Pentatonix, an American a capella group known for their covers of pop songs and holiday classics, was formed in 2011 after a successful run on TV singing competition series “The Sing-Off.” Pentatonix saw success with their second extended play “PTXmas,” released in late 2012.
In their time as a collective, Pentatonix has released six full-length studio holiday albums. This ranking will go through the tracks from each of these albums’ U.S. and deluxe editions, putting all 91 songs in order from Christmas crimes to holiday hits.
- “Jingle Bells (with Orchestra)”
No. Just no. I cannot tell if it is the excessive holiday music I have been listening to for this list, or if this arrangement is just designed to elicit insanity. For the majority of the track, the vocals are way too fast. If we’re talking technique, this rendition is beyond impressive. Enjoyability speaking: What. The. Hell.
- “12 Days Of Christmas”
The progressive and repetitive nature of this song is susceptible to boredom. Pentatonix reimagines the classic with a variety of arrangement techniques. Though the several tempo, texture and meter changes break the monotony of the track’s lines, these changes often come across as disjointed ideas compressed together with the aid of modern production techniques.
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- “Up On The Housetop”
The persistence of the lyrics of “Up On The Housetop” is tiresome and the bridge is pretty bare. Despite using vocal runs as embellishments, Pentatonix’s talent cannot save this questionable arrangement.
- “Away in a Manger”
This track is an extremely watered-down version of “White Winter Hymnal,” a track placed higher up on this list.
- “Invincible” ft. Shreya Ghoshal
This track does not emphasize the essence of Pentatonix: The voices. “Invincible” is overproduced and sounds like a rushed Sia song.
- “We Need A Little Christmas”
The various beat switch-ups are quite blunt; a Christmas cacophony.
- “White Christmas” ft. Bing Crosby & London Symphony Orchestra
Bing Crosby’s “White Christmas” is one of the most popular Christmas songs of all time. However, rather than improving it, Pentatonix bluntly inserts a sample from Crosby’s rendition over their choral performance. Though the London Symphony Orchestra and Pentatonix’s timbers meld gorgeously, Bing Crosby’s part sticks out like a psychedelic candy cane.
- “Making Christmas (from ‘The Nightmare Before Christmas’)”
Though this track is an interesting choice for the vocal group, it feels a little out of place. Much of the horror elements are allocated to loud, unexpected bursts of vocal energy. Pentatonix can normally be equated to a Disney prince, not a Disney villain.
- “River”
The song is lush, but the endless vocal arpeggiations in the background are quite wearisome.
- “Joy to the World”
In terms of sonic direction, “Joy to the World” lacks focus. The introduction reveals the chorus’s climax, which does not allow the track to progress throughout the song. Though there are well-placed key changes and the bridge is unique, the hand was shown too soon.
- “Winter Wonderland / Don’t Worry Be Happy” ft. Tori Kelly
Tori Kelly joins Pentatonix on “Winter Wonderland / Don’t Worry Be Happy” to little success. Her head voice feels out of place and the group does not come across as coherent as they usually do.
- “Over The River” ft. Lindsey Stirling
This song is a little bit infuriating. The arrangement is lush, with both violin and cello being largely featured. However, it is the verses that handicap the track’s viability. This is unfortunate, as there are many beautiful textures interspersed throughout the piece.
- “Santa Tell Me”
Not a bad attempt, but Ariana Grande did it better. The playful and casual attitude of the original is hard to emulate with a group of performers, as there is no singular perspective. Pentatonix hits the musical tones with great skill but misses the mark on the mood and fails to replace it with one of equal enjoyment.
- “It’s Been A Long, Long Time”
The production choices in the introduction are confusing. The fire-crackling timbre can be easily mistaken for crackling caused by the microphones due to how far back in the mix it is. The inclusion of the deep breaths is excessive — however, the last 15 seconds of this minute-long track are considerably pleasant.
