A Town of Timeless Melodies
Following on from my Top 25 songs from Manchester, I thought it would only be fair to travel 30 miles down the M62 and give you my Top 20 songs from Liverpool. Another of Britain's musical institutions. A city that gave us Merseybeat, The Beatles and three of Britain's most elusive songwriters. Before we begin, people of Liverpool, I apologise, there will definitely be some huge songs that I have missed.
So in no particular order...
1. The Beatles- In My Life
‘In My Life’ is a 1965 acoustic ballad by The Beatles, written by Lennon and McCartney and released on Rubber Soul. The album marked a turning point for the band: they were no longer the fresh-faced mop tops from Liverpool, yet not quite the psychedelic pioneers they would soon become. Nestled within this transitional record, ‘In My Life’ stands as one of their most tender and reflective works. At just over two minutes, it captures a depth of feeling that helped cement Lennon and McCartney as the finest songwriters of their generation.
John Lennon later called the song his “first major piece of work.” While Paul McCartney insisted he composed the melody, Lennon maintained that it was the first time he had truly written about himself. The song’s origins trace back to a suggestion from journalist Kenneth Allsop, who urged Lennon to write more personally about his childhood. Lennon responded with a long, almost diary-like poem recalling bus rides through Liverpool, filled with specific landmarks such as Penny Lane and Strawberry Field.
Dissatisfied with the draft, Lennon scrapped most of it, calling it “the most boring sort of ‘What I Did on My Holidays Bus Trip’ song.” He reshaped the lyrics into a more universal meditation on memory, love, and loss. Only a few lines survived the rewrite. Ironically, a couple of years later, both he and McCartney would revisit the idea of specific childhood places with ‘Strawberry Fields Forever’ and ‘Penny Lane’.
The authorship debate has never been fully resolved. Lennon claimed McCartney’s input was limited to harmonies and the middle eight, while McCartney argued he set the entire lyric to music. In a 1977 interview, when Lennon listed songs he considered his own, ‘In My Life’ was the only one McCartney openly disputed. Regardless of who did what, the result is one of the most poignant tracks in The Beatles’ catalogue.
Lennon was just 25 when he recorded it, yet the song carries the weight of a man looking back on both joy and loss. He remembers not only the places of his past, but more importantly, the “lovers and friends” who shaped him, acknowledging that “some are dead and some are living.” His mother, Julia, had died in 1958 when he was only 18, and his close friend and former bandmate Stuart Sutcliffe passed away in 1962 at just 21.
Still, ‘In My Life’ isn’t only about nostalgia. It’s about valuing the present. The closing line, often misheard as “In my life, I loved you more,” is in fact “In my life, I love you more”; a declaration not of what has been lost, but of what remains.
Half a century on, the song endures as one of the most beautiful and timeless pieces The Beatles ever recorded.
2. The La's- Looking Glass
The closing track on The La’s only studio album simply has to be on this list. Not only is ‘Looking Glass’ the finest song the band ever recorded, but it also feels like the perfect ending to their story, a story that, in truth, had barely begun. At its heart was Lee Mavers, a songwriter of rare genius, capable of crafting music as luminous as this yet famously unable to accept letting those songs go. Mavers openly despised the album’s recording, dismissing both this track and the entire record. Yet regardless of his disdain, what remains is a masterpiece, spine-tingling, otherworldly, and perhaps too far ahead of its time.
The song also feels inseparable from the city that birthed it. Liverpool has always seemed slightly apart from the rest of England; self-contained, gazing inward as much as outward. ‘Looking Glass’ captures that spirit: insular, defiant, and utterly unique. It’s hard to imagine a more fitting conclusion to one of the greatest cult albums of all time.
‘Looking Glass’ is a seven-and-a-half–minute meditation on the passing of time, ethereal and expansive. Lines like “The past, it never says it / it never makes a sound / whispered ways were chosen / echoes will be found” unfold like fragments of memory, elusive yet deeply affecting. Over its shifting, spacey soundscape, Mavers bares more of himself than on any other track, offering a glimpse into his inner world with lines such as “I’m in everybody, everybody’s in me… I see everybody, everybody sees me… in the looking glass, the glass is smashed.”
