10) Young Gun Silver Fox - Pleasure
The UK/US soft rock duo Young Gun Silver Fox are a real favourite of mine - with 2022 and 2023 in particular being filled with the soft rock, poppy, and jazzy sounds of Andy Platts and Shawn Lee. I saw the band live twice in 2023 and, in truth, likely over-listened to the band somewhat during that period. As such, I did not listen to them as much during 2024 - but I came back to them again in a big way last year due to the release of their fifth album Pleasure. Perhaps a little more up-beat and disco-influenced than their previous work, the duo's core yacht rock sound is still very much evident. When it comes to this kind of music, there is no newer band out there doing the breezy, West Coast sound better than Young Gun Silver Fox. They totally get what makes that sound tick, without ever really resorting to true pastiche. The band sound modern and radio-ready despite mining the late 1970s/early 1980s for influence - and each album so far has been a feel-good platter of excellence. Pleasure is more feel-good than ever in my opinion - with the uplifting vocals of Platts and the intricate guitar playing of Lee, plus a big dose of horns, yet again coming up trumps here.
Listen to: Stevie & Sly, Burning Daylight & The Greatest Loser
9) Sabaton - Legends
Due to being disappointed with their last album, and not enjoying a 2023 show as much as I should have for personal reasons, I came to the Swedish power metal legends Sabaton's new album Legends with middling expectations - and it has actually become one of my most-played albums of the last couple of months. Sabaton's chunky, largely mid-paced power metal sound is largely set in stone at this point, and Legends does not really do anything different. Despite this, though, following a relatively lacklustre previous release, in my opinion anyway, the latest album feels much more energetic - and it also feels a bit heavier overall. The synths are still there, but they are less prominent throughout - with the guitar playing of Chris Rörland and a returning Thobbe Englund really driving everything. There are some of the band's best riffs, lead guitar melodies, and solos for a while on this album as a result - and the heaviness allows frontman Joakim Brodén to really double down on his gritty delivery at times. The more varied theme helps, too, moving away from the First World War lyrical content of the previous two albums. Overall, then, this album just feels fresher than the last album - and I have been enjoying being back on the Sabaton train recently.
Listen to: Hordes of Khan, A Tiger Among Dragons & Crossing the Rubicon
8) Amorphis - Borderland
A new album from Finland's Amorphis is always a reason to celebrate - and Borderland was another regular companion during the last few months of 2025. Whilst Amorphis' core sound has long been established at this point, at least since current frontman Tomi Joutsen came on board in 2005, the band never disappoint. Each album tends to feel and sound very similar to what came before, but given that no-one else really sounds like Amorphis this similarity does not bother me. The band are just great at what they do - and Borderland is another very strong album from the band that mixes progressive, gothic, folk, and melodic death metal into a soup of emotion, atmosphere, and majesty. Compared to the previous album, which was a bit heavier overall, this latest effort does feel a bit more atmospheric and floaty than is sometimes the case. Joutsen's clean vocals dominate this time, with his harsh vocals utilised relatively sparingly, whilst big guitar riffs are generally replaced by soaring guitar leads and retro synth and organ textures. These sounds are nothing new for Amorphis, of course, but the balance is certainly more in their favour this time - which is perhaps unsurprising given that keyboard player Santeri Kallio dominated from the songwriting here. It was a great album for the winter months, hence its inclusion here.
Listen to: Bones, Dancing Shadow & The Strange
7) The Night Flight Orchestra - Give Us the Moon
There have been two Swedish melodic rock/AOR albums that I listened to a lot last year. Only one could make the list, though, given the plethora of other things I wanted to include, so The Night Flight Orchestra's Give Us the Moon won out over H.E.A.T's Welcome to the Future (which can be seen as another honourable mention) - largely because it was probably my most-played album of the first few months of 2025. H.E.A.T delivered the better live show when I saw the two bands back-to-back, but Give Us the Moon could be the most consistent album yet from frontman Björn 'Speed' Strid and his supergroup of pop rockers. It is the band's first album since the death of guitarist and songwriter David Andersson, despite an old song of his being recorded by the band here, so it was always going to be an interesting one. Strid has always written a lot for the band, but he stepped up in a big way here - alongside new guitarist Rasmus Ehrnborn and multi-instrumentalist Sebastian Forslund. Despite the band having put out many excellent albums in the past, everything really seems to have clicked here in a big way - with each song trying to out-do the previous one in terms of hooks and choruses. It is a hugely memorable melodic rock/AOR release as a result, with more Toto than Journey in its sound which helps to set the band apart from other modern AOR acts, and is a big reason why I listened to it so often.
