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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

Eskimo Joe

Jarrad Seng*

74

Eskimo Joe, ‘Black Fingernails, Red Wine’ (2006)

Taken from their multi-platinum, ARIA-winning album of the same name, this song is a masterclass in atmosphere and dynamic buildup.

“Black Fingernails, Red Wine” moves with a dark, insistent energy, swelling from a piano-led whisper to a soaring, cathartic climax.

It’s an undeniable, high-class anthem that dominated the airwaves and secured the band’s status as Australian rock royalty, as well as the Single of the Year award at the 2006 ARIAs. —Jade Kennedy

5 Seconds of Summer

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73

5SOS, ‘Youngblood’ (2018)

“Youngblood” marked a turning point in the career of 5 Seconds of Summer.

Often painted with the boy band brush, this single from their 2018 album of the same name showcased a darker and more mature sound from the Sydney outfit.

As drummer Ashton Irwin said on an episode of the Rolling Stone Uncut podcast: “We really broke through rhythmically with ‘Youngblood’. That really blew our minds open to utilising other genres and rhythms with our style of songwriting.” —Neil Griffiths

BENEE

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72

BENEE, ‘Glitter’ (2019)

Bright and energetic pop doesn’t come much better than this.

BENEE saved the best for last with the final single from her debut EP, Fire on Marzz, a song that inevitably later went viral on TikTok.

“Glitter” is a classic coming-of-age anthem, BENEE wishing for a fun night out to last long into the night: “I know it’s getting’ late now, baby / Maybe you should stay here with me / Let’s just make it our own party,” she sings to an unnamed partner. “Stick together like glitter, glitter, glitter, glitter.” —Conor Lochrie

Bernard Fanning

Cybele Malinowski*

71

Bernard Fanning, ‘Wish You Well’ (2005)

After the immense success of Powderfinger, Bernard Fanning delivered a perfect artistic shift with his solo debut, Tea & Sympathy.

“Wish You Well” is the album’s undisputed jewel — a joyous, infectious, roots-rock anthem that pulses with optimism and acoustic warmth.

Lyrically, it’s a simple, generous statement about moving on from the past with goodwill. The song’s massive success proved Fanning could dominate the charts completely on his own terms, establishing him as a master of stripped-back, heartfelt Australian folk-rock. —Jade Kennedy

Tones and I
70

Tones and I, ‘Dance Monkey’ (2019)

Regardless of where you were in 2019, you could not escape this song.

Tones and I delivered a cultural earthquake with “Dance Monkey”, which not only broke records in Australia — it spent an unprecedented 24 weeks at No. 1 on the ARIA chart — but became a worldwide phenomenon, topping charts in over 30 countries.

Built on an infectious, driving bass line and her signature, instantly recognisable vocal performance, the song became the most-streamed song ever by a female artist on Spotify and proved that a busker from Byron Bay could, in fact, conquer the entire globe. —Jade Kennedy

King Stingray

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69

King Stingray, ‘Milkumana’ (2021)

King Stingray evolved their grassroots pub-rock stylings with disco-fied beats and bass alongside angular guitar outbursts in “Milkumana”.

Sung in both Yolnu and English, it’s a joyous, forward-looking song about unity and the potential of our influence on future generations.

It’s no wonder it struck a chord across the country and catapulted the band from ones-to-watch to full-blown influential rock status. —Andrew Mast

Delta Goodrem

Carlotta Moye

68

Delta Goodrem, ‘Born to Try’ (2002)

The song that launched a superstar.

Delta Goodrem’s debut is a timeless, piano-driven pop ballad built on an undeniable message of hope and perseverance. A multi-platinum Australian classic that defined the sound of early 2000s Australian pop. —Jade Kennedy

Spiderbait

Ian Laidlaw*

67

Spiderbait, ‘Black Betty’ (2004)

The ultimate pub-rock party starter of the mid-2000s.

While technically a cover of the traditional folk song (made famous by Ram Jam), Spiderbait completely re-engineered “Black Betty” into a ferocious, garage-punk monolith that belongs entirely to them.