The song’s final words, “The change is cast”, proved prophetic. They resonated deeply with bassist John Power, who left The La’s in 1991 and soon after formed Cast with Pete Wilkinson of Shack. The new band took its very name from that last line, a small but fitting legacy of a record that ends with both closure and possibility.
‘Looking Glass’ remains a haunting farewell: the sound of brilliance unfulfilled, frozen in time, shimmering in the reflection. A truly spectacular piece of music.
3. The Teardrop Explodes- Reward
‘Reward’ is a true 1980s classic from one of Liverpool’s hidden gems, The Teardrop Explodes. Though often overshadowed by bigger names from the city Echo & The Bunnymen and Frankie Goes to Hollywood in particular, the band carved out their own space in the post-punk landscape. Until recently, I hadn’t even realised they were Scousers, which says a lot about how they’ve quietly flown under the radar despite their influence.
Released in 1981, ‘Reward’ is a burst of surreal, trumpet-driven post-punk energy, fronted by the charismatic and unpredictable Julian Cope. The track draws on the psychedelic influence of 60s group Love and, as legend has it, took shape after the band had experimented with LSD. The result is a song that feels both playful and disorienting, catchy enough for the charts yet strange enough to stand apart.
The Teardrop Explodes were very much products of the scene that coalesced around Eric’s, the legendary Liverpool nightclub that became a crucible for new wave and post-punk. Alongside Echo & The Bunnymen, Wah! Heat, and Orchestral Manoeuvres in the Dark, the Teardrops found both an audience and a creative community there. Eric’s was more than a venue, it was a laboratory for ideas, a gathering place where musicians, poets, and misfits collided. Without it, it’s hard to imagine Liverpool’s musical explosion of the late 70s and early 80s.
‘Reward’ wasn’t just a cult favourite eithe;, it broke into the UK Top 10, briefly thrusting the band into the mainstream. Yet their true legacy is less about chart numbers and more about the spirit they captured. The Teardrop Explodes embodied the eccentric, restless creativity of Liverpool at a time when the city was reinventing itself musically. In doing so, they inspired countless others and left a ripple effect that can still be felt in the city’s indie and psychedelic scenes today.
‘Reward’ remains one of those songs that instantly evokes its time and place: the sound of Liverpool’s underground stepping boldly into the 80s.
4. Cast- Promised Land
From the ashes of The La’s, bassist John Power stepped forward to form Cast, a band that carried the DNA of Liverpool’s past into the heart of the 1990s. The name itself was a nod to The La’s final song, ‘Looking Glass’, whose closing words, “the change is cast”, became both a farewell and a beginning.
Cast’s debut single ‘Promised Land’ arrived in 1995, swiftly followed by their first album All Change. It was a record steeped in Liverpool’s musical lineage, blending the melodic sensibility of The Beatles, the jangle of The La’s, the moody atmospherics of Echo & The Bunnymen, and the psychedelic edge of The Teardrop Explodes.
Yet Cast were no retro act, they channelled those influences into something urgent, uplifting, and distinctly their own. Power’s voice, both soulful and raw, gave the songs a working-class grit that rooted them firmly in the city they came from.
At home in Liverpool, Cast quickly became one of the city’s most beloved bands of the decade. But their reach extended far beyond Merseyside. By the mid-'90s, Britpop was in full swing, and Cast were right in the thick of it. While Oasis brought swagger and Blur offered irony, Cast delivered a more earnest, soaring take on the movement anthemic choruses that filled arenas, carried by jangling guitars and driving rhythms. 'All Change' would go on to become the best-selling debut album in Polydor’s history, spawning classics like ‘Fine Time’, ‘Alright’, and ‘Walkaway’.
If Britpop was often accused of empty bravado, Cast stood out for their sincerity. Their songs carried echoes of Liverpool’s long tradition of storytelling and melody, yet they also tapped into the optimism of the mid-'90s when it felt like British guitar music was once again at the centre of culture.
‘Promised Land’ in particular feels like the perfect statement of intent: a band born from the shadows of one Liverpool legend stepping confidently into their own light.
5. Red Rum Club- Would You Rather Be Lonely
One of the more recent entries on this list, ‘Would You Rather Be Lonely’ arrived in 2019 and has quickly established itself as a modern indie classic. With its soaring, anthemic chorus, relatable lyrics, and the unexpected lift of a trumpet line, it captures that perfect mix of grit and euphoria that defines great guitar music.
