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The Best Australian & New Zealand Songs of the 21st Century So Far

Presenting our favourite Australian and New Zealand songs of the 21st century so far, featuring Lorde, Kylie, Powderfinger, Stan Walker, and more

Photo illustration featuring Australian and New Zealand artists

Presenting the best Australian and New Zealand songs of the 21st century so far.

Our editorial team spent the past few months locked in debate, listening to as much music from across our two countries as possible.

After consulting with key industry figures and artists, we finally settled on a top 300.

“Curating a list of 300 from the past 25 years has been a wonderfully nostalgic and challenging feat for the team, and that is a testament to the incredible music Australian and New Zealand artists have produced this century,” says our Editor-in-Chief Neil Griffiths.

“From music royalty, to genre favourites, to the best up-and-coming talent, there’s something in this list for every Australia and New Zealand music fan.”

There were only a few rules, so as to keep the list as flexible as possible. We capped the number of songs per artist at three, in the interests of fairness; Kylie, Tame Impala, and The Beths, to name just a few, could have filled up the top 300 on their own. Artists had to be born in Australia and New Zealand, or based in either country for at least five years

The most important thing we kept in mind was the following: entry was not subject to popularity or airplay, but rather musical brilliance and originality.

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This is not a countdown of the biggest commercial hits of the century; far from it. There are lots of chart-topping singles, of course, but there are just as many indie and underground songs that we think sound as good as anything from the mainstream.

It’s important to note, for any keyboard warriors currently cracking their fingers in anticipation, that we know our list isn’t definitive: like comparing Maradona with Messi, Jordan with LeBron, working out if a streaming behemoth from 2021 is better or worse than a radio mainstay from 2002 is near-impossible.

But we think our top 300 does an excellent job of representing the incredible diversity of Australian and New Zealand music since the turn of the century.

You can trace, for example, the development of electronic music on these shores, from the early Modular acts to modern superstars like Dom Dolla and Alison Wonderland. You can compare the strengths of Aussie and Aotearoa hip-hop, from the old masters to new stars.

Some of our most seminal record labels are represented — think Milk!, Chapter, Dawn Raid — as are the genres and movements that defined the past few decades — think the pub-rock resurgence, the increased domination of drum and bass, and the underrated and maligned ‘dolewave’.

What we hope you get out of our list, more than anything, is a renewed love of music discovery — that’s what putting it together did for us. We hope you find a song by your new favourite artist and then support them the next time they play a show in your town; we hope you remember just how good that old band your family used to play constantly on car journeys actually are. In this era of stan culture and algorithmic playlists, breaking out of our bubbles and listening to new songs has never been more important.

In other words, have fun! Read on, turn up the music, and explore to your heart’s content. —Conor Lochrie

Blurbs written by Neil Griffiths, Conor Lochrie, James Jennings, Jade Kennedy, Lauren McNamara, Alec Jones, Andrew Mast

Dave Dobbyn
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Dave Dobbyn, ‘Welcome Home’ (2005)

New Zealand’s unofficial poet laureate is always at his best when he’s turning his lyrical gaze towards his home country.

“Welcome Home” is a touching tribute to Aotearoa’s community spirit, and a friendly message to new arrivals that they’ll find a safe haven here.  “So welcome home, see I made a space for you now / Welcome home from the bottom of our hearts,” Dobbyn sings with gusto.

It’s no surprise that one of Dobbyn’s most meaningful songs has regularly been played at key moments in his country’s recent history, notably at a benefit concert after the 2019 Christchurch mosque attacks. “Welcome Home” is, sadly, a song that remains terribly relevant 20 years after its release. —Conor Lochrie

Foley

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Foley, ‘That’s Life, Baby!’ (2025)

Foley have always been proficient at producing electro-pop gems, but they stepped up their game on latest album That’s Life, Baby! (2025).

The Kiwi duo, now based in Sydney, saved one of their catchiest hooks for that album’s title track, in which they ponder the fact that, sometimes when a relationship breaks down, that’s just life, baby. —Conor Lochrie

Party Dozen

Roger Deckker

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Party Dozen, ‘The Big Man Upstairs’ (2024)

As Party Dozen, Kirsty Tickle and Jonathan Boulet have had weirder and more experimental moments than “The Big Man Upstairs”, but rarely have their songs sounded so fired-up.

