It keeps going. That is the whole feature

The reason people search for nonstop rather than playlist is that they have been interrupted before. A video jukebox stops to sell you something. A streaming app wants an account. Both of them break the one thing this kind of listening needs, which is that nobody touches the phone again for an hour. So the promise here is small and specific: press play, put the phone face down, and it will still be running when you pick it up.

The oldest songs in the set are also the heaviest. Waqt Ne Kiya Kya Haseen Sitam was written by Kaifi Azmi, composed by S. D. Burman and sung by Geeta Dutt for Kaagaz Ke Phool in 1959 - a film that failed so badly it nearly took Guru Dutt's studio with it and was only rediscovered as a classic in the 1980s. Kahin Door Jab Din Dhal Jaye is Salil Chowdhury's melody carried by Mukesh, sung in Anand by a man who already knows the ending. Both of them have outlasted every hit that beat them at the time.

The midnight section is a different thing and worth separating. Between roughly one and three in the morning what people want is not the great sad songs but the slow ones with space in them - Agar Tum Saath Ho, with A. R. Rahman's arrangement and Irshad Kamil's words, sung by Alka Yagnik and Arijit Singh; Tadap Tadap; Zaroori Tha; Judaai. Ghazals belong in this stretch too, and the Hindi and Urdu split stops mattering entirely after midnight, which is why Mehdi Hassan and Ankit Tiwari end up in the same hour.

The newest ones are the most played, and there is no point pretending otherwise. Channa Mereya, Bekhayali, Pachtaoge, Filhall, Mann Bharrya. Somebody twenty-four years old sitting with a beer is not queuing Geeta Dutt, and the songs he is queuing are doing the same job hers did. Both are in the shuffle. If you want to cry rather than sit quietly, there is a page for that; if it is one specific person, the breakup page is the one.