2025 Spotify Streaming Signals Soca’s Biggest Shift in 10 Years
The numbers tell the story: the biggest Soca songs of 2025 are not festival anthems in the traditional sense. They weren’t born from Road March competitions or Soca Monarch stages. Instead, they blossomed in new lanes, reaching wider audiences, amplified by Carnival, but not ignited by it.
To set the baseline on Spotify, Kevin Lyttle’s Turn Me On remains the genre’s undisputed streaming giant, pulling roughly 50,000 Spotify streams per day, just over 1.2 million per week. For perspective, Rupee’s Tempted to Touch averages 13,000 daily streams, while Machel Montano and Major Lazer’s decade-old All My Love (Remix) hovers at nearly 22,000.
What stands out is that The Greatest Bend Over, Dansa, and Cocoa Tea, all from the past year, are already trending with Spotify average daily plays alongside the genre’s most enduring classics. Their success points to something new: three distinct lanes of how big multinational Soca hits can be made, independent of festival competitions.
The significance is clear: sustaining 10,000 Spotify daily streams is no longer just the mark of a carnival favorite. It’s a signal that a song is entering the global soundtrack. By that measure, 2025 represents a decade-defining leap for Soca, unlocking a new top tier of success.
A look at the top five soca songs by average daily Spotify streams illustrates this shift, with the 2025 tracks bridging the gap.
- Turn Me On – 50,000
- The Greatest Bend Over – 40,000
- Dansa – 24,300
- Cocoa Tea – 23,700
- All My Love (Remix) – 21,800
For the first time, three fresh entries are standing shoulder to shoulder with long-standing benchmarks. Congratulations are due to Yung Bredda, Klassik Frescobar, Kes, Full Blown, Boogy Rankss, DJ Kalli, and Tano and their teams for leading this shift.
The Second Tier: 5K–20K Spotify Avg. Daily Streams
Just below that top tier sits a powerful second tier, averaging 5,000–19,999 daily streams. Two years ago, this would have been the ceiling; now it sits just below the acceleration into the new global orbit.
2025 tracks including Good Spirits, both remixes of The Greatest Bend Over, No Sweetness, Pardy, Bob the Builder, The Truth, and The Eskimo (Remix) populate this tier. Kes and Machel continue to dominate the top echelon of soca tracks, Full Blown reveals themselves as a standout creative force across multiple roles and tiers, and Lady Lava remains among the year’s most streamed artists
These 2025 tier-two tracks now live among prior-year favorites, including Tack Back (Kes), Mind My Business (Patrice Roberts), Fast Wine (Machel Montano), One Wine (Machel Montano), Famalay (Machel Montano, Bunji Garlin, Skinny Fabulous), Jub Jub (Kes), DNA (Mical Teja), Like Yuh Self (Patrice Roberts, Machel Montano), Holiday (Problem Child), Ring Finger (Lady Lava), and Too Much (Klassik Frescobar, MarzVille). Each continues to maintain a daily streaming average above 5,000, proving Soca’s durability beyond the season it was made for.
The New Tier 1
What emerges is a new Tier 1 by sustained global listenership. 2025 benchmark isn’t about crowns or road presence, it’s about sustained global listenership. With The Greatest Bend Over, Dansa, and Cocoa Tea, Soca has produced a new top tier of songs thriving on the world stage despite not originating from competition stages.
For those in Tier 2, the breakthrough is within striking distance; for Tier 3, this is where national or regional hits begin shifting into global play.
2025 may be remembered as the year the Soca’s biggest songs proved they could stand on their own redefining how far soca can travel.
While the focus is on streaming numbers, the real-world impact of these three songs is evident. These are the Soca tracks you hear on the radio, in stadiums, and at festivals, played for wide and diverse audiences. The audiences reflected in the streams are real people, discovering and engaging with Soca far beyond the Caribbean diaspora. Kes, for example, has performed to solo lead sold-out crowds in arenas in Toronto and Boston, a first for Soca in both cases, demonstrating that the music’s popularity resonates offline as well as online. Yung Bredda earned a nomination at the AFRIMA Awards in Nigeria for Best Global Act, Full Blown signed a deal with a major label, and Klassik Frescobar landed Spotify and Audiomack cover placements, with discussions underway with major labels. All three have seen increased festival and other bookings, showing a dynamic interplay between streaming, live performance, and audience demand.
Together, these achievements signal more than a strong season. They represent a recalibration of what success in Soca looks like. In 2025, three songs raised the bar for the genre, proving that Soca’s biggest milestones no longer stop at Carnival, they travel the world.
