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

Presenting our best 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.

“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.

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.

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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

Fanny Lumsden
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Fanny Lumsden, ‘Roll On’ (2017)

Released during the height of Australia’s bushfire and early pandemic crises, “Roll On” became an unexpected anthem of resilience for a fractured nation.

This driving, widescreen contemporary country song perfectly captures the spirit of the open road and the rural Australian determination to keep moving forward.

With its huge, singalong chorus and Lumsden’s genuine, warm delivery, the song — a cornerstone of her ARIA and Golden Guitar-nominated album Real Class Act — is a beautifully optimistic anthem that defines the sound of modern Australia pushing past adversity.

Angie McMahon

Taylor Ranston

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Angie McMahon, ‘Pasta’ (2019)

Featured on Angie McMahon’s full-length debut album Salt (2019), “Pasta” is an ode to feeling lost and worn out.

After the success of previous singles “Slow Mover” and “Missing Me”, hopes were high for whatever the Melbourne singer-songwriter had up her sleeve, and she more than delivered.

“Pasta” landed at No. 72 on triple j’s Hottest 100 of 2019, and also earned a nomination for Song of the Year at the 2020 APRA Music Awards. 

Relatable lines such as “[m]y bedroom is a disaster” and “I spend so much time eating pasta” connected with disillusioned millennials in a major way. —Lauren McNamara

Voom

Frances Carter

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Voom, ‘B Your Boy’ (2006)

Voom released their second album, Hello, Are You There?, in 2006, and then proceeded to leave us hanging for 19 years.

Before their long-awaited third album, Something Good Is Happening, finally dropped this year, older songs like “B Your Boy” endured over decades because of their timeless nature — “B Your Boy” sounds like it could have been created in someone’s garage just last week.

An unsurprising staple of student radio over the years, “B Your Boy” is the Platonic ideal of a lovelorn indie rock song: buzzy guitars, brooding vocals, and simple but relatable lyrics such as “I wanna be your boy, I wanna be your boy so bad.”  —Conor Lochrie

TE KAAHU

Frances Carter

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TE KAAHU, ‘Rangirara’ (2022)

TE KAAHU, the Māori language project of Theia, can leave a listener spellbound with just one waiata.

She produced one of the most beautiful debut albums in recent memory with Te Kaahu O Rangi in 2022, some of which was stunningly brought to life in a Rolling Stone AU/NZ In My Room session.

Drawing from a deep well of personal meaning, the singer-songwriter’s beautiful te reo Māori compositions are the work of an artist creating with pure and sincere purpose, and none sound better than the gently swaying “Rangirara”.

“This waiata takes its name from my late grandmother, Rangirara. But also in reo Māori, ‘rangirara’ means beyond the heavens and in this song I’ve used lots of metaphors referencing the sky, thunder and its manifestations,” she said when it was released. —Conor Lochrie

The Jezabels
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The Jezabels, ‘Endless Summer’ (2011)

This song is the definition of epic Australian indie rock.

From their debut album Prisoner, “Endless Summer” perfectly captures the grand, sweeping drama that The Jezabels built their reputation on. Hayley Mary’s powerhouse vocal performance rides atop shimmering, arena-sized guitars and a relentless rhythmic drive.

An instant top 10 finisher in the triple j Hottest 100, the song is a soaring, cinematic masterpiece that offers a glimpse of escapism while reminding us why The Jezabels were, for a time at least, the most essential band in the country.

Tkay Maidza

Dana Trippe

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Tkay Maidza, ‘Ring-a-Ling’ (2023)

Few Australian artists execute genre fusion with the relentless energy of Tkay Maidza, and “Ring-a-Ling” is a shining example.

The song is a dazzling piece of modern hyper-pop and hip-hop, full of glitchy hooks, driving energy, and a bold, unapologetic attitude.

It perfectly demonstrates her Sweet Justice era — an album that Rolling Stone AU/NZ praised for its “cheekiness and confidence” — marking Maidza’s evolution into a world-class, chameleonic rapper capable of commanding any global stage. —Jade Kennedy

Bad//Dreems

Ian Laidlaw/Press

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Bad//Dreems, ‘Cuffed & Collared’ (2015)

In the lineage of classic Australian bands like The Go-Betweens and The Saints, Bad//Dreems are essential, and this song is their calling card.

“Cuffed & Collared”, from their 2019 album Doomsday Ballet, is a perfectly crafted piece of garage-rock minimalism, built on a driving guitar riff and a simple, explosive beat.

