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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

Kylie Minogue Can't Get You of My Head
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Kylie Minogue, ‘Can’t Get You Out of My Head’ (2001)

Two years into a new millennium and Kylie Minogue was on a tear.

Her 2000 album Light Years garnered five back-to-back hits, her biggest chart streak since the early ‘90s. And then came “Can’t Get You Out of My Head’ — a message from a dancefloor of the future, another hit in a streak that would eventually stretch across most of the decade, when “Wow” became her sixteenth Australian top 20 hit in a row in 2008.

As the first single from 2001’s Fever set, it signalled yet another shift in Kylie’s musical direction. Here she was serving sharpened club beats that wouldn’t have sounded out of place in a German electro cut from the ’80s, a style so ahead of its time it still seems futuristic now.

Co-penned and co-produced by former pop stars Cathy Dennis (her club credentials include 1989 house hit “C’mon and Get My Love”) and Rob Davis (his glam band Mud dominated the UK charts in the ‘70s), the single was never going to miss.

It’s hard to believe “Can’t Get You Out of My Head” was pitched to other artists first because it sounds tailor-made for Kylie. The song’s production tapped perfectly into Kylie’s signature vocal slink and gifted her the most memorable set of “la-la-la’s” of the century.

Dennis and Davis’ glorious mix of bleeping synths, hypnotic bass, and synthetic strings is a masterpiece of less-is-more production, and it led to a wider-than-usual appeal for Kylie’s music.

The song was not only at home on commercial radio but also slipped into hip techno sets. “Can’t Get You Out of My Head” flew to number one around the world — it was even the top song of 2001 in some territories such as Italy, Austria, and Switzerland — and remains her most streamed song to date with over 800 million listens on Spotify and over 600 million views on YouTube.

It also gave Kylie her first breakout hit in the US since “The Loco-Motion”. Although she was always popular in Stateside gay clubs, “Can’t Get You OutoOf My Head” landed the artist her first-ever No. 1 spot on the highly respected and influential US Billboard Dance Club Songs Chart. It was the first of fourteen number ones she would go on to achieve on that chart, a run which saw her eventually tie in tenth place for that chart’s record for most number ones.

The song took on a second life as mash-up tracks began to dominate DJ sets and “Can’t Get You Out of My Head” was spliced together with New Order’s “Blue Monday” (by producer Stuart Crichton), and Kylie’s performance of the mash-up at the 2002 Brit Awards was hailed by The Guardian as one of the Top 50 Key Events in Dance Music History.

The song continues to influence new generations of artists, having been covered by Amy Shark, Peking Duk, Jude York, Parcels, and more. Dua Lipa even performed the song when her recent Australian tour hit Melbourne. —Andrew Mast

Lorde Royals
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Lorde, ‘Royals’ (2013)

A zeitgeist-grabbing, history-making song from a new pop superstar.

It’s still astounding that “Royals” was Lorde’s debut single, released when she was just 16 years old. In a matter of weeks and months, the song became a phenomenon, seemingly born out of nowhere. Where did this preternaturally gifted artist come from? How did she write a song this mature at such a young age?

It’s always tempting to attach mythic qualities to a story like this, but Lorde was both an overnight sensation and not.

A Universal A&R rep spotted the talent of Ella Marija Lani Yelich-O’Connor when she was just 12, and she signed a development deal with the label when she was 13. Her team spent a while trying to pair her up with different songwriters and producers, to no avail.

There was no connection to be found, until Lorde met Joel Little.

The former Goodnight Nurse frontman was just starting out in his production career (a career that’s since soared) when he met Lorde, and the Kiwi pair clicked immediately. Instead of trying to imprint his own style and vision onto Lorde, Little recognised her songwriting ability — she’d been writing lyrics consistently since she was 13, after all.

One of the first songs they created together was “Royals”, which took its name from a photo Lorde seen of George Brett signing baseballs in the ’70s. “He was a baseball player, and his shirt said ‘Royals.’… It was just that word. It’s really cool,” she said.

“Royals” isn’t about baseball or Brett, of course. The song offers a critique of materialistic lifestyles, Lorde musing on the dangers of conspicuous consumption. She ridicules the luxury items beloved by pop and hip-hop stars of the day: “But everybody’s like / Cristal, Maybach, diamonds on your timepiece / Jet planes, islands, tigers on a gold leash,” she sings. An admonishment follows. “We don’t care / We aren’t caught up in your love affair.” 

How minimal the sound is, instantly standing out in an era of bombastic production and sonic excess. Lorde and Little pare everything back, relying on simple synth stabs and timid drum beats, leaving plentiful empty space for finger snaps and the former’s breathy vocals. Even when Lorde’s voice rises in volume in the chorus, the instrumentation barely rises with it; when it comes to pop music, the pair realised, less truly could be more.

As a result of this minimalism, “Royals” doesn’t transfix a listener upon first listen. Its full effects are felt afterwards, on the second or third or even fourth listen, its pointed lyrics and unprecedented production lingering in the mind.

It’s important to remember Lorde’s age when listening to “Royals”. The song’s observations are earnest and messy, a little pointed without being all that pointed. They are diaristic thoughts from an evolving young mind, waking up to the world around them. If Lorde sounds in danger of romanticising the very things she purports to be against, that’s because she’s a girl in her mid-teens; it comes with the territory.

“Royals” obviously topped the charts in New Zealand, but it spent an impressive nine weeks atop the US Billboard Hot 100.  The song won big at the 2014 Grammy Awards, winning Song of the Year and Best Pop Solo Performance; the Silver Scroll Award win in her home country was an inevitability; it also won Single of the Year at the 2013 New Zealand Music Awards. Most publications, including Rolling Stone, featured the song high up on their year-end lists in 2013, while it also made it to No. 2 on triple j’s Hottest 100 of 2012, only edged out by Vance Joy’s ubiquitous “Riptide”.

“Royals” catapulted this Auckland teenager to stardom, and she’s spent the past decade-and-a-bit attempting to deal with her growing fame. She’s always been the most reluctant of pop stars, evading the public spotlight when she can. One wonders what she thinks of her own debut song now — how prescient her own words must sound to her.

Lorde fans can debate her best song long into the night — one could make a strong pitch for “Ribs” or “Green Light”, which feature further back in our list, to take out the top spot — but “Royals”, for its unexpectedness and subsequent influence, is the only one that deserves the number one position. No other song can claim to have changed the landscape of pop music. —Conor Lochrie