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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

Royal Headache
225

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

224

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

223

The Beths, ‘Happy Unhappy’ (2018)

Indie-pop perfection. A summer anthem. “Happy Unhappy” hinted at the greatness that was to come from The Beths on future records. —Conor Lochrie

The Teskey Brothers

Ian Laidlaw

222

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. —Jade Kennedy

Alex Lloyd
221

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

220

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
219

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

218

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
217

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

216

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”.

Exuberant and enthusiastic, “The Explainer” confirmed that Delivery could go all the way to the top. —Conor Lochrie

Teen Jesus and the Jean Teasers

@sheisaphrodite

215

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
214

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

213

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 album, 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
212

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
211

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

210

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

209

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”. The accompanying music video then took Bree’s single to the next level, garnering almost 40M views on YouTube.

“Jonathan pitched ‘You’re So Cool’ to me as a performance-based music video in the style of a mod era TV broadcast. We were both big fans of the 1960s and loved the kinds of productions that Lesley Gore and The Beach Boys did on live television, where the musicians would be forced to mime along with prerecorded tracks and work around ridiculous set pieces,” the clip’s DP, Benjamin Zambo, told The Spinoff. —Conor Lochrie

Clementine Valentine

Katherine Brook

208

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

207

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
206

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
204

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
203

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

Supplied

202

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. Avondale x London, it turns out, was the crossover hip-hop needed. —Conor Lochrie

Folk Bitch Trio

Copper Taylor-Bogaars

201

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