Stardust (Danny Brown album)
2025 studio album by Danny Brown
From Wikipedia, the free encyclopedia
Stardust is the sixth studio album by American rapper Danny Brown, which was released on November 7, 2025, under Warp Records. Marking a drastic shift from Brown's previous albums, Quaranta and Scaring the Hoes (with JPEGMafia), released in 2023, the album features more EDM and hyperpop-inspired production, with guest appearances from a younger generation of artists: Quadeca, Jane Remover, Underscores, 8485, Frost Children, Zheani, Nnamdï, Johnnascus, Issbrokie, Femtanyl, Ta Ukraїnka, and Cynthoni, who also helped produce the album.
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- English
- Polish
- Ukrainian
| Stardust | ||||
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| Studio album by | ||||
| Released | November 7, 2025 | |||
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| Length | 49:31 | |||
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| Label | Warp | |||
| Producer |
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| Danny Brown chronology | ||||
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| Singles from Stardust | ||||
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In 2023, Brown went to rehab for alcoholism and became sober for the first time, initially planning to retire from music before rekindling his interest through hyperpop duo 100 gecs. At the time, Brown had ventured through electronic music with Old (2013), but struggled with connecting to it due to his new sobriety until he found artists from a new perspective including Underscores through her studio album Wallsocket (2023). Through Brown would work with 100 gecs and PC Music founder A. G. Cook, it didn't match, with him taking interest in the digicore scene instead, where he met his personal A&R Jesse Taconelli, the founder of DeadAir Records.
When production of Stardust began, Taconelli encouraged Brown to make it a concept album through the lens of a character named Dusty Star, a 90s-era popstar. He was inspired further by Angel Prost of hyperpop duo Frost Children, who recorded spoken word interludes throughout the album as fanmail that inspires Dusty Star. Encouraged by folktronica musician Quadeca, Brown also relearned to write songs through Julia Cameron's The Artist's Way (1992), a 12-week program self-help book. Being his first album recorded while sober, Brown explores themes of purpose, regret, braggadocio, and gratitude.
Promoting the album, Brown released its lead single "Stardust" on September 23 and second single "Copycats" (with Underscores) on October 16, and went on a North American concert tour from November to December 2025 with Underscores and Femtanyl as opening acts. Upon release, Stardust received mixed-to-positive reviews from music critics, praising the album's concept and guest features, while criticizing its inconsistency. Commercially, the album performed on the Billboard Top Dance Albums chart, North American College and Community Radio Chart, three UK charts, and the Scottish Albums chart.
Background
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The album is Brown's first since getting sober after a 2023 stint in rehab for alcoholism, in which he checked in after spending high amounts on alcohol and drugs during the COVID-19 pandemic.[1] At the time, Brown had released a collaborative album with JPEGMafia titled Scaring the Hoes (2023)[2] and a solo studio album titled Quaranta (2023).[3] Reflecting on the production of the two albums, he revealed he was "blackout drunk" when recording Scaring the Hoes, and was in constant pain and throwing up when recording Quaranta.[4] Brown initially planned to retire from music when he boarded his flight to rehab, telling NME he dealt with self-hatred at the time, making it difficult for him to love anything else.[5] Reflecting on rehab, it was the most isolated he had been since his eight-month incarceration in jail as a teenager.[5] At the time, he rekindled his interest in music, listening to the hyperpop duo 100 gecs each day for eight weeks.[5]
Throughout 2024 and 2025, Danny Brown began frequently collaborating with artists in the alternative pop, hyperpop, electronic, digicore, and deconstructed club scenes, including Alice Longyu Gao, Frost Children, Jane Remover, 8485, and Femtanyl; he additionally joined Underscores and A. G. Cook as a special guest during their Coachella performances, where Brown and Underscores previewed a new song.[6][7] In a 2024 interview with Ringtone Mag, Brown elaborated on his admiration for the genre and its performers and confirmed the presence of featured artists on his album.[8] On his podcast The Danny Brown Show, Brown described the sound of his upcoming album as "the most different music he ever did" and said the sound would "shock" people. He additionally expressed his desire for perfectionism on the album as his first release sober, wanting to disprove claims that his music quality would decline as he entered sobriety.[9]