I first discovered them live in 2021 and have seen them several times since. Without fail, this track is the closer, and every time it sets the room alight. There’s something about that chorus, the way the crowd belts it back, the way the trumpet cuts through, that transforms the atmosphere into one of sweaty, euphoric release. It’s the song that not only introduced them to a wider audience but also cemented their reputation as a must-see live act.
Red Rum Club have built an impressive catalogue since then. Their debut album, 'Matador' (2019), introduced the world to their unique blend of indie-rock swagger and mariachi-inspired brass, with fan favourites like 'Eleanor' and 'Vibrate' immediately standing out. They followed it with 'The Hollow of Humdrum' (2020), a record that showcased a more polished, expansive sound and songs like 'Kids Addicted' and 'Elenanor’ that highlighted their knack for writing both dancefloor-ready tracks and introspective moments.
'How to Steal the World' (2021) saw the band taking bigger risks, exploring more ambitious arrangements and cinematic production while retaining their signature energy. Then came 'Western Approaches' (2023), which further cemented their reputation as one of the UK’s most exciting modern indie acts, with highlights including 'Black Cat' and 'Undertaker'.
Now, in 2025, Red Rum Club have released their fifth album, 'BUCK', their boldest record yet. Tracks like 'Crush, TX' and 'American Nights & English Mornings' showcase their high-energy, anthem-driven side, while 'Call Me On Your Comedown' and the reworked 'Vanilla' highlight their ability to write dreamy, introspective indie-pop without losing impact. The album feels bigger, more expansive, and ready for festivals and larger international stages, while retaining the infectious hooks and trumpet flourishes that have become their trademark.
'Would You Rather Be Lonely' was the song that made me fall in love with this scouse five-piece, and it still stands up in their rather eclectic catalogue.
6. Shack- Streets of Kenny
This song takes the award for the saddest entry on this list. 'Streets of Kenny', named after a place in Liverpool, delves into both the city’s and the band’s struggles with heroin. Unlike some acts who romanticised drug use, such as The Velvet Underground, the song confronts addiction head-on, documenting the unvarnished realities: the relentless cycles of craving, the isolation, the despair, and the devastating personal consequences. It is a believable and harrowing piece because so much of it is drawn from lived experience. Michael Head, the songwriter, has long battled heroin addiction, and 'Streets of Kenny' reads like a confessional diary of those struggles: intimate, raw, and unflinchingly honest.
What makes the song so affecting is the way it balances brutality with beauty. The melodies are often haunting, almost mournful, yet they carry a sense of fragility and humanity that allows listeners to feel both empathy and sorrow. Every note and lyric seems soaked in experience, as if Head is guiding the listener through the streets he once walked, the people he once knew, and the demons he faced. It is a song that doesn’t shy away from the darkness but instead transforms it into art, making the pain palpable yet strangely cathartic. Few songs achieve this level of emotional clarity, and 'Streets of Kenny' remains a testament to Head’s ability to turn personal suffering into music that resonates universally.
Michael Head’s career stretches back decades and is deeply entwined with Liverpool’s rich musical tapestry. He first gained attention with The Pale Fountains, a band celebrated for their literate songwriting and chamber-pop sophistication in the early 1980s. Though never huge commercially, The Pale Fountains laid the groundwork for Head’s later projects, blending jangly guitars, brass flourishes, and emotional clarity.
Following that, he formed Shack, releasing their first two albums, 'Zilch' (1988) and 'Waterpistol' (recorded 1991, released 1995). These early albums captured the promise of Head’s songwriting, with a mix of melancholic melodies, sharp lyrics, and raw emotion. Despite chaotic releases and label troubles, they became cult favourites, hinting at the brilliance that would come later.
By the time 'HMS Fable' (1999) arrived, Head had fully realised his vision. The album, often regarded as Shack’s masterpiece, showcases his ability to balance melancholy and hope, crafting lush, orchestral arrangements alongside intimate storytelling.
Songs like 'Comedy' and 'Streets of Kenny' blend tenderness with an unflinching look at life’s darker sides. 'Streets of Kenny' sits perfectly within this context: an unflinching song, yet ultimately human and deeply empathetic.
