Songwriter of the year 2025: The many contributions of Matt Maltese
Songwriter of the year is a heavy title, and at Far Out, we don’t take it lightly. With every genre brimming with standout tracks and powerful lyrics, narrowing it down is no small task. But time and time again, across scenes and styles, one name keeps rising to the top.
When thinking about songwriting, it’s easy to get bogged down in the act of an artist simply writing beautiful, confessional lyrics for their own work. Taking a life and turning it into poetry is a powerful thing, and it’s led to some of the best songs ever written from throughout history, from the entirety of Joni Mitchell’s Blue to the darkness of Kurt Cobain’s songs, even into modern examples like the ever-loosening of Lana Del Rey’s song formats to let her lyrics lead.
However, that’s not the whole story. Some people who don’t fully understand the process like to criticise artists who work with songwriting partners or collaborate with others. But the ability to bring different creative minds together, guide the process, and deliver something that still feels focused and authentic is a skill in itself – and an impressive one.
In 2025, one artist proved his strength in both areas. Matt Maltese could easily be in the running for this award based on his album alone, as Hers contains some of the year’s most impressive lyrical moments, blending wit and emotion on tracks like ‘Anytime, Anyplace, Anyhow’ and ‘Happy Birthday’. But beyond his solo work, Maltese has also made an impact through his songwriting credits for other artists.
Sophie May put out two incredible tunes this year: ‘Dog Body’ and ‘Another Song For The End Of The World’. Who is credited on both? Matt Maltese.
Far Out called Celeste’s second album a work of “lyrical mastery”. Who co-wrote across it? Matt Maltese.
Tom Misch returned this year, and Maltese’s name is credited there. In the world of jazz-infused R&B, his songwriting is still there on Joy Crookes’ 2025 album. Helping to shape one of the biggest and best releases of the year, Matt Maltese’s efforts close out Rosalia’s Lux as she picked his track ‘Magnolia’ as the finale to her opus opera.
The list of Maltese’s contributions keeps on going. Right now, you can go see a production of Shakespeare’s Twelfth Night at London’s Barbican with music made by the artist if you want, as no bounds of genre, form, or purpose can hold him in.
There has to be a nod in here, too, about the ways in which Maltese is helping other artists, too, as his label Last Recordings On Earth provides a perfect platform for other incredible writers like Katie Gregson-MacLeod and Searows.
Quite a year. Makes you wonder how on earth he has the time, or the capacity, or how it’s fair for one man to hoard such talent. But alas, he does, and he’s humble about it too.
“I feel very lucky to have worked with many incredible artists and musicians this year,” Maltese told Far Out, adding, “I got to make the record I wanted to make in Hers, and I got to be a part of songs with other artists that I feel proud of.”
However, as proof that Maltese will only keep developing because he’s intent to keep on learning, he added as the year’s lesson, “I think this year more than ever I’ve realised how delicate a thing songwriting is, and that the art of writing a good song gets less and less rational,” able to conclude only, “It’s a very strange job really!”