It’s an instant, beer-soaked anthem that embodies the spirit of the Australian underground and confirmed Bad//Dreems’ status as leaders of the contemporary rock scene.

Troy Kingi press shot

Mark Russell

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Troy Kingi, ‘All Your Ships Have Sailed’ (2020)

From his lauded The Ghost of Freddie Cesar era, “All Your Ships Have Sailed” is Troy Kingi’s sweeping, soulful meditation on failure and acceptance.

With its soul-funk groove and his commanding vocal performance, this song is a definitive piece of modern Aotearoa music that sails far beyond genre, telling an intensely personal story that won Kingi a Silver Scroll Award. —Jade Kennedy

Press photo of Melbourne outfit RVG

Supplied

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RVG, ‘Christian Neurosurgeon’ (2020)

If ever there were fears that RVG would suffer a second album slump, they were swept away with the success of 2020’s Feral.

“Christian Neurosurgeon” is an album highlight, the band distilling their ‘80s no wave and post-punk influences into a tense, dark tale of surgical kink. Romy Vager’s villainous laugh, followed by a shrill drill noise, makes for one of the most unnerving song endings ever. —Andrew Mast

Anthonie Tonnon
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Anthonie Tonnon, ‘Leave Love Out of This’ (2021)

A majestic piano-pop ballad, “Leave Love Out of This” is the title track from Anthonie Tonnon’s Taite Music Prize-winning album (2021).

The track features some of the independent musician’s most relatable and gut-wrenching songwriting: “Bury your anger tonight / Bury your frustration / Bury the signs you may have missed / And though it might appear / The only answer / Leave love out of this.” —Conor Lochrie

Image of Melbourne's Rolling Blackouts Coastal Fever

Peter Ryle*

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Rolling Blackouts Coastal Fever, ‘An Air Conditioned Man’ (2018)

A guitar-driven indie rock anthem ready for stadiums.

Rolling Blackouts Coastal Fever, so often prone to playing on the dreamier side of indie rock, dialled up the guitars on ‘An Air Conditioned Man”, a song that was thrillingly brought to life in its accompanying music video, in which a car zips through the streets of Melbourne at night. —Conor Lochrie

Troy Cassar-Daley

Troy Cassar-Daley

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Troy Cassar-Daley & Paul Kelly, ‘Wish I Was a Train’ (2002)

A masterclass in Australian storytelling.

This beautiful collaboration between Troy Cassar-Daley and Paul Kelly is a timeless country-folk ballad about longing and freedom.

The gentle melody and powerful vocal harmony make “Wish I Was a Train” an essential piece of modern Australian music. —Jade Kennedy

Crowded House

Giulia Giannini McGauran

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Crowded House, ‘Playing with Fire’ (2021)

Are they an Aussie band? Does New Zealand still get to claim them? Who fucking cares — both countries should treasure Crowded House.

While their ’80s and ’90s heyday of beloved songs like “Don’t Dream It’s Over” are a long way away now, the evergreen band have endured into the 2020s because of their world-class knack for pop-rock.

“Playing with Fire” is minor Crowded House but it would be the crowning achievement of many other bands’ discographies. “Now some might say / We’re winding down / I’ve never seen such a thing / Never seen such a thing,” Neil Finn sings, and he may as well be singing about his band’s refusal to stop making music. —Conor Lochrie

Our Carlson

@jcdoesphoto

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Our Carlson, ‘Kickon’ (2021)

The ultimate Aussie kick ons (afterparty) anthem — or at least the most excruciatingly relatable.

Underrated Melbourne punk musician Our Carlson is our hilarious narrator, relaying a misadventure at a random kick on over twinkling electronica.

“Walking into a bathroom at a kickon / And looking into a mirror,” he whispers at the start before his voice abruptly changes. “Shit, it’s bright in here!” he says in a thick Aussie accent, before proceeding to take “another bump” of ketamine. Bad move, brother. “Stare yourself down / Maybe try a few different facial expressions / Nah, I’m gacked / I’ve lost my attack,” he admits.

It’s an autobiographical, or at least semi-autobiographical, tale: Our Carlson, who was diagnosed with epilepsy in his 30’s, urges himself to not “start thinking about having a fit… Could be one coming on / Or it could be a little anxiety.” At the end of it all, the kick on, it sounds like, has almost defeated our early-morning hero. Almost. “You look good / And a little bit rough / Good enough,” he says wearily. Same again next weekend? —Conor Lochrie

CHAII
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CHAII, ‘Drippin’ in Gold’ (2024)

CHAII’s 2024 debut album Safar (translates to “journey” in Farsi) lived up to all of the hype.