“The Big Man Upstairs”, a jewel amongst the Sydney noise-rock duo’s 2024 album Crime in Australia, offers a visceral look at Queensland’s “hillbilly dictator”Joh Bjelke-Petersen.

“It’s a story full of such unbelievable corruption and thirst for power that feels sadly relevant to the state of the world at the moment,” the group explained upon the song’s release. —Conor Lochrie

Earth Tongue press shot

Nicola Sandford

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Earth Tongue, ‘Bodies Dissolve Tonight!’ (2024)

It’s easy to understand why Earth Tongue have built up such a passionate following across Europe and the UK.

New Zealand’s fuzz-rock duo now call Germany home, where bruising anthems such as the theatrical “Bodies Dissolve Tonight” have made them live circuit favourites. —Conor Lochrie

Jen Cloher

Marcelle Bradbeer

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Jen Cloher, ‘Mana Takatāpui’ (2023)

Jen Cloher’s sixth solo studio album, I Am the River, the River Is Me, was a deeply personal exploration of the singer-songwriter’s Māori heritage.

“Mana Takatapui” is sung in both English and te reo Māori as Cloher takes us deep into the anatomy of a relationship breakdown: “If you won’t let me be the love of your life / Then I’ll be the loss of your life.” A simple acoustic guitar strum and fragile vocal build to a climax of brass and choir. Quietly brilliant. —Andrew Mast

KUČKA

Dillon Howl

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KUČKA & Flume, ‘One More Night’ (2024)

After years of shared tours and collaborations (including Flume’s classic “Smoke & Retribution”), “One More Night” delivers the massive pop moment this duo’s creative partnership has always promised.

It’s a track where the Grammy-winner’s signature, fearless production nudges KUCKA’s vocals into explosive new territory, building from near-silence to an electrifying crescendo.

The result is a salacious and satisfying anthem — a glittering, glitchy piece of electronic pop that cemented KUCKA’s status as a top-tier Australian visionary.

Mt Raskil Preservation Society and Holli Smith Bathe in the River artwork
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Mt Raskil Preservation Society & Hollie Smith, ‘Bathe in the River’ (2006)

Mt Raskil Preservation Society was a special project put together to perform “Bathe in the River”, a gospel-inspired song penned by national treasure Don McGlashan for the film, No. 2.

Hollie Smith’s soulful voice was the perfect addition to the one-off song, which earned McGlashan the Silver Scroll Award in 2006. —Conor Lochrie

Holly Arrowsmith

Holly Arrowsmith

Naomi Haussman

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Holly Arrowsmith, ‘Blue Dreams’ (2024)

“Blue Dreams” was the centrepiece of Holly Arrowsmith’s stunning third album of the same name.

The Christchurch-based singer-songwriter started recording Blue Dreams when she was seven months pregnant, so it’s no surprise that it’s concerned with existential matters.

Other album highlight “Desert Dove” was lauded but it’s the title track, a timeless country-folk anthem, that truly encapsulates Arrowsmith’s power as a musician and a lyricist.

Blue Dreams — the album — deservedly earned Arrowsmith the Best Folk Artist trophy at the 2025 Aotearoa Music Awards. —Conor Lochrie

Guy Sebastian

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Guy Sebastian, ‘Angels Brought Me Here’ (2003)

One of the best reality singing competition songs of all time.

“Angels Brought Me Here” is soppy, yes, and sentimental, doubly so, but it’s also a mighty fine pop ballad, with a towering bridge and earnest vocals.

Guy Sebastian’s debut single was the perfect introduction to his post-Australian Idol career, becoming the first of 12 top ten singles for him in Australia. —Conor Lochrie

Lontalius
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Lontalius, ‘All I Wanna Say’ (2015)

You could listen to any Lontalius album, spanning almost a decade, and find a song worthy of a place on our list.

Lontalius is the project of Wellington’s Eddie Johnston, one of the most consistently brilliant producers in New Zealand music. He’s grown stronger and more well-rounded on subsequent releases, but “All I Wanna Say” is the song that really brought him to wider attention, released when he was still in his teens. —Conor Lochrie

Goldenhorse
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Goldenhorse, ‘Maybe Tomorrow’ (2003)

What staying power “Maybe Tomorrow” had.

The second single from Goldenhorse’s chart-topping album Riverhead stayed in New Zealand charts for a whopping 31 weeks, making the band’s name in their home country.