Listen to: Stratus, Shooting Velvet & Runaways
6) Epica - Aspiral
Returning to a heavier sound, the Netherlands' Epica are another band that never disappoint. I have been following the band for nearly 20 years at this point and in that time they have released excellent album after excellent album - whilst also consistently delivering live. They will be my first live experience of the year, alongside Amaranthe and Charlotte Wessels, and I am hoping that a good number of songs from 2025's excellent Aspiral are featured in the set. The gap between it and Epica's last album felt like a long one, so I was very much ready for something new - and Aspiral did not disappoint. Like Amorphis, Epica's core sound has been in situ for many years at this point - but there have been twists and turns along the way to keep things fresh and to give albums bespoke identities. With the possible exception of 2005's Consign to Oblivion, Aspiral feels like the band's most accessible album yet. Whilst there are plenty of extreme metal influences here, and guitarist Mark Jansen's growls are as potent as ever, this seems to be an album which pushes melody and hooks in a bigger way than before. The songs, generally, are shorter this time - with the longest piece here being just over eight minutes long. As such, there are fewer progressive moments this time - but the arrangements are still interesting and knotty, meaning that there is still plenty to keep die-hard fans coming back to discover.
Listen to: Cross the Divide, Darkness Dies in Light (A New Age Dawns - Part VII) & The Grand Saga of Existence (A New Age Dawns - Part IX)
5) Avantasia - Here Be Dragons
Returning to power metal with my fifth choice, and Tobias Sammet makes a welcome return to my Albums of the Year list for the first time since 2016. He was a regular inclusion for a while, both with Edguy and Avantasia, but with Edguy on hiatus and the last couple of Avantasia albums somewhat disappointing I was pleasantly surprised by how much I enjoyed Here Be Dragons. Like Epica's new album, Here Be Dragons is perhaps a more straight ahead album - with a bit less of the bombast and progressive flair of albums past. Sammet tried that with the last Avantasia album, to a less successful end, but Here Be Dragons balances hooks and bombast nicely - with shades of Edguy in some of the simpler tracks and plenty of epic arrangements typical of the best Avantasia albums elsewhere. It helps that this is likely the best collection of songs that Sammet has written for quite a while - with no obvious weaker moments to break up the flow. It is very much an album that contains hit after hit - and perhaps less focus has been put this time on creating a coherent album that feels as one, with more focus given to just writing great songs. This has paid off in my opinion - and it helps that a number of excellent guest vocalists flesh the songs out as always. Regulars like Geoff Tate and Bob Catley return, whilst Tommy Karevik and Adrienne Cowan are some of those making their debuts here.
Listen to: Here Be Dragons, The Witch & Bring on the Night
4) The Doobie Brothers - Walk This Road
I always love it when an older band that has not been all that prolific of late releases something new. Arguably this current era of The Doobie Brothers started in 2021 with their last, very solid album, but Walk This Road is the band's first since the 1980s with Michael McDonald in tow - and their first album which properly features all three of the band's classic singer-songwriters in a more or less equal capacity. McDonald alongside founding members Tom Johnston and Patrick Simmons have really gone back to what made The Doobie Brothers great throughout the 1970s here, with songs that could have sat on the early and late 1970s albums alike. Vocal duties are split pretty equally, with all three singers still sounding strong, whilst a large cast of session musicians, including producer and co-writer John Shanks, helped the three core members, alongside long-standing multi-instrumentalist John McFee, to bring their songs to life. All of the classic Doobie Brothers sounds are here, from smooth vocal harmonies, through boogie rock numbers, to furious bluegrass instrumental sections - with a good mix of rock, pop, blues, folk, and country present to make Walk This Road easily the band's best album since, at least, 1989's comeback effort Cycles.
Listen to: Walk This Road, Angels & Mercy & Here to Stay
3) Helloween - Giants & Monsters
Germany's Helloween are still out there showing everyone else how to properly do a reunion. In fairness the previous entry in this list are also somewhat doing something similar, but Helloween's on-going seven-piece line-up is easily the ultimate version of this band - and it allows all eras to shine. Whilst perhaps a good idea for a tour, I am not sure that too many thought it would translate well to the studio - but Giants & Monsters is the current line-up's second album, and it might even be better than the one that came before. Whilst the previous album might be a bit more epic in scope, Giants & Monsters feels a bit more cohesive and assured as a full album - and the band also feel more relaxed here. On the previous album it often felt as if a true balance between co-frontmen Michael Kiske and Andi Deris was trying to be struck - whereas the balance this time feels more natural. If a song is more fitting for one over the other, then the other has no qualms sitting it out - and the vocal arrangements feel a bit more natural as a result. Many of the best moments see the two joining forces, though, and the greater involvement this time from Kai Hansen from a songwriting perspective means that there are some real throwbacks to the band's early days here. Despite some strong competition, Giants & Monsters is my favourite power metal album of 2025 - and Helloween continue to deliver more than 40 years deep into their career.