Co-produced with Frank Keys, it mixed Persian melodies, rap, hip-hop, and electronic beats into a unique sound. It all came together best on “Drippin’ in Gold”, a self-assured song buoyed by its creator’s clear sense of purpose. —Conor Lochrie

The Cat Empire

Giulia McGauran

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The Cat Empire, ‘Hello’ (2003)

No song better bottles the joyous, chaotic energy of an early 2000s Australian music festival than “Hello”.

This song is vintage Cat Empire — a thrilling, global fusion of jazz, ska, Latin rhythm, and unstoppable funk that became the band’s signature call-to-arms.

With Felix Riebl’s charismatic vocals driving the charge, the song’s explosive energy and unforgettable brass section made it an instant crowd-pleaser and a massive triple j favourite, cementing its status as one of the most fun and necessary Australian songs of the century. —Jade Kennedy

Image of Peking Duk

Maclay Heriot*

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Peking Duk ft. Nicole Millar, ‘High’ (2014)

This song is the sound of Australian electronic music at its most commercially brilliant.

Peking Duk effortlessly fused high-end electronic production with a universally accessible pop sensibility with Nicole Millar’s vocals.

The song’s massive success proved their genius for crafting hooks and melodies that resonate far beyond the club scene, making it a powerful, enduring symbol of the crossover success of Australian dance music in the 2010s. —Jade Kennedy

Gretta Ray

Supplied

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Gretta Ray, ‘Positive Spin’ (2023)

After winning the triple j Unearthed High competition, Gretta Ray steadily evolved into a powerhouse songwriter, and “Positive Spin” is the triumphant result.

The song is an electrifying piece of sophisticated stadium-pop that manages to feel both intimately honest and universally anthemic.

It’s a euphoric, driving call to choose optimism over cynicism, demonstrating Ray’s innate ability to craft a huge, singalong chorus. This song cemented her success and established her as a major force in the Australian pop landscape. —Jade Kennedy

Jim Nothing

Frances Carter

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Jim Nothing, ‘Easter at the RSC’ (2024)

A very New Zealand song from a very New Zealand album.

Jim Nothing was named Best Alternative Artist at this year’s Aotearoa Music Awards thanks to Grey Eyes, Grey Lynn, an indie-rock ode to the leafy Auckland neighbourhood of the same name.

The blissful “Easter at the RSC”, in which the musician fondly imagines a quiet Sunday spent over a few pints, was the standout track. An excellent entry into the New Zealand indie music songbook. —Conor Lochrie

Lee Mvtthews Partnering with Spark NZ and Samsung

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Lee Mvtthews, ‘Takeover’ (2019)

This list would be incomplete without drum and bass, the genre which New Zealanders love almost more than any other nation on earth.

Local duo Lee Mvtthews have risen to become one of the biggest drum and bass names in global music thanks to songs like “Takeover”, their biggest streaming hit to date.

“Takeover” blows a listener away on record and sounds even bigger live. Enjoy the drop, enjoy the ride. —Conor Lochrie

Jebediah
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Jebediah, ‘Fall Down’ (2001)

Jebediah delivered classic, punchy Australian alternative rock with this unforgettable single.

“Fall Down” is a study in controlled chaos, blending driving rhythms with a singalong chorus that hides a deep sense of vulnerability.

It’s an exhilarating, emotional rush that solidified their spot as one of the most beloved bands on the Australian festival circuit and a constant fixture on the airwaves in the early 2000s. —Jade Kennedy

Ciggie Witch
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Ciggie Witch, ‘Meet Me in the Middle’ (2016)

One of the most moving songs from a dearly missed Melbourne band. —Conor Lochrie

PNAU
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PNAU, ‘Embrace’ (2008)

The final single from their self-titled, career-defining 2007 album, “Embrace” is the sonic distillation of PNAU’s genius — a powerful, euphoric house masterpiece built on an irresistible disco-funk groove.

The song perfectly channels the energy of a festival sunrise, marrying Ladyhawke’s vocals with PNAU’s meticulous, boundary-pushing production.

It’s more than just a dance track — it’s a spiritual call to arms, demanding unity and joy, and instantly cemented its status as one of the most beloved and enduring Australian electronic songs ever recorded. —Jade Kennedy

MOKOTRON

Ngaru Garland

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MOKOTRON, ‘KŌKIRI’ (2024)

MOKOTRON is the moniker of Auckland-based Māori producer and academic Tiopira McDowell, who explores his Indigenous identity and more in bass-heavy electronic music.