Slightly recalling melancholic rock bands like The Cranberries or The Sundays, Goldenhorse rode “Maybe Tomorrow” all the way to the finals of the Silver Scroll Awards in 2003. —Conor Lochrie

Forest Claudette

Don Arnold/WireImage

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Forest Claudette, ‘Kobe Beef’ (2004)

Missing Frank Ocean? Of course you are. It’s lucky, then, that Australian music has a strikingly similar artist in its midst.

Rising alt-R&B star Forest Claudette’s breathy vocals on “Kobe Beef” might remind one of Ocean, but they’ve never been more themself in a song, courageously opening up for the first time in their lyrics about being non-binary. —Conor Lochrie

Tami Neilson

Alex King Stone

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Tami Neilson, ‘Walk (Back to Your Arms)’ (2014)

Tami Neilson’s voice is a force of nature, and “Walk (Back to Your Arms)” is her storm.

This song is a sublime, stripped-back country-soul classic that captures the moment of emotional reckoning with devastating clarity. It’s an essential piece of New Zealand country music history that proves vulnerability can be the most powerful weapon in a singer’s arsenal.

Totems
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Totems, ‘Stunt 151’ (2020)

In the 2010s, there were not many more beloved figures entrenched in Auckland’s music community than Reuben Winter. A friend, collaborator, and mentor, Winters was, above all, a supremely talented producer.

Before his sad passing in 2020 aged just 26, he left behind a body of work that would make any contemporary producer envious.

Totems was arguably his finest project, and the electrifying “Stunt 151”, released in the same year of his death, contains all the things that made Winters such a special musician: intricate beatmaking, dazzling genre turns, and atmospherics that sound like they could only have been dreamed up via his singular musical mind. —Conor Lochrie

Miiesha
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Miiesha, ‘Twisting Words’ (2020)

Miiesha’s debut project, Nyaaringu, was a landmark release in 2020, and “Twisting Words” is its electrifying core.

As a proud Pitjantjatjara and Torres Strait Islander woman, Miiesha confronts the manipulation and misrepresentation of her community in the media with stunning lyrical intelligence.

The track is built on an urgent R&B groove and features her signature soaring vocals, turning frustration into a powerful demand for truth. It’s a vital, uncompromising piece of modern Australian music that earned her an ARIA Award for Best Soul/R&B Release and cemented her status as one of the country’s most important new voices.

Emily Wurramara
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Emily Wurramara ft. Arringarri, ‘STFAFM’ (2024)

Emily Wurramara’s “STFAFM” (She Taught Feelings Are For Me) is an exercise in powerful vulnerability.

As the artist herself described it, the song is “the most personal I’ve ever been,” documenting a profound emotional breakthrough.

The minimal, heartbreaking arrangement perfectly frames her crystalline voice, delivering a message of self-love and acceptance that makes this one of the most essential Australian folk ballads of the century.

Georgia Lines

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Georgia Lines, ‘The Letter’ (2024)

Georgia Lines revealed herself to be a piano-pop balladeer of considerable power on her debut album, The Rose of Jericho (2024).

“The Letter”, the aching standout track on the record, was a stop-you-in-your-tracks ballad that would have made Brooke Fraser or Adele proud. Emotions burst from the seams of one of the most personal songs Lines has ever written. —Conor Lochrie

Anika Moa
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Anika Moa, ‘Falling in Love Again’ (2002)

Before she became a regular on New Zealand TV screens, Anika Moa was an established pop star with a slew of hit albums and singles to her name.

“Falling in Love Again” is her best work, released during a great period for Australasian pop music (Bic Runga and Delta Goodrem and myriad others were dominating the charts around 2002) but able to stand out from a crowded field.

Moa’s sweet song peaked at No. 5 on the New Zealand Singles Chart, appeared on the soundtrack for a Julia Roberts film (America’s Sweethearts), and was accompanied by a polished music video featuring a hitherto unknown Antony Starr. —Conor Lochrie

Coterie press shot

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Coterie, ‘Cool It Down’ (2022)

The absolute epitome of a modern summer jam.

Coterie’s “Cool It Down” is a funk-infused roots-pop anthem that is impossible not to move to. With its infectious bass and positive message, this song was a definitive, chart-topping hit across New Zealand and Australian airwaves. —Jade Kennedy

Dick Move press shot

Frances Carter

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Dick Move, ‘Scared Old Men’ (2025)

Dick Move made it all the way to No. 2 on our Best New Zealand Albums of 2025 countdown, in part thanks to confrontational pure-punk anthems like “Scared Old Men”.