Listen to: Giants on the Run, Universe (Gravity for Hearts) & Majestic
2) Dream Theater - Parasomnia
I imagine that anyone who knows me well could have guessed my final two choices. Any new Dream Theater album generally finds its way into my Albums of the Year lists - but Parasomnia feels like a special release. It is the first album to feature returning drummer Mike Portnoy since 2009 - and the band have seemed extremely fired up since his return. Their reunion tour was epic, and they have barely stopped since kicking it off in 2024. Parasomnia does not exactly do anything new, and it is very much Dream Theater through and through, but it returns to a heavier side of the band's sound which had perhaps been absent since the mid-/late-2000s - and Portnoy very much feels at home back in the band. This is not to say that Dream Theater floundered without him, as some of my favourite Dream Theater songs were released whilst Mike Mangini was in the band, but I think, since Portnoy's return, it is very clear that he really is the true drummer for this band. His relationship with guitarist John Petrucci was always what made this band tick - and everyone has really stepped up to the plate on this new album, with James LaBrie delivering a fantastic vocal performance. Sometimes a band just delivering more of the same, but in a freshly confident and defiant way, is enough to make an album shine - and Parasomnia certainly shines.
Listen to: Night Terror, Midnight Messiah & Bend the Clock
1) Mostly Autumn - Seawater
Surprise, surprise - one of my two all-time favourite bands topped 2025's list. In fairness, Mostly Autumn's last album did not top 2021's list - but Seawater has been my most-played album this year, and it is a marvellous album from a band that continue to impress. It very much follows a similar path to the band's longer and more complex albums of the past decade or so - with quite a few lengthy tracks and a dense, emotive atmosphere. My opinion of the last album has probably dropped a little since 2021, largely as the pandemic-themed release feels very much a product of its time and the fact that many of its songs did not stay in the live set for very long, but Seawater is easily as good as the three albums which preceded it - with a few standout songs perhaps being among the band's best for a while. One thing that is a bit different about this latest effort is the more prominent folk influences on show again. The band started out with plenty of folk in their sound, but this has largely faded away over the years. One song here really harks back to that sound in a big way, whilst other numbers also showcase those vibes. Angela Gordon's flute has been utilised here more than it has been for a while, then, whilst the searing guitar playing of bandleader Bryan Josh is as emotive as ever. His and Olivia Sparnenn-Josh's vocals really shine throughout, too. Josh perhaps sings a bit more throughout this album than has been the case of late - but the balance struck ensures that both singers, who were the only two to write songs for the album this time, bring the band's latest effort to life.
Listen to: Let's Take a Walk, When We Ran & Future Is a Child
Whilst the above list contains my favourite 10 albums of 2025 - there were, as always, plenty more albums I wish I had included. My overall shortlist was perhaps a bit shorter than it can sometimes be, but nevertheless some excellent albums still had to miss out - and I always like to briefly highlight a handful before moving onto the previous year's best gigs. Alongside the H.E.A.T album already mentioned, then, was the latest effort from Arch Enemy: Blood Dynasty. I had been a bit disappointed with the band's previous couple of albums, but Blood Dynasty felt a lot stronger. It did not exactly do anything new, but the melodies and riffs were bigger than ever - with frontwoman Alissa White-Gluz delivering a stellar performance. Given that she and the band parted ways at the end of their recent European tour, too, it will act as her final say with the band which she fronted for four albums. Also included here is Ghost's Skeletá - an album I listened to quite a bit when it dropped but then have not revisited all too often since. It is not quite as strong as the two albums which came before it, but it nevertheless continues Ghost's journey as one of rock and metal's biggest current acts. Some of the songs are among the band's best, and the show I caught on the tour was excellent (despite it also not appearing in the list below), but other bands just felt more vital for me this year than Ghost - despite Tobias Forge still being someone I admire immensely. Finally, too, I would like shout out Styx's latest offering Circling from Above. Like the Ghost album, Circling from Above perhaps suffers from being not as strong as the band's previous two efforts - but I have still given it a lot of airtime this year. It is easily much more mellow than the band's other recent albums, and perhaps less progressive, too. Some of the classic Styx bombast is missing, then, with Beatles-esque harmonies and melodies in their place - which makes it very much a mood album. The choice to change things up feels very deliberate, though, and the album is very cohesive and well-considered as a result - with both Tommy Shaw and Lawrence Gowan delivering vocally. All that is left to do now is to highlight my favourite gigs of 2025 - which I have listed below. I have just picked out the best five of the past year rather than trying to group them - and there were plenty of other excellent ones which had to miss out, as I went to a record number 58 shows in 2025!