Driven by the raw energy of Kram’s frantic drums and snarling, charismatic vocal delivery, the track became a multi-platinum, cultural phenomenon that has dominated the airwaves and concert venues for years. —Jade Kennedy

Amyl and the Sniffers

John Angus Stewart

66

Amyl and the Sniffers, ‘Hertz’ (2021)

A standout track from their second album Comfort to Me, “Hertz” pushed Amyl and the Sniffers into the global spotlight, so much so that they performed it for their US TV debut in 2022 on Late Night with Seth Meyers.

Comfort to Me was one of the best albums of 2021, which the band discussed at length with Rolling Stone AU/NZ last year.

The song shows the band at their best: jagged guitars, pounding drums, and the fierce vocals of frontwoman Amy Taylor. —Lauren McNamara

Genesis Owusu press shot

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65

Genesis Owusu, ‘Get Inspired’ (2022)

You know you’re talented when one of your best songs isn’t even on one of your albums.

Owusu casually dropped “Get Inspired” in 2022, tiding fans over between albums. It contains everything that has made Owusu one of the biggest names in Australian music in a matter of years: supremely self-confident vocals and lyrics aided by an intoxicating number of left-field genre turns. —Conor Lochrie

Tame Impala

Dana Trippe

64

Tame Impala, ‘The Less I Know the Better’ (2015)

The final track to be lifted off Currents, “The Less I Know The Better” remains Tame Impala’s most popular song globally

Adding a further new direction to the indie electronica explored on his third album, Parker injected a gentle funk groove into proceedings to create this slice of broken-hearted bliss. —Andrew Mast

Six60

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Six60, ‘Don’t Forget Your Roots’ (2011)

New Zealand heavyweights Six60 struck gold with 2011 single “Don’t Forget Your Roots”.

As well as reaching the top spot on the NZ Singles chart, the song was given the ultimate praise when Metallica performed it during their recent stadium show in Eden Park in November 2025. 

As Six60 have broken out of their home country and conquered stages worldwide, the proud Kiwi band have crucially never forgotten their own words: “Don’t forget your roots, my friend… Don’t forget your family, yeah.” —Neil Griffiths

The Avalanches

Grant Spanier*

62

The Avalanches ft. Blood Orange, ‘We Will Always Love You’ (2020)

The Avalanches’ first album gets a lot of the plaudits — and quite rightly, too — but their most recent album is just as excellent. The title track, featuring a stellar guest turn from Blood Orange, is a melancholic masterpiece. —Conor Lochrie

Amy Shark

Cybele Malinowski

61

Amy Shark, ‘Adore’ (2016)

“Adore” perfectly expresses the specific rush of crushing hard.

Shark turned that emotional turmoil into 2016’s arguably most relatable indie-pop anthem, and the song ballooned into a mainstream smash, peaking at No. 3 on the ARIA Singles Chart and landing at No. 2 on the Hottest 100 behind Flume’s “Never Be Like You”. It went 7x platinum, proving she had tapped into something universal. —Lauren McNamara

Bic Runga
60

Bic Runga, ‘Something Good’ (2002)

Topping her ’90s classic “Sway” was always going to be a difficult task for Bic Runga, but the New Zealand national treasure has given it a good go in the subsequent decades.

She probably came closest (so far) on “Something Good”, a summery pop anthem that roared up the charts in 2002. A pleasant string section enhances the song but its success chiefly belongs to Runga’s sweet and hopeful lyrics: “Something good will come our way / And maybe this good thing’s gonna happen today.” —Conor Lochrie

Tash Sultana
59

Tash Sultana, ‘Jungle’ (2016)

When Tash Sultana’s “Jungle” broke through, it wasn’t just a song: it was a dizzying, looping demonstration of world-class virtuosity.