Frontwoman Lucy Suttor has thoroughly had enough, berating the titular losers for “having tantrums” and starting wars and banning abortions, amongst other infractions. “Scared old men run the world, scared old men hurt women,” she spits with venom. One of the best punk songs of this — or any — year. —Conor Lochrie

Rowland S. Howard
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Rowland S. Howard, ‘Shut Me Down’ (2009)

A late miracle from one of Australian music’s most singular musician.

On Pop Crimes, what would be his final album in 2009 before his untimely death in the same year, the legendary Birthday Party guitarist was at his primal best on the downtrodden “Shut Me Down”.

Lines like “I’m standing in a suit as ragged as my nerves” were a reminder of his generational talent. Listening to him mournfully sing “I miss you so much” again and again, a middle-aged man lost in the past, it’s difficult not to get choked up knowing what was to come. The world will never have another Rowland S. Howard. —Conor Lochrie

28 Days
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28 Days, ‘Rip It Up’ (2000)

If you needed a snapshot of the Australian rock scene in the year 2000, “Rip It Up” would be it.

The song showcased 28 Days’ signature blend of heavy guitars, punk attitude, and hip-hop flow, appealing equally to the mosh pit and the munted dancefloor.

Its visceral energy and punchy chorus made it an undeniable hit, confirming the band’s status as leaders of the nu-metal/rap-rock wave. —Jade Kennedy

Geneva AM

Mike Hall

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Geneva AM, ‘Urban Planning’ (2025)

Geneva AM is an Auckland dance artist with a big future.

The producer and vocalist dropped her debut album, Pikipiki, earlier this year, bending the disco and dance genres to her own will as she joyously explored her Māori heritage.

There probably wasn’t a better song in all of New Zealand this year than album standout “Urban Planning”.

“The motorway was an awa [river] / In the museum they put my waka/ I feel at home in the city / I got my Tipuna [ancestors] with me,” Geneva AM sombrely ponders, all while the most enticing electronic rhythm chugs along; nobody said that the best dance music couldn’t be contemplative. —Conor Lochrie

lilbubblegum

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lilbubblegum, ‘af1’ (2019)

Rolling Stone Aotearoa Award nominee lilbubblegum is part of an exciting vanguard of Kiwi producers and rappers absolutely smashing it on streaming.

Case in point: “af1”, a genre-bending, ridiculously catchy cut that has brought the rapper over 130M plays and counting on Spotify alone. That high number is probably boosted by repeat listens — “af1” and its playful sax sample isn’t a song you just play once in a row. —Conor Lochrie

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daine, ‘shapeless’ (2023)

There’s a reason we united daine and Ninajirachi for an artist-in-artist conversation last month. The latter producer enjoyed her breakout moment (and then some) at the 2025 ARIA Awards, winning multiple awards after leading the nominations, and her interview partner could be next to emerge into the wider spotlight.

On their 2023 mixtape shapeless, daine came flying out of the traps with the pounding title track. Maximalist hyper-pop perfection entirely of its time. —Conor Lochrie

Middle Kids

Seiya Taguchi

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Middle Kids, ‘Edge of Town’ (2016)

The song that introduced the world to Middle Kids.

“Edge of Town” is built on an electrifying guitar hook and a stunning vocal performance from Hannah Joy, balancing lyrical anxiety with a huge, undeniable sense of hope. It’s an essential piece of mid-2010s Australian indie-rock history that remains just as powerful now as it was when it debuted in 2016. 

Katchafire

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Katchafire, ‘Get Away’ (2003)

The ultimate Pacific reggae escape track, Katchafire’s “Get Away” is pure, sun-drenched bliss, built on impeccable harmonies and a deep, pulsing bass line.

It’s a timeless anthem of relaxation and positive vibes that remains a perennial favourite across Australia and New Zealand. —Jade Kennedy

Cable Ties

Kalindy Williams

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Cable Ties, ‘Deep Breath Out’ (2023)

Best known for their abrasive, politically-inclined punk songs, Cable Ties’ best song is them at their softest.