Whilst some perhaps more technically impressive shows missed out on this rundown, I had to include seeing one of my favourite bands The Doobie Brothers live for the first time. I only got into the band a few years ago, and for a long time it seemed as if the band's wider touring days were over. Each year saw them cycle around America, playing to some pretty big venues once Michael McDonald returned to the fold, but shows further afield seemed like a dim prospect. This slowly changed, though, and following missing the band opening for the Eagles in 2024 some headline shows were booked for 2025 - and Birmingham made the most sense. Hot on the heels of their latest album dropping, four new songs sat in the set which otherwise was made up of classics from the 1970s. All three of the band's classic singer-songwriters sounded great - and the current live band is made up of plenty of excellent and very professional musicians, who all had a chance to shine. The arena was made to look small, but the low thousands that turned out had a great time - and there was a feel-good vibe in the room throughout.
Following the band going on hiatus as a result frontman Phil Campbell's departure in 2020, I assumed that I would never see The Temperance Movement live again. At one point they looked like a band destined for the biggest stages, but sadly such a break never really came - and Campbell's addiction issues, by his own admission, essentially saw the band fold. With plenty of time for reflection, getting clean, and water passing under the bridge, though, the band reformed towards the end of 2024 for a series of live shows in 2025 - and I was at the very first one in Bristol. The packed out room made for an electric atmosphere, whilst the band really roared - sounding more powerful than ever. The gentle, acoustic start to the show, with a very stripped back Chinese Lanterns, was one of the most emotive gigging moments in recent memory, too, as it was very different to how a rock show usually starts, and it only made the big riff of Only Friend feel more powerful when it then kicked in. Campbell was redeemed from the opening few lyrics in my opinion - and the rest of the band were clearly all there for him. It was unclear whether the tour would be a one-off to give the band a proper send-off or whether it would be the start of a new era - but given the band are playing some festival shows this coming summer there is at least a little more gas in the tank.
Lots of musical acts retire, only to return a few years later - but I think I believe Fish when he said that his last tour would be his final one. His health in recent years has made touring hard for him - and he has now moved to a small Scottish island and intends to properly retire. He shut down his record label and online store and, save for a handful of occasional social media posts, has essentially left the public eye. I had seen Fish many times over the years, but the Bristol show on his final tour might well have been the best of the lot. Sounding the strongest he had vocally for a long time, and backed by a tight band of long-time collaborators, Fish's career-spanning and lengthy set was a good mix of classics, fan-favourites, and lesser played numbers. From the spine-tingling opening Vigil to the closing folk rock of The Company, Fish had the packed Beacon in the palm of his hand. It was great seeing him in such a large venue to close things out - and the atmosphere was electric from the first note. Plenty of classic Fish banter was thrown in of course, as well as a couple of nods to his past with Marillion, but overall this was a night celebrating all things Fish - and he very much went on a high and on his own terms.
It seems strange that two of my favourite gigs of 2025 took place at the BP Pulse Live - especially as both of the shows were played with the venue in a smaller configuration to crowds in the low thousands. This did not effect the vibe of The Doobie Brothers' show as already mentioned, and it certainly did not effect Toto's showing - which rivalled the first time I saw them as the best live experience of this classic melodic rock act. Whilst only Steve Lukather and Joseph Williams remain from Toto's classic eras, the current line-up is a musical juggernaut. Greg Phillinganes has been associated with the band on and off for years, whilst Shannon Forrest is one of the most in-demand session drummers going. The surprise package, though, was Dennis Atlas. Not only a fantastic keyboard player, but he essentially became a third lead singer - duetting a lot throughout with Williams in particular. Atlas' higher voice allowed Williams to rein it in a little, preserving his smooth tone, and the current line-up really brought the best out of everyone. It helped, too, that the setlist was a real treat for die-hard fans - with deep cuts like Carmen and Angel Don't Cry getting airings, whilst the more modern Mindfields was debuted on the tour. Toto are masters of what they do and I will keep going to see them as long as they keep coming back.
Savatage are not a band I ever thought I would see live - largely as they had not existed in any permanent form since the early 2000s. They might not be an all-time favourite band of mine, but they are certainly a band I like a lot - so I jumped at the chance to see them when they announced a London show as a part of a short run of summer reunion shows. Whilst some might see the current line-up as compromised without bandleader Jon Oliva, who is currently side-lined for health reasons, all of the current line-up are long-time Savatage members - and it is easily the most legitimate version of the band that could realistically tour these days. Whilst the lengthy show focused on the band's later, Zak Stevens-fronted, albums, the setlist overall was career-spanning - with plenty of older traditional metal classics thrown in alongside the more theatrical and progressive material which came later. This was one of those shows where everything just came together to make it special. The show itself felt like an event, the band sounded great on stage, and the packed out venue was as one - with everyone singing along to every song and creating a dynamite atmosphere. Everyone was just pleased to be there, whether it was their first time or they were Savatage veterans from back in the day. Sadly the band are not returning to the UK on their run of summer shows this year - but this London show will live long in the memory as one of the very best.
