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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

Marlon Williams

Derek Henderson

119

Marlon Williams, ‘My Boy’ (2022)

Marlon Williams wrestles with modern masculinity in this deceptively breezy song. The best moment on his 2022 album of the same name. —Conor Lochrie

Augie March

Supplied

118

Augie March, ‘One Crowded Hour’ (2006)

A song so rich in metaphor and mood that it demands close listening, “One Crowded Hour”,  taken from Augie March’s brilliant third album, Moo, You Bloody Choir, stands as a testament to the power of literary rock.

The track uses sweeping chamber-pop elements to create a grand, cinematic feeling that elevates its intensely personal themes of longing and regret.

It’s proof that challenging, deeply intellectual songwriting can still connect with the masses, forging a lasting bond with the Australian public. —Jade Kennedy

Gang of Youths

Rashidi Noah*

117

Gang of Youths, ‘The Deepest Sighs, the Frankest Shadows’ (2017)

This song operates on a cinematic scale, fusing the epic rock scope of Bruce Springsteen with the raw, emotional urgency of indie music.

“The Deepest Sighs…” is a showcase of Dave Le’aupepe’s unparalleled lyricism and dynamic musicianship, moving from a vulnerable opening to a towering, euphoric stadium chorus.

It’s a song that demands to be heard live, encapsulating the band’s ambition and their profound ability to turn complex philosophy into accessible, life-affirming rock ’n’ roll. —Jade Kennedy

Missy Higgins

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116

Missy Higgins, ‘Ten Days’ (2004)

When Missy Higgins released “Ten Days”, she introduced a raw, honest voice that instantly captured the Australian zeitgeist.

The song, taken from her blockbuster debut album, The Sound of White, is a gorgeous, piano-driven ballad that turns the emotional aftermath of a breakup into a journey of self-discovery and distance.

Its huge success cemented her status as the definitive Australian singer-songwriter of the era, proving that introspective, emotionally candid folk-pop could dominate the charts and resonate universally. —Jade Kennedy

Stan Walker

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115

Stan Walker, ‘Take It Easy’ (2012)

Any number of Walker’s first career hits could have made our list, but “Take It Easy” is the peak of that early period.

“Take It Easy” doesn’t try to be anything it’s not; Walker revels in soul-meets-reggae sounds, imploring listeners to “take it easy, easy / Live your life.” 

“Take It Easy” was recorded by Walker for the 2013 New Zealand film Mt. Zion, an early showcase of his talent for soundtrack work. —Conor Lochrie

Chet Faker

Willy Lukaitis for Rolling Stone Australia

114

Chet Faker, ‘Talk Is Cheap’ (2014)

“Talk Is Cheap” is a deeply smooth, downtempo slice of indie electronic soul that captures the disillusionment of finding action lacking behind a partner’s words.

Its power lies in its intimacy and its minimalist production (along with some sexy sax samples), proving that silence, space, and a world-class vocal performance can be far more powerful than noise. —Jade Kennedy

Flume and MAY-A Say Nothing
113

Flume ft. MAY-A, ‘Say Nothing’ (2022)

When Flume drops a single it shifts the entire electronic landscape, and “Say Nothing” is a perfect example.

The lead single from his ARIA-winning album Palaces, the song blends his signature futuristic, hyper-digital production with a deep, emotional core.

Featuring the sublime, vulnerable vocals of rising star MAY-A, the song instantly became a global smash, proving that boundary-pushing sound design could be fused with a massive, undeniable pop hook. —Jade Kennedy

The Kid LAROI and Justin Bieber

Prime Video/Youtube

112

The Kid LAROI & Justin Bieber, ‘STAY’ (2021)

“STAY” with Justin Bieber is a classic pop song, the kind designed to soundtrack summer heartbreak.

Pairing anxiety with an irresistible beat, the collaboration solidified the Sydney-born Kamilaroi artist as one of Australia’s biggest exports.

The song debuted at No. 1 on the ARIA Singles Chart for 14 consecutive weeks, before becoming a global phenomenon and topping the Billboard Hot 100. —Lauren McNamara

The Beths

Frances Carter

111

The Beths, ‘Jump Rope Gazers’ (2020)

It feels like a little secret that one of the Beths’ best songs is on their weakest album (which is still better than most other bands’ best album). A song that still goes down well with fans at gigs. —Conor Lochrie

Camp Cope

Nick Mckk

110

Camp Cope, ‘The Opener’ (2017)

As far as first tracks go, “The Opener”, from Camp Cope’s second album How to Socialise & Make Friends, is as direct and searing an opening statement as you can get.

A giant “fuck you” to all the sexist men in and around the rock scene, singer and guitarist Georgia Maq’s scathing lyrics play like a laundry list of all the bullshit she’s had to hear over the years: “It’s another all-male tour preaching equality / It’s another straight cis man who knows more about this than me… It’s another man telling us we can’t fill up the room / It’s another man telling us to book a smaller venue.” 

Still, the Melbourne trio, who broke up in 2023, had the last laugh, going on to headline the Sydney Opera House in 2018. “Now look how far we’ve come not listening to you.” Indeed. —James Jennings

Thelma Plum

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109

Thelma Plum, ‘Backseat of My Mind’ (2022)

Thelma Plum has a rare gift for turning profound introspection into universally relatable indie-pop, and “Backseat of My Mind” is a shining example.