The song is built entirely from layers of multi-instrumental genius, blending psych-rock, reggae rhythms, and indie soul into a hypnotic, expansive anthem. “Jungle” became the defining moment for Sultana, propelling them from a Melbourne busking sensation to a global headliner. —Jade Kennedy

Courtney Barnett Avant Gardner
58

Courtney Barnett, ‘Avant Gardner’ (2013)

Such an adorable pun title for such an anxiety-riddled song.

“Avant Gardner” was Courtney Barnett’s initial calling card. She simply retells the tale of experiencing a medical incident while gardening, but her words are poetry spilling from her mouth with a chilled ease: “I’m breathing but I’m wheezing, feel like I’m emphysem-ing.” While the mumblecore attitude catches your attention first, it’s the casual country-coded arrangement that reels you in.

What a way to announce yourself to the world. —Andrew Mast

RVG

Izzie Austin

57

RVG, ‘A Quality of Mercy’ (2017)

Big-hearted, narrative-driven rock at its finest.

Romy Vager imagined herself in the minds of the Bali Nine in order to write “A Quality of Mercy”. “Staring at the ceiling, feeling numb / Thinking about the readers of the Herald-Sun,” she sings.

Empathy runs right through RVG’s song, which showcases one of the most thoughtful lyrical minds in Australian music. —Conor Lochrie

Cut Copy

Tamar Levine*

56

Cut Copy, ‘Lights & Music’ (2008)

Another Modular artist waving the flag for electronic music in Australia, Cut Copy’s “Lights & Music” is still the Melbourne group’s most successful single to date on local charts. It followed the equally catchy synth-pop hit, “Hearts on Fire”, from their 2008 album, In Ghost Colours.

After dominating local dancefloors, “Lights & Music” went global when it featured in the iconic FIFA video game franchise. —Neil Griffiths

Marlon Williams

Steven Marr

55

Marlon Williams, ‘Aua Atu Rā’ (2025)

We named Marlon Williams’ profoundly personal Te Whare Tīwekaweka, his first record entirely in te reo Māori, as our favourite New Zealand album of 2025.

“Aua Atu Rā” is its high point, a swaying song inspired by ’60s Māori showbands that acted as a “guiding light” for the full album.

Williams and his collaborator KOMMI deservedly won this year’s Silver Scroll Award for “Aua Atu Rā”. Both it Te Whare Tīwekaweka are already modern Aotearoa classics. —Conor Lochrie

Bag Raiders
54

Bag Raiders, ‘Shooting Stars’ (2009)

An obvious and easy selection, which many tout as Australia’s best-ever dance song.

“Shooting Stars” quickly scored high rotation on radio and in nightclubs around the country, but its popularity was revived in 2016 thanks to a viral internet trend, which even Katy Perry used in her own music video. It went on to crack the US charts in 2017 and Australia got to fall in love with “Shooting Stars” all over again. —Neil Griffiths

Polaris

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53

Polaris, ‘Above My Head’ (2020)

One of the best bands to come out of Australia’s metalcore scene in the 2010s, you could really pick any songs from Polaris’ brilliant ARIA-nominated second album, The Death of Me, but the melodic genius and showstopping vocal performance from Jake Steinhauser in “Above My Head” deserves a special mention. —Neil Griffiths

Empire of the Sun

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52

Empire of the Sun, ‘We Are the People’ (2008)

Luke Steele’s aching vocal joins the quiet acoustic strum that is the “We Are The People” intro, and then the beat kicks in.

It’s an unassuming start to one of the most ubiquitous songs of the past two decades. Unfussy production is the key to what unfolds into a mournful pop singalong: “Are you gonna leave me now? / Can’t you be believing now?” Given the club music roots of Nick Littlemore, a myriad of remixes transformed the track perfectly for a long dancefloor life. —Andrew Mast

The Chats

Matt Walter*

51

The Chats, ‘Smoko’ (2017)

Does it get more Aussie than The Chats? Probably not.

Before “Pub Feed” came along, “Smoko” was the definitive Chats song, which was accompanied by a viral-making music video.

“Smoko” is a proper punk rock anthem, one which perfectly captures the malaise of minimum wage work. —Conor Lochrie