WAEREA, which went on to win the Taite Music Prize this year, opens at full throttle with “KŌKIRI”, and MOKOTRON never takes his foot off the gas afterwards.

“KŌKIRI” is the perfect introduction to the producer’s genuinely unique “Māori Bass” sound, which needs to be heard up close at a gig to feel its full effect. —Conor Lochrie

The Phoenix Foundation

Ebony Lamb

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The Phoenix Foundation, ‘Buffalo’ (2010)

The best song on one of the best New Zealand albums of the 2010s.

Amidst a slew of awards recognition, “Buffalo” earned The Phoenix Foundation a nomination for Single of the Year at the 2010 New Zealand Music Awards. —Conor Lochrie

Royal Headache
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Royal Headache, ‘Never Again’ (2011)

For a glorious moment in time during the 2010s, Royal Headache were the most exciting rock ’n’ roll band in the world — not bad going for a bunch of scrappy musicians from the Sydney suburbs.

“Never Again”, the first track on the band’s 2011 self-titled album, lets you know from the get-go why they generated buzz strong enough to rocket them to international tours — including sold-out shows in New York City and Chicago — and an appearance on Late Night with Seth Meyers.

The band’s feverish garage-punk was already enough to get the dopamine receptors fired up, but it was the soulful, Motown-adjacent vocals of singer Shogun (aka Tim Wall) that upgraded Royal Headache from very good to world class.

Royal Headache released one more album before imploding in 2017, a Roman candle that, for a period, blazed far brighter than most other bands. —James Jennings

Matt Corby

Maclay Heriot

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Matt Corby, ‘Brother’ (2011)

When Matt Corby released “Brother”, he delivered an instant, undeniable cultural moment that redefined the potential of Australian indie-folk.

The song is famous for Corby’s incredible vocal performance, shifting effortlessly from a haunting whisper to a soaring, soulful howl.

A massive radio hit and an ARIA-winning anthem, “Brother” remains the definitive showcase for his talent and one of the most resonant Australian songs of the decade. —Jade Kennedy

Image of New Zealand outfit The Beths

Mason Fairey/Supplied

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The Beths, ‘Happy Unhappy’ (2018)

Indie-pop perfection. Sunlight in a song. “Happy Unhappy” hinted at what was to come from The Beths on future records. —Conor Lochrie

The Teskey Brothers

Ian Laidlaw

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The Teskey Brothers, ‘So Caught Up’ (2019)

While The Teskey Brothers are rooted in analogue soul and Delta blues, “So Caught Up” proved they could deliver a massive, universally appealing crossover hit.

The song features a relentless, groovy bass line and a soaring brass section that perfectly complements Josh Teskey’s gravelly, smoked-whiskey vocals.

It’s a joyful, instantly catchy anthem about being overwhelmed by infatuation, and its success confirmed the band’s status as a top-tier Australian act — a fact cemented when its parent album, Run Home Slow, won multiple ARIA Awards.

Alex Lloyd
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Alex Lloyd, ‘Amazing’ (2001)

The beauty of “Amazing” lies in its restraint.

In the early-2000s era often dominated by hyper-manufactured pop, this song proved the enduring power of a simple, exquisitely crafted folk-pop ballad.

It’s a beautifully melancholic yet ultimately uplifting meditation on love and finding clarity in a confusing world. Lloyd’s production is sparse and atmospheric, perfectly framing his distinctive vocal delivery and ensuring the song’s timeless quality. —Jade Kennedy

Image of Alex Lahey

Supplied

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Alex Lahey, ‘Every Day’s the Weekend’ (2017)

Alex Lahey’s breakout single is a raw, glorious declaration of youthful defiance and spontaneity.

Built on a simple, driving garage-rock riff, “Every Day’s the Weekend” became the unofficial anthem for anyone who wanted to escape the daily grind and inject some immediate chaos into their life.

The song is an absolute masterclass in indie-pop economy, moving from relatable anxiety to euphoric release in just over three minutes, culminating in that iconic, perfectly ragged saxophone solo that cemented its place as a massive triple j favourite. —Jade Kennedy

Karnivool
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Karnivool, ‘Themata’ (2005)

The title track from their landmark 2005 debut, “Themata” is the moment Karnivool established themselves as the undisputed kings of Australian progressive rock.

