For the second consecutive year, Jamaican dancehall sensation Chronic Law has decisively secured his position as YouTube’s most-viewed artist, accumulating a staggering 154 million views throughout 2025. According to official platform statistics, Chronic Law’s viewership nearly doubled that of his closest competitor, incarcerated artist Vybz Kartel, who maintained the second position with 85.7 million views.
The YouTube Music Charts, which remain the primary streaming platform for many Jamaican audiences, revealed the complete rankings for the period spanning December 28, 2024, to December 28, 2025. Emerging artist Skippa captured third place with 79.9 million views, while established stars Masicka (74.5 million) and Squash (64.1 million) completed the top five. The list continued with Alkaline, Jamal, Malie Donn, Popcaan, and producer DJ Mac rounding out the top ten.
Geographic data analysis indicates Chronic Law’s strongest viewership originated from Kingston, Jamaica; New York, USA; Port of Spain, Trinidad; and London, England. His most-streamed tracks included ‘New York Girls,’ ‘Empty,’ ‘Higher Life’ (a collaboration with Kranium), ‘Kick It Wid Myself’ (with Popcaan), and ‘Don’t Fall.’
Vybz Kartel demonstrated remarkable international appeal with his primary audiences located in Nairobi, Kenya; Paris, France; and Accra, Ghana. His top-performing songs were ‘God is the Greatest,’ ‘Ignite the World,’ ‘Fever,’ ‘Unstoppable,’ and ‘Whine to the Top.’
Despite the overall artist dominance by male performers, the year’s most-streamed individual track was the ‘Shake It To The Max’ remix featuring Shenseea and Skillibeng, which has amassed nearly 220 billion views since its March 2025 premiere. This was followed by ‘Beloved and Blessed’ by Jaame.sss featuring Inner Circle’s Skatta Lopa and Armanii’s ‘8:00 PM’ in third place.
Notably, for the second consecutive year, no female dancehall artists appeared in the top 15 most-viewed artists ranking, nor were any solo female tracks represented in the year’s top songs list, highlighting an ongoing gender disparity within the genre’s digital landscape.