- “Angels We Have Heard on High”
Though the arrangement and performance elements of the track are exceptional, it is the production techniques that lower its quality. The emphasized downbeat in the beatboxing has an odd reverberation, and the mix does not seem to know when to focus on each particular voice.
- “Let it Go”
For a lack of a better word, this rendition of Frozen’s “Let it Go” comes off as a cover rather than a true interpretation. For the vocalists, there is no emotional attachment to the lyrics. “Let it Go” was a 2010s hit as Idina Menzel, Elsa’s voice actor, was able to properly express the culmination of the character’s dissonant feelings, climaxing at an emotional release. No such tension is present.
- “Thank You”
“Thank You” is an uncommon Pentatonix arrangement. It largely features Scott Hoying, one of the group’s male vocalists, singing solo over a piano and string accompaniment, with the occasional bursts of choir. This piece attempts to be visionary, however, the lyrics do not have the punch or nuance to do so.
- “We Wish You A Merry Christmas”
Though wonderfully executed, in a sense, this does not feel like a Pentatonix song. There are no theatrics, no dramatic moments. It is merely a run-through of a holiday classic.
- “O Come, O Come Emmanuel”
Pentatonix highlights the liturgical nature of this song. The vocal bridge, however, is detached from the rest of the piece, serving as a way to highlight the talents of the group rather than the elements of “O Come, O Come Emmanuel.”
- “When You Believe” ft. Maren Morris
“When You Believe” is hard to distinguish from the rest of Pentatonix’s Christmas discography. Unless you are a Maren Morris fan, you are likely to forget this unexpected collaboration.
- “Once Upon a December”
Kirstin Maldonado, the sole female vocalist of the group, takes the lead on this “Anastasia” cover. The song is fantastical; however, Maldonado’s timbre and the reverberation applied to her voice imply an ethereal aura. The track lacks a clear point of view in construction.
- “That’s Christmas to Me”
A simple track with a simple message. There are not any negative moments in the track, nor are there any notably positive ones either.
- “It Came Upon The Midnight Clear”
Though a great arrangement of the hymn, there is nothing distinctive about this track.
- “Home For The Holidays”
Again, not a very identifiable track from their discography.
- “White Christmas” ft. The Manhattan Transfer
Like many Pentatonix songs, “White Christmas” starts slow and picks up pace after the introduction. However, there is another beat switch-up towards the last third of the track that is unnecessary. The jazz slides are of notable interest.
- “Where Are You, Christmas?”
This track does not elicit any strong emotions, especially when viewing it in the context of Pentatonix’s impressive holiday discography.
- “Deck the Halls”
The best way I can describe this rendition is blunt; it is what you would expect of a Pentatonix “Deck the Halls” cover.
- “Sweater Weather”
This cover of “Sweater Weather” relies heavily on the catchiness of the chorus to carry the weight of the song. Pentatonix’s verses on the track are lackluster and have an absence of the atmospheric quality of the original.
- “O Holy Night”
An exceptional cover, but an adequate song.
- “Coldest Winter”
When going through all of the tracks, I did not expect “Coldest Winter,” originally performed by Grammy Award-winning artist Kanye West, to be one of the covers. Pentatonix’s delivery of the chorus is spectacular. The other parts of the track are noticeably dull for a Pentatonix track.
- “Santa Claus is Coming to Town”
Pentatonix attempts to energize a mundane song from the Christmas canon. Still, it is hard to create content from very little.
- “It’s the Most Wonderful Time Of The Year”
Perfect for mall shopping. Would I actively seek it out? Maybe.
- “Amazing Grace (My Chains Are Gone)”
The minute-long introduction sets the tone for this piece: Reverent. As the track continues, higher tones are sung to develop momentum. The hollow percussive sounds are somewhat excessive, yet the song does not feel overly produced as a whole.
- “The First Noel”
Pentatonix’s angelic vocals carry this Christmas caroling classic. An excellent, but standard, rendition.
- “Greensleeves (Interlude)”
A one-minute choral track, “Greensleeves” may fall by the wayside for some fans. Though unembellished, Pentatonix show off their choral capabilities with great accomplishment.