Head’s work, from The Pale Fountains through Shack and 'HMS Fable', demonstrates a rare consistency: a willingness to confront life’s struggles head-on, paired with a remarkable gift for melody and atmosphere. 'Streets of Kenny' stands out as one of the most emotionally affecting songs in his catalogue, a haunting reflection of Liverpool’s streets and the personal demons that inhabit them.
7. The Wombats- Kill the Director
The third single from The Wombats’ debut album, 'The Wombats Proudly Present: A Guide to Love, Loss & Desperation', is a standout track that captures the band’s youthful wit and energy. Partially inspired by the 2006 rom-com The Holiday, the song channels the feeling of futility that often accompanies dating, the awkwardness, the overthinking, and the inevitable moments of failure when trying to impress someone. Its central refrain, “If this is a rom-com, kill the director”, delivers the message perfectly: if love is meant to feel like this, then maybe it’s not worth it.
As a third single, the track is everything a debut-era Wombats song should be: anthemic, menacing, fast-witted, and funny. Lines like “Carrots help you see better in the dark, don't talk to girls, they'll break your heart” are absurd, charming, and clever, a kind of songwriting that only a young band, brimming with confidence and frustration, could pull off.
Clocking in at just two and a half minutes, the song propels The Wombats into the spotlight. It tells listeners everything they need to know about the band: chest-burst choruses, explosive energy, and relentless hooks. Dan “The RatHaggis’s octopus-limbed drumming drives the punk-funk momentum, while the singalong “whoo-oo, whoo-oo” moments invite the audience to join in. Nearly twenty years on, the track remains a banger, exhilarating, hilarious, and quintessentially Wombats, a perfect snapshot of a band at the start of their journey and already in full command of their sound.
8. Circa Waves- Old Friends
This may come as a surprise to some, but Circa Waves are one of my favourite bands from Liverpool. Known primarily for their festival-ready anthems and indie-disco classics, they’ve long been associated with energetic, crowd-pleasing tracks that get audiences moving. 'Old Friends', however, is a departure from that familiar template. It’s a soulful, introspective affair, infused with nostalgia, regret, and a quiet emotional weight. The song reveals a side of Circa Waves that we hadn’t really seen before.
In 'Old Friends', frontman Kieran Shudall captures that bittersweet mix of reflection and self-reproach. Lines like “I can’t believe I’m still walking to the petrol station at five in the morning” and “I can't believe this conversation is still going/I need to really grow up/I drank so much I can't see straight, son/What am I doing?” cut through the track’s shuffling, soulful pace with a jolt of honesty. It’s a rare glimpse of vulnerability in a band otherwise defined by confident, high-energy guitar hooks and singalong choruses.
Musically, the song balances warmth and melancholy, with subtle instrumentation that supports Shudall’s confessional lyrics rather than overpowering them. It’s a testament to Circa Waves’ growth: they’ve evolved into an assured rock band capable of commanding stadiums and festival stages, yet 'Old Friends' reminds us they’ve retained a core of working-class Liverpudlian blues, a sense of humility, introspection, and connection to everyday life.
In many ways, 'Old Friends' is a perfect snapshot of the band at a reflective moment in their career: confident in their sound, yet unafraid to show their humanity, their mistakes, and the quiet ache of nostalgia. It stands out in their catalogue as a soulful counterpoint to the festival-ready energy that first brought them recognition, and it remains one of their most affecting and memorable songs.
9. The Coral- In the Morning
I know, I know, The Coral are from Hoylake on the Wirral, but if I included Blossoms on the Manchester list, then The Coral have to be included on the Liverpool one. 'In The Morning' has become one of the songs most closely associated with the band, and for good reason; it’s brilliant. An acoustic-led affair, backed by a £5 piano, the song perfectly captures The Coral’s knack for blending whimsical melodies with heartfelt emotion.
Released in 2005, 'In The Morning' catapulted The Coral from indie darlings into the public consciousness. Its arrangement, warm, airy, and tinged with a nostalgic psychedelia reminiscent of the late 60s made it instantly memorable. Skelly’s vocals are tender yet assured, conveying both longing and optimism, and the song’s dynamic build, moving from intimate verses to a soaring chorus, gives it a cinematic, almost magical feel. That year, it was the second most-played song on UK radio, beaten only by Beyoncé’s 'Crazy in Love', which speaks to its widespread appeal.