Writing and production
When Brown returned to venture in electronic music, having last done "EDM trap bangers" in his second studio album Old (2013), he struggled to reconcile with its sound due to his new sober lifestyle, which usually involves themes of partying and drug use,[5] and feared that his music's quality would decline after seeing various artists suffer the same when they reached sobriety.[4] After Brown left rehab, his phone's algorithm had altered and he discovered artists including Underscores, giving him a new perspective on electronic music.[5] During that time, he found solace in her second studio album Wallsocket (2023), connecting to his experience in rehab and crediting it for helping him "fall back in love with music".[10] He was further inspired when fans reached out by telling him his music helped them get sober.[11] While he first explored hyperpop with a Dorian Electra collaboration in 2021, he recalls discovering Sophie's 2014 song "Bipp", believing it was "where grime was gonna go next".[5] He reflects that he would have collaborated with Sophie if Vince Staples didn't take initiative.[5] Dealing with the lost opportunity, he wrote the moniker "Make Sophie proud" on his notebooks.[5] During that period, Electra showed him the Subculture Party series, held in Los Angeles and streamed online.[12]
Despite that Brown would initially work with Dylan Brady of 100 gecs and PC Music founder A. G. Cook, he felt like it didn't fit, and he was instead interested in the digicore wave, taking interest in working with deadAir Records founder Jesse Taconelli and signee Jane Remover.[5] Taconelli serves as Brown's "personal A&R" and influenced his process on Stardust, suggesting he create a character. Brown titled it "Dusty Star", likening it to Prince's album Purple Rain (1984) and the film of the same name.[5] Giving perspective, Brown explains that Quaranta serves as a prequel to Stardust, creating the "90s era popstar" as he took a different perspective for the latter album.[5] Working with Angel Prost of hyperpop duo Frost Children, Brown was inspired to develop the character further. They worked on the Stardust early in its production, and when he asked Prost to record a poem for the album, Brown was attached to her verse.[5] He explains that Prost's poems are "love letters that convince Dusty Star to come back to music", initially being interested in money but finding his purpose by the conclusion of the album.[5] Brown met the duo at a studio in Austin after congratulating them when their track "Flatline" appeared on a FIFA soundtrack, being the first session for Stardust.[10]
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As Brown developed Stardust, he realized he had to relearn how to write songs, discovering Julia Cameron's self-help book The Artist's Way (1992), which assists the reader on harnessing their creative talents and building self-confidence, likening it more when he discovered it was inspired by Cameron's journey to recovery from addiction.[5] In the 12-week program, he wrote his morning pages and took himself on artist's dates, as the progress was encouraged by folktronica musician Quadeca, who he did recording sessions with for a week.[5] Quadeca would produce a beat and hand Brown a demo, and the latter would listen to it for a few before sleeping.[5] When he woke up, he wrote his verses by ten minutes, reflected he had been "bottled up for so long."[5] Brown previously collaborated with Quadeca on the track "House Settling" from his third studio album I Didn't Mean to Haunt You (2022).[13]
In 2023, Brown gave interest in Femtanyl's music when he posted a screenshot of their EP Chaser on X (2023).[10] By a few months, they were at a studio in Austin.[10] Juno of Femtanyl recalled the experience as "stressful and intimidating", but Brown's playfulness pacified it down, encouraging the duo to experiment with ideas such as elongating a vocal sample.[10] Prior to that, Femtanyl have mainly been noticed in the "furry-adjacent corner of the internet".[10] Underscores reflected on the album's development, saying that Brown would find artist with a small following as 300 monthly listeners.[10] When Juno and Noelle Mansbridge of Femtanyl saw the tracklist, they discovered the names of Frost Children, Underscores, and Jane Remover that connect to their taste in EDM and hyperpop and felt affirmed in the opportunity.[10]