- “Christmas In Our Hearts” ft. Lea Salonga
You would hear this song at one of those contemporary churches. Just an observation, not a dig.
- “Jingle Bells” ft. Lang Lang
Anything is better than that first Jingle Bells. There is some disconnect between the piano and the a capella group; however, the expressiveness of Lang Lang’s performance holds its own against the vocal powerhouses.
- “Star On Top” ft. Ilya Toshinskiy
You know those early 2000s music videos where there are two singers, one male and one female, and they are singing directly at the camera with shots of them arguing cut in? Yeah, this is the a capella version.
- “Here Comes Santa Claus”
A classic Christmas track done justice.
- “Dance of the Sugar Plum Fairy”
This “Nutcracker” and Tchaikovsky staple effectively is transformed from an instrumental piece to a vocal performance. The plucked strings are replaced by short vocal tones, with great accomplishment. Occasionally, the track feels overly arranged and detracts from the original in a muddy manner.
- “I’ll Be Home for Christmas”
Who did it better, Pentatonix or Camila Cabello? Pentatonix has my vote.
- “Have Yourself a Merry Little Christmas”
The beatboxing grounds the track for Hoying to belt melodies and harmonize vocal runs with his fellow group members.
- “Christmas Eve”
I don’t know if you were on YouTube before many of the uploaded videos had high production value, but this song is reminiscent of that simplistic and intimate aesthetic. The chorus is extremely sticky, and the vocal runs are exceptionally clean.
- “Silent Night”
A classic rendition of a classic song. There’s nothing wrong with a classic.
- “Merry Christmas, Happy Holidays”
“Merry Christmas, Happy Holidays” is the type of track you would hear during the end credits of a Hallmark movie. Nostalgia at its finest.
- “Little Drummer Boy”
Pentatonix beautifully performs “Little Drummer Boy,” with an appropriately solemn sense of gravity.
- “Feliz Navidad” ft. La Santa Cecilia
A perfect song for the festive restaurant playlist. Easy on the ears, earworm-y and not overly produced.
- “My Favorite Things”
A common opening technique the group uses is a slow, standard choral opening followed by an upbeat arrangement of the covered song. Though the bridge is a little lackluster in comparison to the vibrancy of the rest of the track, “My Favorite Things” holds up as an excellent interpretation of the theatrical classic.
- “My Heart With You”
The balance of voices in this track showcases Pentatonix’s long history as an a capella group. The song oozes professionalism and trust.
- “White Winter Hymnal (Fleet Foxes Cover)”
This piece essentially has two sections that are traded out for one another: a chorus and a rhythm section. The rhythm section of the song provides a steady grounding for various harmonies to be sung on top.
- “The Christmas Sing-Along”
For an original Christmas song, the festive feeling is impressive. There is an endearing childlike element to the performance.
- “Grown-Up Christmas List” ft. Kelly Clarkson
Kelly Clarkson takes the role of lead vocalist, and Pentatonix properly supports her through this sentimental, reminiscent holiday song.
- “This Christmas”
“You better sing Scott!”
- “Go Tell It On The Mountain”
Beatboxer Kevin Olusola and bass Avi Kaplan steal the show with their low frequencies that cut through the higher harmonies of the other vocalists. The contrast exudes fun and light-heartedness.
- “It’s Beginning to Look a Lot Like Christmas”
The best way to describe “It’s Beginning to Look a Lot Like Christmas” is holiday euphoria: A memorable melody, a celebratory ambiance and positively timeless.
- “When You Wish Upon A Star”
Pentatonix superbly encapsulates the dreamy feeling of the song with the vocalists’ intense vibratos and tradeoffs between wispy lines.
- “Hark! The Herald Angels Sing (2022)” ft. Hiba Tawaji
This Arabic twist on the well-known hymn garners intrigue to an arguably overplayed track. Pentatonix creates space in the track for Hiba Tawaji’s style to shine.