The song is a staggering display of technical brilliance, built on complex, shifting rhythms, layered guitars, and Ian Kenny’s dynamic, soaring vocal performance.

It seamlessly blends raw, alternative metal power with intricate, atmospheric complexity, serving as a powerful, enduring statement that pushed the boundaries of what modern Australian rock music could achieve. —Jade Kennedy

The Buoys

Ruby Boland

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The Buoys, ‘Ahead of Myself’ (2024)

The Buoys specialise in turning shared anxieties into massive, high-energy rock anthems, and “Ahead of Myself” is their finest example.

The track is a blistering, raw reflection on the chaotic feeling of rushing into a relationship and the subsequent fear of self-sabotage. Built on a churning, insistent guitar riff and frontwoman Zoe Catterall’s sharp, brutally honest vocal delivery, the song captures the band’s signature mix of ferocious punk power and deeply relatable emotional vulnerability.

It’s an essential, cathartic anthem for anyone who has ever moved too fast. —Jade Kennedy

Evermore
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Evermore, ‘Running’ (2006)

“Running” was such a runaway success for Evermore that it made the top 5 on the ARIA Singles Chart, as well as making it to No. 4 in New Zealand.

Feilding’s finest received a well-deserved Silver Scroll nomination for a song that would eventually become a streaming hit for the band. —Conor Lochrie

Delivery

Oscar O'Shea

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Delivery, ‘The Explainer’ (2021)

Melbourne’s breakout garage-punk band have improved as a unit over the past few years, but the excitement started with “The Explainer”. An infectious song that demands multiple listens. —Conor Lochrie

Teen Jesus and the Jean Teasers

@sheisaphrodite

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Teen Jesus and the Jean Teasers, ‘I Used to Be Fun’ (2023)

“I Used to Be Fun” captures the classic anxiety about losing your spark — the realisation that staying in now sounds better than going out, and you’re not sure if that means growth or giving up.

The Canberra rockers, who featured in our Future of Music series last year, delivered their song with bratty energy and enough self-awareness to make the dread sound almost fun.

The song helped their 2023 debut I Love You (No. 24 on our Best Australian Albums of the 2020s So Far list) peak at No. 6 on the ARIA Albums Chart. —Lauren McNamara

Church & AP
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Church & AP, ‘Ready or Not’ (2018)

They’re great going solo, doing their own thing, but nothing beats Church & AP together.

“Ready or Not” is a modern New Zealand hip-hop classic, a song that overwhelms you with its infectiousness. —Conor Lochrie

Vacations

Charlie Hardy

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Vacations, ‘Telephones’ (2018)

“Telephones” beautifully blends the wistful introspection of ‘80s indie-pop with a smooth, surf-rock aesthetic, creating an atmosphere that is both sun-drenched and emotionally distant.

It’s the signature anthem of the Newcastle band’s acclaimed Changes EP, showcasing their talent for writing simple, emotionally resonant songs that sound effortless and timeless. —Jade Kennedy

50 Greatest Australian Artists of All Time: Iggy Azalea
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Iggy Azalea ft. Charli XCX, ‘Fancy’ (2014)

In 2014, Iggy Azalea achieved something historic: “Fancy” became one of the few songs by an Australian artist to top the US Billboard Hot 100, where it reigned for seven consecutive weeks.

This slick, irresistible pop-rap anthem featured Charli XCX on the unforgettable chorus.

The track’s infectious trap beat, coupled with the instantly iconic Clueless-themed video, turned it into a massive, multi-platinum cultural phenomenon and secured Iggy Azalea’s place as one of Australia’s biggest global music exports. —Jade Kennedy

The Amity Affliction
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The Amity Affliction, ‘Pittsburgh’ (2014)

For millions of fans, this song is more than just a metalcore anthem — it’s a lifeline.

“Pittsburgh”, taken from the chart-topping album Let the Ocean Take Me, became a defining piece of music for a generation struggling with mental health.

The song perfectly showcases the dynamic between Joel Birch’s ferocious scream and Ahren Stringer’s soaring, melodic chorus, transforming personal anguish into a powerful statement of vulnerability.

It’s an honest, emotional gut-punch that solidified The Amity Affliction’s status as a band capable of delivering both brutal heaviness and vital, necessary solace. —Jade Kennedy

Radio Free Alice press shot

Madeleine Purdy

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Radio Free Alice, ‘Paris Is Gone’ (2023)

Amidst an onslaught of overly brooding post-punk bands in recent years, Radio Free Alice’s sound is a much-needed tonic.