Written during the early days of the pandemic, the song is a gorgeously melancholic reflection on the difficulty of escaping the past.

Built on a simple, atmospheric guitar melody and Plum’s signature crystalline vocals, the song became an instant favourite, proving that sometimes the most powerful songs are the ones that speak the quietest truths. —Jade Kennedy

RÜFÜS DU SOL
108

RÜFÜS DU SOL, ‘Treat You Better’ (2018)

The opener from 2018’s Solace, “Treat You Better” perfectly captures the desire to fix what’s broken before it’s too late.

Showcasing RÜFÜS DU SOL’s signature blend of house beats and emotionally vulnerable lyrics, the song led Solace to peak at No. 2 on the ARIA Albums Chart and earn a Grammy nomination, demonstrating exactly why we named them the second Greatest Australian Electronic Act of All Time. —Lauren McNamara

Good Morning

Jarvis Taveniere

107

Good Morning, ‘Warned You’ (2014)

The song that first shot Good Morning to online renown.

The Melbourne indie-pop duo have improved as musicians since 2014 — “Queen of Comedy”, from last year’s Good Morning Seven, is imbued with a beautifully timeless pop sensibility — but to make a song as immense as “Warned You” at such an early stage? That’s something to be celebrated. —Conor Lochrie

Mo'Ju

@w_i_l_k

106

Mo’Ju / Mojo Juju, ‘Native Tongue’ (2018)

A searing, utterly essential piece of modern Australian music, “Native Tongue” is Mo’Ju’s unflinching look at heritage and identity, turning the difficult task of self-discovery into a mesmerising, defiant anthem.

The song’s magnetic rhythm and the raw, undeniable power of their vocals ensure its place as a classic.

Cub Sport

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105

Cub Sport, ‘Songs About It’ (2023)

Cub Sport delivered the best album title of 2023 with Jesus at the Gay Bar. That album then delivered one of the greatest throwback piano house songs heard this side of the ‘90s.

Upon its release the band described this as their “euphoric new era” as the song celebrated those don’t-let-this-night-out-ever-end moments. Singer Tim Nelson nails another beautiful vocal as “Songs About It” builds and builds to its banging climax. Hit replay, this song isn’t going away any time soon. —Andrew Mast

Angus & Julia Stone

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104

Angus & Julia Stone, ‘Big Jet Plane’ (2010)

Taken from their ARIA-winning album Down the Way, this song is a study in beautiful, minimalist songwriting.

“Big Jet Plane” uses sparse acoustic instrumentation and a subtle rhythm to create a sense of vast, open space, perfectly matching the theme of travel and emotional distance.

The song’s irresistible simplicity and melancholic sincerity ensured its endless rotation and confirmed the Stone siblings’ unique ability to turn quiet folk music into a massive, universally loved anthem. —Jade Kennedy

Eddy Current Suppression Ring

Mexican Summer/Press

103

Eddy Current Suppression Ring, ‘Colour Television’ (2008)

Melbourne four-piece Eddy Current Suppression Ring — drummer Daniel “Danny Current” Young, lead guitarist Mikey “Eddy Current” Young, vocalist Brendan “Brendan Suppression” Huntley, and bassist Brad “Rob Solid” Barry — are masters of boiling garage rock down to its most primal elements.

It makes the listener feel like they’re standing in the room while the music’s being recorded, particularly on second album Primary Colours, which was recorded on eight-track over a 24-hour period.

“Colour Television” is one of the subdued tracks, a paranoid guitar snaking over a buzzsaw bassline while Huntley, numbed by the idiot box, recounts the grim transmissions he’s been witnessing: “Another wheel of fortune / Another million tortured.” It’s a grim ode to the pacified masses that’s expertly spun into garage rock gold by one of the country’s finest — and coolest — bands. —James Jennings

Cut Copy

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102

Cut Copy, ‘Hearts on Fire’ (2007)

2007’s “Hearts on Fire” was the lead single from Cut Copy’s second album, In Ghost Colours, and what an introduction it was.

Blending modern electro with ‘80s synth, “Hearts on Fire” was not only a hit in Australian dance clubs, but it quickly went international, being remixed by one of the biggest DJs in the world, Calvin Harris, in 2008. —Neil Griffiths

The Avalanches

Grant Spanier*

101

The Avalanches, ‘Frontier Psychiatrist’ (2000)

Melbourne collective The Avalanches took a stack of cheap, unwanted vinyl — the tackier, the better — from op shops, a single turntable, and a primitive sampler and threw it all into a blender to create this giddy, glorious, crazy-in-the-coconut slice of sampled mayhem.

By taking snippets from the sketch “Frontier Psychiatrist” by Canadian comedy duo Wayne and Shuster and splicing it with orchestral music by Enoch Light Singers, random animal noises, and an array of other bonkers samples, The Avalanches created what sounds like an abstract stand-up routine stitched together by crafty hip hop scratches (provided by expert turntablist Dexter Fabay).

It may not be the best song the group ever made but it’s their most unique and identifiable, and a track that absolutely nobody else could’ve made. These boys need therapy. —James Jennings