. Kano), it struck a reflective mood. JS
17. JASON ISBELL
Foxes In The Snow
THE Alabama-born artist recorded his latest offering without his ace band, the 400 Unit, but with an old acoustic guitar for company.
“This is the first time I’ve done an album with just me and a guitar,” he told SFTW of the exquisite, stripped-back song cycle. SC
18. BILLY NOMATES
Metalhorse
METALHORSE emerged from a personal, tumultuous period for Tor Maries.
A loose concept album set in a dilapidated funfair it featured radio hit The Test, while Strange Gift offered hope.
Closing song Moon Explodes was especially moving, written after Maries’ MS diagnosis. JS
19. BIG THIEF
Double Infinity
FEW vocalists could handle the word “incomprehensible” like Adrianne Lenker on this LP’s fuzzy joy of an opening track.
Though the indie darlings have contracted to a three piece, there was nothing shrinking about their fearless, exilharating sonic adventure .SC
20. OLIVIA DEAN
The Art Of Loving
MELLOW and sumptuous, the second album from the stylish Londoner was smooth soul to relax into.
Tracks such as Nice To Each Other and Lady Lady were warm and all-enveloping, exploring affairs of the heart with a particular emphasis on self-care. JS
21. LILY ALLEN
West End Girl
LILY’S fifth album, the first in seven years, was also her most vulnerable and intensely personal.
It came after her split from actor husband David Harbour and the songs laid it all out in heartbreakingly painful detail.
Infidelity and betrayal were constant themes. JS
22. BON IVER
Sable, Fable
DIVIDED into two distinct halves, the first was an understated return to the folky stylings of Justin Vernon’s wintery debut album, For Emma, Forever Ago.
The second blossomed into more upbeat territory, primed for glorious spring sunshine. SC
23. THE WATERBOYS
Life, Death And Dennis Hopper
MIKE Scott took us on a wild ride with this 25-track album celebrating “one of the great American lives”, actor and hellraiser Dennis Hopper.
He summoned a blizzard of musical styles and included cameos from Bruce Springsteen, Steve Earle and Fiona Apple. SC
24. AFRICA EXPRESS
Bahidora
EVEN before Blur completed their reunion gigs, Damon Albarn headed to the Mexican jungle with a dizzying array of 70-plus artists from four continents.
The result? A thrilling mash-up of African rhythms, electronic textures, Latin soul, rock, hip hop – everything! SC
25. MAVIS STAPLES
Sad And Beautiful World
SHE bears one of the greatest living voices . . . and it remained in towering form.
Well into her Eighties, Staples tackled our uncertain world with unerring compassion.
Guests included Buddy Guy, Bonnie Raitt, Wilco’s Jeff Tweedy and Bon Iver’s Justin Vernon. SC
26. BRANDI CARLILE
Returning To Myself
THIS record found Brandi in an introspective, stripped-back mood after a landmark year.
Working with Aaron Dessner, Andrew Watt and Justin Vernon, the album reconnected her with loneliness, self-belief and politics, from the reflective title track to the powerful Church & State. JS
27. WOLF ALICE
The Clearing
THE fourth album from the Brit award winners was a grandiose affair, a bold and confident leap forward.
Tracks like Bloom Baby Bloom incorporated all their strengths with bombastic choruses and lush melodies, showcasing Ellie Rowsell’s exceptional rock vocal range. JS
28. STEREOLAB
Instant Holograms On Metal Film
A STRONG return after 15 years from the much-loved Anglo-French combo.
Led, as ever, by Tim Gane and Laetitia Sadier, the album revisited their distinctive blend of art-pop and motorik beats, really hitting the mark on the effervescent Electrified Teenybop! SC
29. RICHARD ASHCROFT
Lovin’ You
ASHCROFT’S first album of new music since 2018 arrived after he supported Oasis on tour.
From the Joan Armatrading-sampled Lover to the title track, which sampled Mason Williams’ 1968 Classical Gas, it was a vocally focused, emotionally wide record. JS
30. WET LEG
Moisturizer
MORPHING from duo to fully-fledged band, the follow-up to their debut album was still as oddball as ever, but it came with a tighter focus.
Tracks like Davina McCall and Jennifer’s Body were heartfelt, kooky love songs backed by ragged, punky basslines. JS
31. SOMBR
I Barely Know Her
A SPECIAL debut full of heartbreak from the bedroom pop star who quit school to make music.
His melancholy voice accompanied by his own guitar, bass and keyboards and drums, made this magical, with Dime and disco-tinged 12 To 12 emerging as standouts. JS
32. MOLLY TUTTLE
So Long Little Miss Sunshine
THE Grammy-winning singer forged her reputation at the forefront of the bluegrass revival.
Now she has spread her wings with this ravishing work of myriad styles. It also provided her with the confidence to be open about her alopecia. SC
33. TOM GRENNAN
Everywhere I Went, Led Me To Where I Didn’t Want To Be
THE down-to-earth singer from Bedford laid his feelings bare on this reflective fourth album shaped by growth, friendship and vulnerability.