During a Billboard interview with Brown in November 2025, he revealed that the album's title Stardust meant nothing, having taken inspiration from a billboard with a stardust image while going to see U2's UV Achtung Baby Live at Sphere residency in Las Vegas. After taking a photo of it, he stumbled onto it and searched up "stardust", but couldn't take the initiative based on Yung Lean already having a mixtape titled Stardust (2022), as well as David Bowie's alter ego Ziggy Stardust. However, he changed his mind when someone told him stardust meant cocaine.[14]
Music and lyrics
Overview
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Stardust is an EDM[18] and hip-hop[12] album that explores territory in hyperpop,[19] digicore,[18] drum and bass,[17] and hip house,[20] and is Brown's first album written and recorded entirely sober.[5][21][1] Unlike Brown's previous releases, the album's guest list spans a younger generation of artists from "digi-hardcore, EDM, future base" territory with a queer following.[10] Described as "AA-core: high energy and higher gratitude"[10] in a runtime of forty-nine minutes and thirty-one seconds,[22] it consists of guest artists Quadeca, Underscores, Frost Children, Jane Remover, 8485, Johnnascus, Issbrokie, Femtanyl, Nnamdi, Ukraïnka, Zheani, and Cythoni.[22][17] Only two tracks of the album have no guest stars: "Starburst" and "Lift You Up".[4]
In a November 2025 interview with NME, Brown detailed his approach to creating Stardust as a concept album to narrate his recovery from addiction and finding joy in art again, through the lens of a semi-autobiographical character named Dusty Star, a 90s-era popstar, both a self-parody and self-portrait of Brown.[5][23] Brown further elaborated on the role of Frost Children member Angel Prost's spoken word interludes throughout the album, comparing them to fanmail that inspires Dusty. Brown additionally explained how the music of his collaborators on the album had been a source of inspiration and relief during his time in rehab.[5] Throughout the album, Prost cautions Dusty Star and helps him find his purpose.[1][4]
Compared to Quaranta's themes of loneliness and torment, each track of Stardust excluding two involves a guest star that skewed to niche music genres[4] through "thrills and sugar-fueled adrenaline",[24] ranging from Quadeca's "dense, artsy folktronica" to Cynthoni's "depressive, expansive drum-and-bass" production to Underscores's "ckeeky and nostalgic synth-pop".[25] According to Karen Singh of Clash, while Quaranta runs as a "spiritual bookend" to Brown's XXX (2011), Stardust runs like a continuation of Old (2013).[17] Full of various influences, the album's palette includes "grime-meets-Charli XCX glitchiness", "classic deep house", "pastoral electronica", and "post-Sophie industrial".[15] When Brown is not reflecting on his past, his themes consist of braggadocio and humorous one-liners,[25] ranging from Brave New World (1932) by Aldous Huxley to Winona Ryder's 2001 shoplifting charge,[4] melding "DIY beatmaking with the raw, live energy of a hardcore show."[26] Brown considered Stardust his "easiest album" to make as he focused on writing while the producers managed the hooks.[27]
Tracks 1–7
The opening track, "Book of Daniel" begins on "soft guitar and shimmering synths"[23] under a introspective and atmospheric tone[31] with dreamy hooks[32] from Quadeca as the featured artist,[21] who presents Brown with a sense of purpose.[16] In the track, Brown raps about survival, purpose, and self-discipline with humor and surrealism intact,[23] while naming himself and his past collaborators, Kendrick Lamar and Earl Sweatshirt, as the "real big three".[31][29] The second track, "Starburst", produced by electronica artist Holly,[32] is a two-part industrial hip-hop track that serves as a manifesto, with Brown rapping about paranoia over a "looping synth" beat before shifting to a heavy bass and nearly siren-like melody,[28] landing humorous punchlines such as "I ponder going bonkers and knocking out your chompers" as to describe mental health collapse and financial hustle.[16] The track concludes when Angel Prost appears in a spoken-word outro by reintroducing Dusty Star, as a "part love letter" and "part hallucination".[16]