The Melbourne band’s third album, All Her Plans, ends with a respite after a record filled with emotional upheaval. The final track is aptly titled “Deep Breath Out”: it begins with a tremulous guitar line, lead singer Jenny McKechnie’s voice timid as she relays the deeply personal story of a sibling struggling under the weight of addiction. She talks of “rearranging the past… keeping only the fondest parts”; she worries about “how things are gonna change.” 

And then “Deep Breath Out” relinquishes, the rhythm explodes into life, and McKechnie’s voice rises to meet it. “But I love it when you call with all your plans… And show me all the things you made with your own hands,” she cries out, her voice crackling with emotion.

“Deep Breath Out” is proof that the best punk songs can be vulnerable and empathetic. —Conor Lochrie

Opshop
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Opshop, ‘One Day’ (2007)

A emotive alternative rock anthem primed for soap opera climaxes and inspirational TV adverts.

Opshop’s Silver Scroll-winning single remains their most beloved song almost 20 years after its release. How “One Day” hasn’t yet soundtracked a heartbreaking moment on Grey’s Anatomy, we’ll never know. —Conor Lochrie

Vera Blue

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Vera Blue, ‘Regular Touch’ (2017)

Few songs capture the exquisite pain of a fresh breakup like “Regular Touch”.

With production that expertly balances fragility and raw power, Blue’s song is pure electronic therapy, shifting from sparse, breathy folk to a soaring, stadium-ready chorus.

It remains Blue’s signature anthem and one of the most indelible Australian pop songs of the century so far.

Sycco

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Sycco, ‘Ripple’ (2022)

The centrepiece of Sycco’s First EP, “Ripple” is the ultimate shimmering, psychedelic earworm.

It’s an exercise in contradictions, marrying lyrics about anxiety and self-doubt with the catchiest, most colourful bass line and chorus of 2022. This song is proof that Sycco is a master of expressing complicated feelings you can dance to.

Lawrence Arabia
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Lawrence Arabia, ‘Apple Pie Bed’ (2009)

Auckland’s indie-pop master Lawrence Arabia combined sublimely with The Phoenix Foundation’s Luke Buda on “Apple Pie Bed”, a 2009 tune that earned the collaborators the Silver Scroll Award in the same year. Just try getting that singalong chorus out of your head for days after hearing it. —Conor Lochrie

Babe Rainbow

Izzie Austin

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Babe Rainbow, ‘Something New’ (2019)

This list just had to have some summery surf music, and no band does it better than Babe Rainbow.

The ultimate Byron Bay band, Babe Rainbow have been pouring out their gentle psych-rock for over 10 years now, evoking the ’60s at every turn.

“Something New” is the Babe Rainbow at their most melodious, the ideal soundtrack as the sun goes down on a pleasant day at the beach. —Conor Lochrie

Nadia Reid

Marieke Macklon

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Nadia Reid, ‘Call the Days’ (2015)

Reminiscent of Laura Marling at her best, Nadia Reid’s “Call the Days” uses simple ingredients — gentle acoustic guitar, soft but warm vocals — to create a beautiful folk song.

Reid captures the anxiety that comes with moving town (Christchurch to Wellington, in her case): “I was happy on my own / I would call the days as they were known.” —Conor Lochrie

Smashproof
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Smashproof ft. Gin Wigmore, ‘Brother’ (2009)

A true Kiwi classic.

Smashproof’s record-breaking hit found the hip-hop trio hoping for change in their South Auckland neighbourhood, while singer-songwriter Gin Wigmore added some pleasingly contrasting tones to the heavy song.

“Brother” held the longest consecutive run atop the New Zealand Singles Chart, breaking a longstanding 23-year record. Proof that unlikely collaborations can yield big results. —Conor Lochrie 

Press photo of Briggs

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Briggs ft. Gurrumul & Dewayne Everettsmith, ‘The Children Came Back’ (2015)

Briggs’ lyrical genius has never been sharper than on this track.

Built on a commanding, soulful beat, “The Children Came Back” transforms historical trauma into a powerful vision of Indigenous excellence and survival.

The chorus, taken with permission from Archie Roach’s original, rings out as a defiant message of strength. The song is a cultural cornerstone that earned the National Indigenous Music Award for Song of the Year and remains a vital anthem for reconciliation and self-determination. —Jade Kennedy

Jessica Mauboy

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Jessica Mauboy, ‘Little Things’ (2019)

This isn’t just a powerful song, it’s a profound statement.

