Fleetwood Mac Still Dominated Billboard’s 2025 Year End Charts

Fleetwood Mac and their classic album Rumours have once again proven to be unstoppable rock forces.

Nearly 50 years after its original release, the 1977 LP still ranked among the biggest albums on Billboard’s 2025 year-end charts.

Among catalog albums -- defined as being older than 18 months -- Rumours was No. 1, outpacing modern music titans like Taylor Swift, Kendrick Lamar, Drake and Post Malone. Rumours was the second most popular rock album of 2025, behind only Stick Season by singer-songwriter Noah Kahan.

READ MORE: Why Young People Still Love Fleetwood Mac's 'Rumours'

Fleetwood Mac's landmark album also ranked third on Billboard’s Top 100 Rock & Alternative Albums chart, ninth on their Vinyl Albums list and No. 40 on the most streamed albums of the year. Perhaps most impressively, the Billboard 200 -- a long-standing chart that ranks albums based on cumulative consumption across all formats -- listed Rumours as the No. 25 album of 2025.

Fleetwood Mac Was One of 2025's Biggest Rock Acts

Fleetwood Mac’s achievements didn’t stop there. The band was the No. 5 most streamed rock artist of 2025, ranked No. 11 on the year’s biggest rock and alternative artists and came in at No. 6 among duos and groups across all genres.

Considering Fleetwood Mac hasn’t released a studio album since 2003’s Say You Will, and hasn’t played a concert since 2019, these rankings clearly reflect how beloved the band remains.

READ MORE: Stevie Nicks Sees 'No Reason' to Continue Fleetwood Mac

Since Christine McVie’s death in November 2022, surviving members such as Stevie Nicks and Mick Fleetwood have continually insisted Fleetwood Mac is done. Still, that hasn’t stopped fans from creating rumors of their own, theorizing and hoping that the band could return. Obviously, there’s still plenty of interest in Fleetwood Mac -- and Billboard’s statistics prove it.

17: 'Time' (1995)

A Fleetwood Mac album arrived with neither Stevie Nicks nor Lindsey Buckingham for the first time since 1974’s 'Heroes Are Hard to Find.' And boy, were they ever: Replacements Dave Mason and Bekka Bramlett would be gone within a year, following Christine McVie, who contributed five songs to the project but left before the tour started. 'Time' failed to chart in the U.S., something that hadn’t happened since 1968’s 'Mr. Wonderful.'

16: 'Future Games' (1971)

Taking a more central role, Danny Kirwan set about crafting a kind of soft-rock prog, a la Wishbone Ash, on an album that saw Bob Welch take over for Jeremy Spencer — who in turn took with him the last vestiges of Fleetwood Mac’s early preoccupation with the blues. In its place, unfortunately, came a penchant for lengthy, and sometimes unfocused, instrumental passages.

15: 'Kiln House' (1970)

A transitional album in every sense of the word, 'Kiln House' is an unfocused project best remembered for what it meant rather than how it sounded. This album bid Peter Green farewell, even as it heralded the arrival of Christine McVie – signalling the definitive shift in the group’s early focus from the blues toward a brand of smooth California pop that would sell millions in the coming decade.

14: 'Behind the Mask' (1990)

Lindsey Buckingham vanished before the tour in support of 'Tango in the Night' got underway. As expected, that dealt Fleetwood Mac's next studio effort a mortal blow. They added not one but two guitarists (in Billy Burnette and Rick Vito), and there was still something missing. Stevie Nicks, whose single "Love Is Dangerous" failed to chart, would depart next.

13: 'Penguin' (1973)

An album from a band utterly in flux, 'Penguin' reflects these changes. With Danny Kirwan gone, Fleetwood Mac added both Bob Weston and Dave Walker – the latter of whom wouldn't last past this album. The intoxicating blend of soft-rock romanticism coming from Bob Welch and Christine McVie needs something grittier to work against. And it's just not here.

12: 'Mr. Wonderful' (1968)

The good news: Jeremy Spencer digs deep into early blues hero Elmore James’ ageless “Dust My Broom.” The bad news? Just two albums in, everyone seems to be out of ideas. Spencer recycles the same James riff on three other songs, and Peter Green's stuff isn't much more original. The results were only passable, a huge disappointment after a stellar debut.