The third track, "Copycats", a deconstructed club and electropop track,[30][33] reflects Charli XCX's hyperpop 2024 album Brat mixed with techno-inspired Detroit bass, as produced and featured by Underscores.[16] With a "squelcy bass, glitchcore blips and boops, and chiptune synths",[24] it's a "club-ready earworm".[1] Brown plays as a braggadocious villain aiming at imitators: "Get what you want, not what you ask for... choose my path to walk, the straight narrow",[16] while Underscores repeats the catchy hook "rap star, pop star, rock star / Gimme that"[29] According to Underscores, she and Brown finished the song in just hours, and revealed that his verse name-checked some of her older songs.[34] The nearly drumless[24] fourth track, "1999", is a "painfully trebly, glitching chiptune",[4] featuring screamo-style vocals[35] from industrial Texas-based artist Johnnascus,[18] and draws similarities to German digital hardcore band Atari Teenage Riot.[5] Contrasting the first three tracks, it is more screechy and confrontational.[23]
The fifth track, "Flowers", is a trance-rap[12] and electropop[23] track featuring 8485, involving the latter's "bubblegum melody" on deep synths as Brown raps about supporting his friends and fans instead of self-mythology.[16] Thematically, the lions that used to represent his troubles now become symbols of survival as Brown raps about becoming one and stalking his prey.[18] The track takes wordplay on the phrase "getting your flowers", while the refrain is "I'm going to get more than my flowers", based at owning artistry.[34] The sixth track, "Lift You Up", is a 90s-groovy house-esque[36][26] track that shows Brown slowing his delivery on a beat built on clipped drums and whirring synths, rapping about supporting his friends and fans rather than self-mythology.[16] The writing of the track was inspired by spending type in the gym.[11]
Tracks 8–14
The seventh track, "Green Light", is a hyperpop[36] track that pairs Brown's high-pitched yelps with the Frost Children's harmonies under a mix of EDM and punk,[16] resemblant of production by the Swedish cloud rap collective Drain Gang.[31] The eighth track, "What You See", in a jazzier contrast to "Green Light",[29] features Quadeca, where Brown raps about self-esteem, lust, and infidelity,[18] having hurt his loved ones and compensating for it[16] under melancholy keys,[23] revealing that love was what ultimately liberated him.[17] The ninth track, "Baby", featuring Underscores, takes inspiration from Dizzee Rascal's grime production, especially the "double claps, helium-high squeaks", and "car-speaker basslines" from his 2003 track "I Luv U".[10][16]
The tenth track, "Whatever the Case", is a trap metal, industrial hip-hop, and deconstructed club track featuring California rapper Issbrokie,[5] flipping positivity into mania under happy hardcore loops.[23] The latter met Brown when he liked an Instagram post from her, and requested for her appearance on his album.[34] In an interview with The Fader, Issbrokie jokingly described her verse as "pure ignorance, bullshit that spewed from my brain", referencing Bad Dragon, Kreayshawn, Buffy the Vampire Slayer, and Tyler Perry. Reflecting on the production, Brown was "super accommodating" and didn't request any revisions.[34] The eleventh track, "1L0v3MyL1f3!", features Femtanyl and shows Brown reflecting on his sober journey through drum and bass and jungle production,[1] with its beat resembling a "happy hardcore track on a turntable with a knackered stylus".[16] Brown shouts about loving his life over the glitching instrumental, while Femtanyl's vocals invoke "high-pitched exclamations" of rejecting high expectations from others, finishing with a sampled excerpt from Steve Albini of Shellac during a live performance.[16] The twelfth track, "Right From Wrong", features Nnamdi, where Brown admits his regrets in a sense of morality without confession.[16] As for example, he delivers advice such as: "Continue on a journey and focus on what's ahead, 'cause they run with the lies when the truth ain't got legs"[26] while the instrumental experiments with its tempo, switching between "double-time and slow-crawl flows", as its tone adds depth to the album's emotional arc.[16]