What makes 'In The Morning' so enduring is the way it balances simplicity and sophistication. On the surface, it’s a melodic indie-pop gem, but it’s infused with psychedelic textures, harmonic layering, and carefully placed instrumental flourishes that reward repeated listens. It captures that feeling of new beginnings, the hope and uncertainty of youth, and does so in under four minutes. Its sound has that timeless quality, both contemporary for its release and nostalgic, evoking the musical echoes of Liverpool’s past.
For all these reasons, 'In The Morning' remains one of the defining tracks of the 2000s and one of the songs most synonymous with The Coral. Its blend of warmth, melody, and wistful psychedelia secures its place as one of Liverpool’s standout musical moments.
10. Echo & The Bunnymen- Seven Seas
I mentioned Echo & The Bunnymen earlier, and it was always obvious they would make this list. 'Seven Seas' is from the band’s 1984 album 'Ocean Rain', an album often regarded as their magnum opus. While much of the album is grand and cinematic, 'Seven Seas' stands out as a more playful, buoyant track. It’s a song about freedom, reflection, and moving forward, using the sea as a central metaphor for life’s possibilities and the passage of time.
Musically, the song is deceptively intricate. It opens with chiming, bright guitars that immediately evoke a sense of motion, as if the listener is gently sailing on water. Ian McCulloch’s vocals are relaxed yet confident, carrying a sense of wistful optimism that contrasts beautifully with the layered orchestration. Piano and subtle keyboard flourishes ripple beneath the melody, giving the song depth and texture, while strings swell in the chorus to add emotional resonance without ever feeling overbearing. The rhythm section maintains a steady, lilting pace, reinforcing the sense of forward momentum and lightness.
Lyrically, 'Seven Seas' captures both yearning and contentment. Lines float effortlessly, suggesting nostalgia but also excitement for what lies ahead. There’s a lightness that feels almost escapist, yet the melodies and harmonies are unmistakably Echo & The Bunnymen carefully crafted, melodic, and emotionally evocative. It’s a rare track in which the band balances accessibility with sophistication, making it both immediate and enduring.
The ocean motif runs throughout Ocean Rain, not just lyrically but in the sound and instrumentation. Other tracks like 'Silver' and 'My Kingdom' similarly mix lush orchestration with the band’s post-punk sensibilities, showing their ability to balance intimacy and grandeur in equal measure. Even though it’s less frequently highlighted than some of the album’s bigger hits, 'Seven Seas' embodies the charm, melodic genius, and adventurous spirit of 'Ocean Rain'. Its sparkling instrumentation, uplifting mood, and sense of motion make it a song that feels timeless
11. Shack- Time Machine
Shack was never going to make this list just once. They are undeniably one of the greatest bands Liverpool has ever produced, and Michael Head is arguably one of the finest songwriters Britain has ever seen. Yet Head has always been an elusive figure, a brilliant talent often shadowed by bad luck and misfortune.
Take 'Time Machine', from the album 'Waterpistol', an album with a famously troubled history. Originally recorded in the early 1990s, it was delayed for five years after a fire destroyed the master tapes. By a stroke of fate, a copy was later discovered in a rental car in New Mexico, allowing the album to finally see the light of day. It’s almost unbelievable that such a beautiful piece of music might have been lost forever.
'Time Machine' itself is an epic song, a sweeping and heartfelt composition that any of the greats would have been proud to claim. Its melodies are rich and intoxicating, its arrangements both delicate and grand, and Head’s vocals carry the kind of raw emotional resonance that makes you lean in and listen closely.
This music sits alongside the best work of the Bunnymen and of Lee Mavers and The La's. Shack wrote some absolutely extraordinary songs.
Listening to Shack today brings a mix of emotions. There’s sadness, knowing how much greater their commercial success might have been had circumstances been kinder, or if the band hadn’t battled drug problems and endless setbacks. But there’s also exhilaration, in these songs are hidden gems, treasures for those who discover them. For anyone familiar with Head’s work, 'Time Machine' and the rest of 'Waterpistol' are a reminder of what might have been, and a celebration of a band whose talent remains timeless. The blend of melancholy, beauty, and grandeur makes Shack’s music unforgettable, and for those who know it, nothing else quite compares.