- “Wonderful Christmastime”
A lovely rendition of the Paul McCartney song, “Wonderful Christmastime” will surely bring grins to the family gathering.
- “O Come, All Ye Faithful”
The ending of the track is mesmerizing; Pentatonix and the choir blend splendidly to create a memorable, uplifting experience.
- “Hark! The Herald Angels Sing (2015)”
This is the first track on Pentatonix’s first full-length festive album, “That’s Christmas To Me.” “Hark! The Herald Angels Sing” is indicative of the group’s formula: Reimagine a winter classic as an upbeat pop track with various call-and-response sections.
- “Coventry Carol”
At the risk of sounding cliché, this hauntingly beautiful track embodies a darkness that Pentatonix often lacks to great achievement.
- “Frosty the Snowman” ft. Alessia Cara
The breathiness of Alessia Cara’s voice compliments Pentatonix’s choral accompaniment to great effect. Cara’s vocal control is a standout feature on the track.
- “Little Saint Nick”
This Beach Boys cover is undoubtedly a Beach Boys cover. Vocal effects are applied to Hoying’s vocals to create a surf-rock effect and the track ends in a fadeout. Timeless.
- “Carol of the Bells”
The melody is stagnant in terms of delivery, yet the well-arranged vocal accompaniment provides a monumental amount of movement and intrigue to the piece. The contrast is astounding and impactful.
- “Prayers For This World”
The production of “Prayers For This World” is at the level of a Top 40 hit, and the message is more pertinent than ever. On initial listen, one may not consider this a holiday song; however, the hopefulness of the track is reminiscent of their predecessors, namely “Joy to the World” and “Happy Xmas (War is Over).”
- “I Just Called To Say I Love You”
This Stevie Wonder original shows that Pentatonix can turn any song into a harrowing, holiday track with their collective harmonies. There is an intriguing soberness to the track, one common to many of their other festive hits.
- “The Christmas Song (Chestnuts Roasting On An Open Fire)”
This cozy song is perfect for winding down on a winter day. The interweaving harmonies impart an acute sense of comfort. The “brass” solo is an amusing addition.
- “Love Came on Christmas (Joy to the World x Kumama Papa)” ft. Grace Lokwa
“Love Came on Christmas” is a glorious blend of international influences. The choral choruses mirror the themes of unity in the lyrics and the production techniques do not overstay their welcome.
- “What Christmas Mean to Me”
If you are not in the Christmas spirit already, this track is sure to put you there. Olusola’s vocal simulation of bells carries the tune forward with a bright, yuletide glow.
- “Last Christmas” ft. HIKAKIN & SEIKIN
The perfect coming-of-age holiday track, Pentatonix’s “Last Christmas” is an excellent example of emotional maturation. Instead of being regretful for giving their heart away to somebody ungrateful, the song is celebratory in searching for a new partner to give it to.
- “I Saw Three Ships”
This is one of the few Pentatonix songs that takes advantage of stereo configurations. This creates distance and an atmosphere within the track, as if the song is being sung portside.
- “The Prayer”
In its initial conception, “The Prayer” was not a worship song. However, Pentatonix took the “Quest For Camelot” track and turned it into an uplifting anthem.
- “Hallelujah” ft. The String Mob
Due to the emotional presence of the vocalists, the track carries a similar weight as Pentatonix’s original “Hallelujah.” When listening to both tracks, The String Mob feels like a needless add-on to the initial recording.
- “Let it Snow! Let it Snow! Let it Snow!”
The epitome of a Pentatonix song. A quick, simple track for you to groove in your room to.
- “Jingle Bell Pop”
I do not understand the change of the track’s title from “Jingle Bell Rock,” as Pentatonix still sings the aforementioned title in the chorus. Though this rendition has discernible pop influences, the original did as well. The change lacks purpose, but title reservations aside, I would not slam my door if they came to carol with “Jingle Bell Pop.”