The thirteenth track, "The End", is described as an three-part[31] "nine-minute epic" produced by and featuring breakcore artist Cynthoni, as well as featuring Polish indie-pop artist Ta Ukraïnka[4][29] and Australian musician Zheani.[5][37] The track starts with Brown rapping about regrets from his addiction,[16] recounting the drugs and alcohol that were a coping mechanism for him[26] under gentle piano production and hushed vocals before a dramatic shift into breakcore, accompanied by verses in Polish and Ukrainian about her own struggles with mental health, while referencing Brown's album Atrocity Exhibition (2016).[23] The second part, produced by Australian breakcore artist Cynthoni, features Brown rapping about regaining his motivation and passion and working through his problems, while Zheani provides a chorus. Zheani's mellow vocals match along Brown's "ward-speed flow" as the "backing track's pillowy synths and gentle piano figures" blend within a drum and bass track,[4] while Brown looks ahead optimistically in life on jungle breaks,[19] closing with a promise to "never see the end of me."[26] The last two minutes of the track feature a spoken word segment from Prost, the longest in the album, accompanied by guitar instrumentation by Quadeca.[19] The fourteenth and final track, "All4U", produced and featured by Jane Remover, shows Brown's declaration of gratitude in a futuristic R&B-style track[16] reminiscent of Charli XCX's emotive tracks such as "Track 10" (2017) and "Forever" (2020).[17] Remover also sampled their own track "Twice Removed" (2025).[12]
Promotion and release
On September 23, 2025, Brown officially announced Stardust and released the lead single "Starburst" and its accompanying music video, produced by the Portuguese DJ Holly.[38] The same day of the announcement, a North American concert tour supporting Stardust was announced, involving Underscores and Femtanyl as opening acts and consisting of 21 shows in November and December 2025.[39] On October 16, he released the second single, "Copycats", featuring Underscores.[40] Its music video released twelve days later, featuring the duo in an entourage taking selfies and living a flashy lifestyle.[41] The album was released to streaming and digital downloads on November 7, 2025, under Warp Records.[17] On November 18, a European concert tour was announced, set to take place in several cities in March, with the exception of a London concert in August.[42] On February 20, 2026, the album was released on vinyl and CD.[43][44]
Critical reception
| Aggregate scores | |
|---|---|
| Source | Rating |
| AnyDecentMusic? | 7.4/10[45] |
| Metacritic | 75/100[46] |
| Review scores | |
| Source | Rating |
| Clash | 7/10[47] |
| DIY |   [21] |
| Dork | [1] |
| Exclaim! | 8/10[19] |
| The Guardian | [4] |
| NME | [48] |
| Paste | 7.8/10[49] |
| Rolling Stone | [50] |
| The Skinny | [51] |
| Slant Magazine | [52] |
According to the review aggregator Metacritic, Stardust received "generally favorable reviews" based on a weighted average score of 75 out of 100 from 18 critic scores.[46]
Anthony Fantano of The Needle Drop rated the album a "light 8",[53] complimenting the album's production and Brown's approach to music following sobriety.[54] Jake Hawkes of Dork gave it a positive review, describing it as "not a perfect album", but is his "most complete and best work to date".[1] Randy from Shatter the Standards praised the album for deepening Brown's legacy and his decision to rebuild himself as a hyperpop artist.[16] Hip Hop Golden Age credited the album for Brown's curation of chaos and its choice of persistence over perfection.[23] Karen Singh of Clash complimented the album's production and dynamic. Though she doesn't consider it a memorable bundle, she credits the stamina that highlights the experience of the album, demonstrating "opulence, distortion and dynamism" as valuable elements as "tasteful chord progression or animated arrangements."[17] Wesley McLean of Exclaim! praised the album, considering it to be Brown's strongest since UKnoWhatImSayin? (2019) and as a "concise, confident, and encouraging body of work" that continues to inspire fans.[19] Nick Seip of Slant also called the album a companion piece to Brown's album Old (2013), with similar themes of fame, isolation, doubt, and self-confidence.[26]
Alexis Petridis of The Guardian positively reviewed the album and took insight into Brown's journey throughout the album, noting its switch between pop mode and chaos mid-track.[4] Kyann-Sian Williams of NME wrote that Stardust represents a "survival in motion" by confronting the past and moving on to a new path "while refusing to let the edge that defines him slip away".[18] Konstantios Pappis of Our Culture Mag commented that the album feeds off energy of cutting-edge, hyperpop-adjacent musicians who are the reason Brown fell back in love with music.[29] Leor Gill of Chicago Reader considers Brown's "adenoidal rapping" to be more than a match for the album's digital din, proving that happens when Brown uses a new source of energy and "decides to see where it leads him."[30] Jack Donnins of student newspaper Penn State Student Media credited Brown's glitchcore and hyperpop influence, but saw several of its tracks as flat, considering the project uneven.[28] Kieran Press-Renyolds of Pitchfork takes insight into the album as a comeback story from a "former junkie" to "recovered and reborn", calling Stardust a love letter to rap and those who inspired Brown to create again, while considering it a "little saccharine".[12]