11: 'Bare Trees' (1972)

This would be the final Fleetwood Mac project for Danny Kirwan, who wasn't getting along with the others. 'Bare Trees' eventually went platinum anyway, but that was on the strength of songs from elsewhere: Bob Welch’s original version of “Sentimental Lady,” later a solo hit, and Christine McVie’s “Spare Me a Little of Your Love” — which became a concert staple in the mid-'70s.

10: 'Say You Will' (2003)

Lindsey Buckingham and Stevie Nicks were apparently at work on a side project when their songs suddenly morphed into the newest Fleetwood Mac album – leading to an unbalanced project that unfolds like a too-long conversation between only two people. A little editing and the presence of Christine McVie would have done a world of good.

9: 'Then Play On' (1968)

Looser, and far more approachable, than their sophomore effort, 'Then Play On' finds Danny Kirwan coming aboard to great effect. Together with a rejuvenated Peter Green, they mix prog, soft rock and exotic rhythms into the band's basic blues-based approach. That left Jeremy Spencer with only a series of throwaway items, and he soon vanished.

8: 'Mystery to Me' (1973)

This album's best song is also its calling card: Bob Welch's "Hypnotized." Delivered with a whispering detachment, it unfurled amid an insistent conversation on the hi-hat and this thrilling series of jazz-inflected guitar fourths -- just as they would in their platinum years. “Hypnotized” illustrates how far Fleetwood Mac had come toward their smash singer-songwriter style long before Buckingham or Nicks joined.

7: 'Mirage' (1982)

After indulging in the sprawling, wildly expensive, weirdly effective double-album experiment 'Tusk,' Fleetwood Mac back slid into a comfy retro vibe for 'Mirage.' The hits ("Hold Me," "Love in Store" and "Gypsy") were fine examples of the old Fleetwood Mac magic, but they were just about the only ones here.

6: 'Heroes Are Hard to Find' (1974)

Bob Welch leaves behind perhaps his best set of songs, pointing directly to his own solo successes – while simultaneously setting a new standard that surely led Mick Fleetwood to Buckingham and Nicks. At the same time, Christine McVie comes into her own with lost classics like "Come a Little Bit Closer." The stage is set for something big.

5: 'Tango in the Night' (1987)

Like more than one post-'Rumours' record, this album grew out of a trampled solo project by Lindsey Buckingham. But his songs were needed to scuff up a session that might have collapsed under the high-gloss pop sheen of hit tunes by Stevie Nicks and Christine McVie. By and large, they found the perfect balance again.

4: 'Peter Green's Fleetwood Mac' (1968)

A subsequent struggle with mental illness, to say nothing of his old band's mainstream success without him, doomed Peter Green to an obscurity that this album argues mightily against. Green blends toughness and tender grace, country blues (with key assists from Jeremy Spencer) and a cool new Latin fusion. Maybe the best album from the British blues boom.

3: 'Fleetwood Mac' (1975)

The album that introduced Stevie Nicks and Lindsey Buckingham into what had become an ever-shifting, sometimes badly unfocused amalgam. The duo brought a California-infused singer-songwriter sensibility to Fleetwood Mac, and fans flocked to a string of mid-'70s Top 20 hits including “Say You Love Me,” “Rhiannon” and “Over My Head.” Thing is, they were just getting started.

2: 'Tusk' (1979)

The double-album format allowed them to experiment with everything from punk to New Wave sounds, leading directly to Buckingham's utterly unquantifiable title track. Still, even with underrated hits by both Nicks (“Sara”) and McVie ("Think About Me"), that outsized ambition ultimately keeps 'Tusk' out of the No. 1 spot. It's bracing, often weird, but just a touch too over-long.

1: 'Rumours' (1977)

Memorably cinematic, and propelled by the real-life scandals within the band, 'Rumours' chronicled with a lush directness (quite literally, it turned out) the way that relationships coalesce then dissolve. There aren't many perfect albums out there, but this one – gorgeous and then flinty, bright and then impossibly dark – is certainly one of them.