“Little Things” is Jessica Mauboy’s career-defining ballad, tackling the difficult realities of family and trauma with immense grace and raw, emotional honesty. The song’s universal message of resilience — combined with her spectacular, heart-on-sleeve vocal delivery — makes it a certified Australian classic of the century.

Goodnight Nurse
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Goodnight Nurse, ‘Our Song’ (2005)

When My Chemical Romance came to New Zealand in 2023, there was a more notable than usual support act: Goodnight Nurse, reuniting for one show only.

Before he produced pop classics for Lorde, Broods, and many other famous artists, Joel Little fronted Goodnight Nurse, a scrappy pop-punk band from Auckland.

Their biggest hit, “Our Song”, remains a favourite of Kiwi millennials, and peaked at No. 15 on the New Zealand charts upon its release in 2005. —Conor Lochrie

TV Rock
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TV Rock & Dukes of Windsor, ‘The Others’ (2006)

The title track from Dukes of Windsor’s debut album, “The Others” was remixed by electronic music duo TV Rock and became an instant hit.

The song dominated clubs, radio waves, and charts across the country, serving as the quintessential sound of peak-era Australian dance culture and cementing its place as an essential, high-energy modern classic. —Jade Kennedy

The Goon Sax
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The Goon Sax, ‘Sweaty Hands’ (2016)

Hailing from Brisbane, The Goon Sax were an indie sensation for a time.

For several years it felt like they were always about to take the world by storm, but instead they pulled back and left behind a strong back catalogue of Australian indie.

“Sweaty Hands” a tale of nervous, blossoming love that namechecks ABBA, banana bread, and 7-Eleven, is their masterpiece. The melancholy. The anxiety. The jangly guitars. Gone but not forgotten. —Andrew Mast

Midnight Youth
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Midnight Youth, ‘The Letter’ (2008)

Powered to success by a memorable music video, Midnight Youth’s “The Letter” became their breakout hit in New Zealand. Even the band members themselves were surprised.

“For us, it was a bit of a shock to the system because there was no love and then all of a sudden when ‘The Letter’ came out, it was like, ‘This is intense,'” the band’s Nick Campell told us in a 2023 interview. “It’s getting played all the time, not just on one demographic of radio, it was across the board.

“From there, you start getting better gigs and then you start realising what the real music industry is actually about in terms of business, corporate shows, festivals and touring.” —Conor Lochrie

Bored Nothing
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Bored Nothing, ‘Let Down’ (2012)

Fergus Miller released two excellent records under his Bored Nothing moniker. His melancholic songwriting recalled Elliott Smith, while his prolific DIY output mirrored the rise of Alex G in the same decade.

“Let Down” was Miller’s masterpiece as Bored Nothing: a lovelorn lo-fi song for the ages, it features heartbreaking lyrics like “Tell me how will this go? / ‘Cause you already know / I can feel the time pass / And the feelings, they last.”

Miller sadly passed away in 2016 aged just 26. —Conor Lochrie

Spice World
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Spice World, ‘Mountain Pony 20’ (2023)

Spice World are a band that could only come from Australia, at the ends of the earth.

Previously featured in Rolling Stone AU/NZ‘s Up Next series, the Fremantle band possess a style that’s steeped in this country’s grand tradition of dusty jangle-pop.

Their album There’s No ‘I’ in Spice World, so homespun and rustic and quietly melancholic, has “Mountain Pony 20” as its humble masterpiece.

It sounds like the four-piece made the song to just be played for themselves, a forlorn anthem for the end of the world. But Spice World’s songs are too sweet and real to be kept secret. —Conor Lochrie

Shihad

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Shihad, ‘Alive’ (2005)

Shihad were already Aotearoa hard-rock legends by the end of the ’90s, and they continued their stellar work right into the new millennium.

“Alive” is classic Shihad, all thunderous riffs and belting vocals. “Alive” is the type of song that made the Kiwi outfit so popular across the water in Australia. —Conor Lochrie

Amy Shark
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Amy Shark, ‘Everybody Rise’ (2020)

Released during a turbulent year (2020), “Everybody Rise” gave fans a much-needed shot of confident, infectious energy.

Shark’s song is a sharp, self-aware piece of pop commentary that dominated the airwaves and peaked in the ARIA Top 10.

With its sleek production and undeniably catchy hooks, it stands as a pivotal track from her second album, Cry Forever, showcasing Shark’s ability to turn wry social observation into a bona fide, fist-pumping pop hit.