12. The Beatles- Strawberry Fields Forever
The Beatles wrote several songs about Liverpool, but few are as iconic as 'Strawberry Fields Forever', John Lennon’s dreamlike meditation on memory, place, and identity. Named after Strawberry Field, a Salvation Army children’s home near his childhood house in Woolton, the song blends childhood nostalgia with surreal, psychedelic imagery.
Known for constantly breaking musical boundaries, The Beatles pushed themselves further than ever in the studio with 'Strawberry Fields Forever'. They famously fused two different versions of the song, layering Mellotron, tape loops, Indian swarmandal, and backward effects to create a sonic tapestry that became a landmark of 1960s psychedelia. The result was a masterpiece that not only captured the imagination of listeners but also set a new bar for what pop music could achieve.
Lyrically, the song reflects Lennon’s memories of playing in the garden behind Strawberry Field alongside his friends Pete Shotton, Nigel Walley, and Ivan Vaughan. There’s a sense of innocence in these recollections, tinged with the surreal and introspective qualities that defined his later songwriting. Childhood experiences, like the annual garden parties in nearby Calderstones Park with Salvation Army brass bands, also informed the imagery. Lennon’s aunt, Mimi Smith, recalled: “There was something about the place that always fascinated John. He could see it from his window … He would pull me along, saying, ‘Hurry up, Mimi, we’re going to be late.’”
Yet the song is not just about nostalgia. Written during a period of profound personal and cultural upheaval, after The Beatles stopped touring and following the backlash Lennon faced for claiming the band was “bigger than Jesus”, 'Strawberry Fields Forever' also conveys feelings of isolation, introspection, and a longing for connection. Lennon himself reflected on the universality of the experience: “Strawberry Fields is just anywhere you want to go.” He later alluded to a deep empathy with the orphans at the home, seeing in them a reflection of his own sense of abandonment and difference: “There was something wrong with me,” he said. “I thought, because I seemed to see things other people didn’t see.”
Combining childhood innocence, personal reflection, and experimental psychedelia, 'Strawberry Fields Forever' stands as one of the greatest songs of the 1960s and one of The Beatles’ most important releases. Its haunting melody, inventive production, and emotional depth continue to resonate, cementing its place as a timeless masterpiece.
13. Echo & The Bunnymen- The Killing Moon
Released in 1984 as the lead single from their fourth studio album, 'Ocean Rain', it’s the track most people still associate with the band, and for good reason. From its swirling strings to its cryptic, dream-born lyrics, it captures everything that made the Bunnymen so compelling at their creative peak.
Frontman Ian McCulloch famously claimed that the song’s unforgettable chorus: “Fate up against your will / Through the thick and thin / He will wait until / You give yourself to him” came to him in a dream. He woke up in the middle of the night, scribbled the words down on a piece of paper by his bed, and never changed a single line. For McCulloch, this wasn’t traditional songwriting; it was more like receiving a message, a lyric delivered by some divine force in a dreamlike state.
This powerful moment of inspiration shaped the entire mood of 'The Killing Moon'. McCulloch has said it felt like fate itself was speaking through him, a reminder that some things lie beyond human control. That theme runs deep in the song: surrendering to forces greater than ourselves, whether fate, love, or destiny. The mysterious origin of those lines adds to the track’s mythic aura, giving it an almost sacred quality that still resonates decades later.
“I’ve always thought God wrote it,” McCulloch said in an interview years later. In the album credits, he backed that up by listing God as a co-writer alongside himself, Will Sergeant, Les Pattinson, and Pete de Freitas. Whether tongue-in-cheek or sincere, it only added to the track’s legendary status.
But spiritual inspiration wasn’t the only unexpected influence. The musical DNA of 'The Killing Moon' can be traced back to another celestial work, David Bowie’s 'Space Oddity'. Guitarist Will Sergeant revealed that the song’s distinctive chord progression came from playing Bowie’s classic backwards.
The band were experimenting in the studio when Sergeant reversed the chords, and something just clicked. It sounded strange, but beautiful. They built on that idea with layers of mood and melody. The song came together like a dark spell: minor chords, echoing arpeggios, and string arrangements that seemed to stretch out into infinity.