- “Waltz of the Flowers”
Did Tchaikovsky expect pieces from “The Nutcracker” to become deep cuts on an a capella group’s holiday album? Probably not. But how could he complain? It’s whimsical. Classical. Fantastical. What more could you ask for?
- “Silent Night” ft. King’s Singers
When two a capella groups come together to perform a traditional hymn, you know a masterpiece will be born. The harmonies are delectable and the bass tones are impeccable.
- “Rudolph the Red-Nosed Reindeer”
The rich infusion of vocal jazz influences in this rendition is a high point among Pentatonix’s holiday discography. Rudolph now has a new groove. His nose and swagger never glowed so bright.
- “Happy Holiday / The Holiday Season”
This song is everything a holiday song should be: Charming, cheerful and catchy. “Whoopdeedoo!”
- “Rockin’ Around the Christmas Tree”
Bass Matt Sallee and Olusola’s beatboxing and bass interplay establish the foundation for this suave song. Olusola’s vocal “brass” solo also stands out as an entertaining addition to the track. Smiles will be all around the Christmas tree when this Pentatonix cover comes on.
- “Good to Be Bad”
You cannot have over ninety holiday-themed songs and not have the classic Christmas subversion of it feeling so good to be so bad. “Good to Be Bad” does not overstay its welcome and acts as a rebellious, amusing interlude to the Pentatonix holiday canon.
- “Evergreen”
A cute, homey tune, “Evergreen” is the perfect mid-album track and a great addition to any Christmas playlist for timbral variety. Though acoustic guitar is not common in festive American pop songs, Pentatonix uses the instrument to fashion a snug song.
- “Kid on Christmas” ft. Meghan Trainor
Meghan Trainor’s brand fits perfectly with the holiday vibe: Joyful, upbeat and an abundance of horns. Pentatonix co-ops the energy wonderfully for this jolly Christmas song.
- “Sleigh Ride”
This song is the embodiment of holiday cheer. From the chipper lyrics to the beatboxing additives, “Sleigh Ride” is jolliness personified. The track makes great use of the group’s dynamic range to keep the listener engaged. Any former instrumentalists will greatly appreciate Pentatonix’s take on the orchestral classic.
- “How Great Thou Art” ft. Jennifer Hudson
This isn’t a song you listen to, this is a song you feel. Jennifer Hudson and Pentatonix sing triumphantly and transform this humdrum hymn into an unforgettable listening experience.
- “Just For Now”
An odd choice for a holiday cover, the song still works as an excellent festive expression. Mitch Grassi, the lead vocalist on the track, excellently embodies the wishfulness and wistfulness of the original track with his head voice.
- “Mary, Did You Know”
This track is extremely pragmatic in its presentation. The arrangement allows for each Pentatonix member to excel in their respective vocal ranges. Various climatic builds and dramatic pauses create space for effective storytelling. There is an overt, deep respect for the original church song.
- “Mary, Did You Know” ft. The String Mob
This version carries my same sentiments as the a capella version, with the theatrics amplified from the various crescendos and decrescendos in the strings.
- “God Rest Ye Merry Gentlemen”
The monotonous melodies are vulnerable to weariness, but the lavish arrangement ensures that this is not the case. Changes in tempo, rhythm, dynamic, meter; all stops are pulled out to recreate this timeless classic into a timeless cover.
- “Seasons of Love”
“Seasons of Love,” a classic from the musical “Rent,” is not the first Broadway track when one thinks of Christmas music. However, Pentatonix effectively taps into the importance of love and the passage of time, two concepts heavily explored throughout the holiday season. The ensemble production is reminiscent of the original and emphasizes the feelings of community the song highlights.
- “Hallelujah”
It is no shock that this track has over 700 million views on YouTube. Pentatonix’s style infuses their own take on the carol while still paying homage to more conventional renditions. There is an open, emotional depth to the performance, one that would be difficult for any other group to emulate.
If you disagree with my list or have a ranking of your own, feel free to send me an email! (No promises I will respond, I think I may have PTSD — Pentatonix Traumatic Seasonal Disorder.)