Paying homage to bands of the ’80s, their brand of post-punk is energetic and playful, prioritising hooks and fun over dark atmospherics. It’s a nostalgic sound which never comes off as pastiche.

“Paris Is Gone” is an early highlight from the band, Noah Learmonth’s fluid voice (there’s a slight hint of Orange Juice’s Edwyn Collins to the vocals he emits) an absolute delight over angular guitar lines. Paris may be gone, but the best post-punk of decades past is being kept alive through Radio Free Alice. —Conor Lochrie

Jonathan Bree

Chelsea Nikkel

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Jonathan Bree, ‘You’re So Cool’ (2018)

The underrated Jonathan Bree unleashed one of the coolest, sleekest songs of the last decade with “You’re So Cool”. You wish you had this much personality. —Conor Lochrie

Clementine Valentine

Katherine Brook

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Clementine Valentine, ‘Endless Night’ (2023)

Formerly known as Purple Pilgrims, Clementine and Valentine Nixon decided to use their real names for their new dream-pop project.

Their first album as Clementine Valentine, The Coin That Broke the Fountain Floor, was a collection consisting of majestic and mythical properties.

On “Endless Night”, the sisters sound as graceful and connected as they’ve ever been. They raise their voices to the heavens throughout, reaching higher and higher in search of divine exultation. Long may Clementine Valentine continue making music together being truly themselves. —Conor Lochrie

Lips

Supplied

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Lips, ‘Everything to Me’ (2012)

The Silver Scroll-winning “Everything to Me” put Lips on the map.

The Auckland-born, New York City-based band, led by Steph Brown, didn’t overload their song, instead allowing it to flow naturally with slick production and understated atmospherics. —Conor Lochrie

The Getaway Plan
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The Getaway Plan, ‘Where the City Meets the Sea’ (2008)

If Australia has an emo anthem, The Getaway Plan’s 2008-released “Where the City Meets the Sea” is it.

The intro’s distorted guitar and opening lyrics “[i]f I’ve learned anything from this” still today stops alternative club crowds and commands an instant singalong.

Featured as the lead single from their debut album, Other Voices, Other Rooms, “Where the City Meets the Sea” is the Melbourne-formed band’s only song to crack the ARIA top 30. —Neil Griffiths

Pond

Michael Tartaglia

205

Pond, ‘Xanman’ (2013)

“Giant Tortoise” on Pond’s 2013 album Hobo Rocket may be more widely known, but “Xanman” is surely its equal.

An epic psych-rock song that goes for broke. —Conor Lochrie

Flight Facilities
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Flight Facilities ft. Giselle, ‘Crave You’ (2010)

When this duo dropped “Crave You”, they created a track that perfectly bottled the sound of the 2010s Australian summer.

Featuring the intoxicating vocals of Giselle, the song is a nu-disco gem — a smooth, nostalgic, and utterly euphoric blend of throwback synth pads and shimmering production.

It became an instant cultural phenomenon, cementing Flight Facilities’ reputation as purveyors of world-class, sophisticated dance music with an irresistible heart. —Jade Kennedy

Elemeno P
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Elemeno P, ‘Fast Times in Tahoe’ (2002)

They would go on to have bigger hits on the New Zealand charts, but “Fast Times in Tahoe” is quintessential Elemeno P.

Critics didn’t necessarily love the band but listeners did, snapping up Love & Disrespect, the 2003 album which featured their best song, in their droves.

“Fast Times in Tahoe” isn’t hip or subtle, but it’s an undeniable crowd pleaser and a classic New Zealand commercial rock song. —Conor Lochrie

MELODOWNZ

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MELODOWNZ ft. Coops, ‘Infinite’ (2018)

West Auckland’s finest went toe to toe with Coops on “Infinite”, showcasing why he’s one of Aotearoa hip-hop’s leading lights. —Conor Lochrie

Folk Bitch Trio

Copper Taylor-Bogaars

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Folk Bitch Trio, ‘God’s a Different Sword’ (2024)

The last couple of years have been a whirlwind for Folk Bitch Trio.

Their music, infused with such timeless spirit and relatable songwriting, forges a connection with their fans through intensely intimate arrangements.

“God’s a Different Sword” is their masterpiece so far, a powerful indie-folk anthem about longing and breaking patterns.

Boygenius’ Phoebe Bridgers has even recognised the trio, hailing them as “Boygenius if it was from the ’40s or something.” —Lauren McNamara