When 'The Killing Moon' was released as a single, it climbed to No. 9 on the UK Singles Chart, giving Echo & the Bunnymen their highest-charting single to date. It was a moment of real mainstream recognition for a band that had long operated just outside the pop spotlight. Suddenly, they weren’t just cult heroes, they were chart contenders.
It’s one of those songs that seems to grow in stature with every passing year, not because of nostalgia, but because it still sounds fresh, mysterious, and totally original. Put it on today, and it still casts the same spell it did 40 years ago.
14. The La's- Timeless Melody
Another classic from Liverpool’s “lost band,” 'Timeless Melody' is the third track on The La’s only studio album. It’s a perfect distillation of their sound: a unique blend of Merseybeat, The Beatles, The Byrds, and a hint of punk energy. Clocking in at just over three minutes, it’s a short, snappy affair that manages to encapsulate everything the band stood for: melodic brilliance, jangly guitars, and lush harmonies that feel both effortless and meticulously crafted. It’s a timeless pop gem, instantly familiar yet unlike anything else we’ve ever heard—and, to be honest, unlike anything we’ve heard since.
Where 'Looking Glass' is sprawling and cinematic, 'Timeless Melody' is compact and immediate. Its brevity only heightens its impact, with each note and phrase honed to perfection. In many ways, the song is a meditation on the power of music itself: a “song about songs,” celebrating the joy and beauty that a melody can bring. Lee Mavers’ songwriting here is nothing short of divine, revealing his genius in its purest, most concentrated form.
The mystique surrounding Mavers only adds to the song’s allure. Following the release of the album, which he famously despised for failing to live up to his own mythic expectations, he became something of a recluse, appearing publicly only a handful of times. The story of The La’s is at once magical and a little mad: a single, extraordinary record, a reclusive songwriter, and a cache of songs many would give anything to hear. 'Timeless Melody' stands as both a testament to Mavers’ brilliance and a tantalising glimpse of what might have been.
The song was originally set to be the band’s third single in 1989. However, after sessions with producer Jeremy Allom, Mavers decided it didn’t sound quite right. His perfectionism had by then tipped into near-paranoia. The band, which had existed since 1983 and released two singles, simply saw the third single dropped at his insistence. This decision only added to the legend of Mavers, a meticulous, obsessive talent whose high standards left the world wanting more, and whose few releases remain all the more precious because of it.
15. Circa Waves- T-Shirt Weather
Now this is what you were expecting: a fired-up festival anthem. 'T-Shirt Weather' has become Circa Waves’ most famous song, appearing on their 2015 debut album 'Young Chasers'. Since its release, it has soundtracked long summer nights, indie discos, and festival sets up and down the country. Its irresistible, sing-along chorus is pure earworm material that you can’t help but belt out, arms in the air, fully caught up in the moment. It’s a song made to be shouted at the top of your lungs, and it perfectly captures the youthful energy and exuberance that define the band.
Musically, the track combines jangly guitars, driving rhythms, and an infectious melody, all propelled by Kieran Shudall’s punchy, energetic vocals. The song balances indie-pop polish with raw, live-band immediacy, making it a perfect bridge between studio perfection and festival-ready spectacle. Its anthemic quality has helped cement Circa Waves’ reputation as one of Britain’s best live bands. No show feels complete without 'T-Shirt Weather', and the crowd participation it inspires is proof of its enduring appeal.
Even a decade after its release, the song retains the same exhilarating charm it had on day one. It’s a celebration of carefree summer moments, youthful optimism, and the joy of being completely swept up in music with friends. 'T-Shirt Weather' isn’t just a song, it’s an experience, a declaration of why Circa Waves remain one of the most exciting live acts on the British indie scene.
16. The Lightning Seeds- Pure
Now this is another essential track in Liverpool’s indie canon, on 'Pure' by The Lightning Seeds. Released in 1989 as part of their debut album 'Cloudcuckooland', the song immediately established Ian Broudie as a songwriter of extraordinary melodic sensitivity. 'Pure' is sparkling, uplifting, and deceptively simple, a breezy, jangly pop gem that manages to feel both intimate and expansive. It's clean guitars, chiming synth lines, and buoyant rhythm create an instantly recognisable sound, while Broudie’s warm, wistful vocals give it a personal, heartfelt edge.