Matthew Kim of The Line of Best Fit highlights Brown's excitement and enjoyment on creating Stardust, away from addition and depression, but comments it's unrestrained nature as "losing its grip", condensing several albums worth of idea into a single project not entirely consistent.[25] While Grant Sharples of Paste pointed up to Brown's reinvention and versatility, he notes that the area where the album falls short are Prost's spoken-word interludes, criticizing them for their "clunky phrasing".[24] Lewis Vade of The Skinny also wrote that not all tracks concisely fit in the album, as if Brown was features on someone else's song rather than vice versa, especially criticizing the track "Green Light".[51] Tom Johnson of Beats Per Minute wrote that there are parts of the album that sound a "tad samey" and could've been left out.[36] Stephen Kearse of Rolling Stone had a mixed perception on the album, considering that Brown's writing isn't "consistently vivid" and that the album's "repeated phrasing flattens his journey," finding that there's no principle beyond its glossy aesthetic.[27]
Commercial success
At its release, Stardust charted on the Billboard Top Dance Albums at number 25,[55] and peaked at number 20 on the North American College and Community Radio Chart, dated December 2, 2025.[56] Following the album's release on CD and vinyl, it charted on three UK album charts: the UK R&B Albums chart at number three,[57] UK Independent Albums chart at number 24,[58] and UK Albums Sales chart at number 66.[59] It also charted on the Scottish Albums chart at number 80.[60]
Track listing
| No. | Title | Writer(s) | Producer(s) | Length |
|---|---|---|---|---|
| 1. | "Book of Daniel" (with Quadeca) |
| Quadeca | 3:27 |
| 2. | "Starburst" | Holly | 4:58 | |
| 3. | "Copycats" (with Underscores) |
| Underscores | 2:51 |
| 4. | "1999" (with Johnnascus) |
| Johnnascus | 2:31 |
| 5. | "Flowers" (with 8485) |
| Holly | 2:32 |
| 6. | "Lift You Up" |
| Holly | 3:32 |
| 7. | "Green Light" (with Frost Children) |
|
| 2:48 |
| 8. | "What You See" (with Quadeca) |
| Quadeca | 3:44 |
| 9. | "Baby" (with Underscores) |
| Underscores | 3:03 |
| 10. | "Whatever the Case" (with Issbrokie) |
| Holly | 2:28 |
| 11. | "ILoveMyLife!" (with Femtanyl) |
| Femtanyl | 3:21 |
| 12. | "Right from Wrong" (with Nnamdï) |
|
| 3:08 |
| 13. | "The End" (with Ta Ukraїnka, Zheani, and Cynthoni) |
|
| 8:43 |
| 14. | "All4U" (with Jane Remover) |
| Jane Remover | 2:25 |
| Total length: | 49:31 | |||
Note
- "I Love My Life!" is stylized "1l0v3myl1f3!".
- “Right from Wrong” is stylized in all caps.
Personnel
Credits were adapted from Tidal.[22]
- Danny Brown – vocals
- Geoff Swan – mixing
- Lewis Chapman – immersive mixing
- Tatsuya Seto – mastering
- Benjamin Fernando Barajas Lasky – guitar, synthesizer, mixing (1, 8); drums, drum machine (1); bass, vocals (8); engineering (13)
- Myles Martin – drums (1, 8)
- Johnny May – piano (1)
- Miguel Oliveira – production (2, 5, 6, 10)
- Angel Prost – vocals (2, 6, 7, 12, 13); production (7)
- April Harper Grey – vocals, production (3, 9)
- Johnny Thompson – vocals, production (4)
- 8485 – vocals (5)
- Lulu Prost – vocals (7)
- Umru Rothenberg – production (7, 12)
- Johan Lenox – piano (8)
- Noah Ehler – strings (8)
- Stephanie Rezendes – vocals (10)
- Noelle Mansbridge – vocals, production (11)
- Phillip Andre Mueller – production (12)
- Nnamdï Ogbonnaya – vocals, production (12)
- Anastasiia Ivakhnenko – vocals, production (13)
- Cynthoni – vocals, production (13)
- Autumn Beviacqua – composer (13)
- Eli Winter – guitar (13)
- June – composter (13)
- Rye Mann – production (13)
- Olēka – flute (13)
- Chika Ueda – composer (13)
- Zheani Sparkes – vocals, production (13)
- Ryan Stephen Klenk – composer (13)
- Jane Remover – vocals (14)
Charts
| Chart (2025–2026) | Peak position |
|---|---|
| Scottish Albums (OCC)[60] | 80 |
| UK Albums Sales (OCC)[59] | 66 |
| UK Independent Albums (OCC)[58] | 24 |
| UK R&B Albums (OCC)[57] | 3 |
| US Top Dance Albums (Billboard)[55] | 25 |
| US & Canadian College Radio Top 200 (NACC)[56] | 21 |