It balanced anthemic pop with emotional depth, from Shadowboxing to Boys Don’t Cry. JS
34. TAYLOR SWIFT
The Life Of A Showgirl
RECORDED in stolen moments during the record-shattering Eras tour, it found Swift reflecting on love and life in the spotlight after falling for NFL star Travis Kelce.
Working with Max Martin and Shellback, it was polished, theatrical pop with self-aware glamour and emotional insight. JS
35. JOHN FOGERTY
Legacy: The Creedence Clearwater Revival Years
FOGERTY celebrated the recent end of his decades-long fight to get his publishing rights back.
It meant he could belt out timeless hits Proud Mary, Born On The Bayou, Bad Moon Rising and Up Around The Bend with unbridled joy rather than lingering bitterness. SC
36. MIDLAKE
A Bridge To Far
BEST remembered for their second record, 2006’s The Trials Of Van Occupanther, these enduring Texans rekindled their love of melody-rich folk rock. Two decades on, A Bridge To Far might just have been their best since that hallowed album. SC
37. TATE MCRAE
So Close To What
THE Canadian singer’s third album was slick and polished futuristic pop and highlighted her journey from teenage dancer to arena-selling pop princess.
Tracks like Purple Lace Bra were multilayered with beats, synths and strings, and created a sultry, sizzling mood. JS
38. BEIRUT
A Study Of Losses
FOLLOWING Zach Condon’s sortie to the Arctic Circle for 2023’s exquisite Hadsel came this work of unerring beauty.
The 11 songs and seven instrumentals, spanning nearly an hour, struck a melancholy tone but they left a lasting and profound impression. SC
39. ALISON KRAUSS & UNION STATION
Arcadia
TO Robert Plant’s duet pal Krauss, her latest project was “like stepping into an old pair of shoes”.
Her first album with her virtuoso bluegrass band since 2011 evoked bygone times, while still connecting with 21st Century listeners. SC
40. TOM SMITH
There Is Nothing In The Dark That Isn’t There In The Light
AFTER 20 years fronting Editors and two records with Andy Burrows, Tom Smith stepped out on his own.
His first solo album stripped everything back to the core of his songwriting, capturing the honesty, anxiety and hope that shaped this new chapter. JS
41. FKA TWIGS
Eusexua
THE album title was a made-up word taken from euphoria and sexual to describe “a feeling so intense it transcended the human form”.
And it lived up to its name.
On the arty, left field side of electronica, this third record was her most complete and satisfying. JS
42. THE DELINES
Mr Luck & Ms Doom
WHEN ex-Richmond Fontaine frontman Willy Vlautin (lyricist/guitarist in this band) is involved, you tend to get songs with disturbing narratives about people from the wrong side of the tracks.
This firmly ticked that box – and then there was Amy Boone’s enriching, expressive vocals. SC
43. DAVID BYRNE
Who Is The Sky?
THE world may be going to hell in a handcart, but at least Talking Heads legend Byrne kept a smile on his face.
That was the vibe you get from his latest effort, most notably on rousing opening track Everybody Laughs, which came with a cameo from longtime collaborator St Vincent. SC
44. BLOOD ORANGE
Essex Honey
ECLECTIC and imbued with an aching sense of loss and nostalgia, Dev Hynes’ fifth album as Blood Orange was an exploration of his upbringing in London.
A collection of memories recalled through spindly indie, jazz, chunky beats and evocative soundscapes. JS
45. DAMIANO DAVID
Funny Little Fears
FOR Maneskin’s Damiano David, this felt the right moment for a solo album, revealing a more personal, previously hidden side.
It was less rocky than Maneskin, confronting fear and identity through piano-led pop inspired by Keane, The Killers, and Elton John. JS
46. RON SEXSMITH
Hangover Terrace
THE Canadian has assembled a fine body of work, marked out by sumptuous melodies and perceptive lyrics.
He returned with one of his strongest collections.
Recorded in London, the album visited his childhood, his current concerns and much more in between. SC
47. MY MORNING JACKET
Is
SINGER Jim James hoped the band’s genre-hopping tenth album would help people “navigate the chaos in the world”.
If the overall vibe was psychedelic rock with plenty of reverb, MMJ employed elements of pop, country, soul, reggae, you name it. SC
48. ETHEL CAIN
Willoughby Tucker, I’ll Always Love You
FEW artists have been able to express the intimate, sometimes painful, feelings about first love as well as the singer from Florida.
Evoking a haunting, Southern gothic atmosphere, her ambient rock sound-scapes framed a raw, heartfelt song cycle. SC
49. CAR SEAT HEADREST
The Scholars
THE career trajectory of Will Toledo is nothing short of breathtaking.
He started out making lo-fi DIY albums in his parents’ car and now, as frontman of a fully fledged band, he made this crazily ambitious rock opera in the vein of Tommy or Ziggy Stardust. SC
50. ADDISON RAE
Addison
THE debut album from the former TikTok star, who rose to popularity with her dance videos, broke the code.
Stepping confidently beyond influencer fame, she moved into sleek, self-aware pop.
Playful hooks and glossy production balanced vulnerability and attitude. JS