Broudie had already built a reputation as a key figure in the Liverpool music scene before The Lightning Seeds. As a producer and collaborator, he worked with many local acts, helping shape the sound of the city’s indie and post-punk output in the 1980s. He was part of a new wave of Liverpudlian musicians who emerged after the punk explosion, following in the footsteps of seminal acts like Big in Japan, the influential late-1970s band whose members went on to form or influence other notable Liverpool acts, including Frankie Goes to Hollywood and The Teardrop Explodes. Broudie’s work as a producer and his own musical output bridged the gap between that pioneering punk energy and the melodic sophistication of the city’s later indie scene.
With The Lightning Seeds, Broudie stepped into the spotlight as both performer and songwriter, translating his encyclopedic knowledge of melody and arrangement into songs that were immediately accessible yet sophisticated. 'Pure' is a song about clarity, joy, and emotional honesty. Its lyrics are simple but evocative, celebrating moments of beauty and human connection.
Beyond its musical qualities, 'Pure' helped cement The Lightning Seeds as a key part of Liverpool’s indie renaissance in the late 1980s and early 1990s. Broudie’s presence in the c, ty: as a producer, mentor, and musician, meant he was uniquely positioned to draw on Liverpool’s rich musical heritage while creating something fresh and modern. From the punk trailblazing of Big in Japan to Broudie’s melodic mastery, the city’s musical lineage runs clearly through the song. Its enduring appeal lies not just in its melody but in the sense of optimism, clarity, and emotional resonance that Broudie brought to every note, a reminder of why he remains one of Liverpool’s most influential musical figures.
17. The Zutons- Valerie
A noughties classic, 'Valerie' is a song about a mysterious girl the band met in America, someone whom lead singer Dave McCabe briefly dated. Written as a heartfelt love letter, the lyrics tell the story of a woman who had been arrested abroad, blending longing, affection, and storytelling into one unforgettable indie gem. The song perfectly captures the bittersweet charm and melodic inventiveness that defined The Zutons, making it a standout track from the mid-2000s indie scene.
Of course, many people were first introduced to 'Valerie' in 2006 when it was famously covered by the legendary Amy Winehouse and Mark Ronson. Their version brought a soulful, Motown-inspired twist to the track, giving it a new lease on life and introducing it to a much wider audience, including, for many, their first encounter with the song.
Even beyond the cover, 'Valerie' remains a quintessential indie classic: witty, heartfelt, and irresistibly catchy. It’s the kind of song that sticks with you, whether you’re singing along at a live show, blasting it in your headphones, or discovering its charm for the first time years later. The story, the melody, and the emotion combine to make 'Valerie' a timeless entry in the canon of 2000s British indie music
18. The Wombats- Let's Dance to Joy Division
An ironic masterpiece, 'Let's Dance to Joy Division' recounts a night out in Liverpool when the band’s lead singer, Matthew Murphy, and his then-girlfriend danced on a table to Joy Division’s famously dark and melancholic 'Love Will Tear Us Apart'. This memorable night took place at the nightclub Le Bateau, a hub of Liverpool’s indie scene at the time, and a venue that would later be name-checked in a Circa Waves song, linking the city’s musical generations. While the original Joy Division track is steeped in gloom, 'Let's Dance to Joy Division' flips the mood entirely; it’s upbeat, celebratory, and undeniably infectious, transforming melancholy into euphoria.
Musically, the track is quintessential indie pop: jangly guitars, driving drums, and catchy hooks combine with Murphy’s witty and charismatic vocals to create a song that’s impossible not to sing along to. Its playful lyrics, full of humour and self-awareness, contrast brilliantly with the source material it references, adding a layer of irony that makes the song both clever and relatable.
Released in 2007 as part of The Wombats’ debut album 'A Guide to Love, Loss & Desperation', the song quickly became a fan favourite and a festival anthem. It perfectly captures the energy of youthful nights out, the exhilaration of reckless fun, and the way music can transform even the darkest songs into shared joy. Over a decade later, 'Let's Dance to Joy Division' remains one of The Wombats’ signature tracks. A playful, raucous indie classic that continues to ignite dance floors and sing-alongs across the world, with its roots firmly planted in Liverpool’s vibrant nightlife.
19. The La's- There She Goes
The birth of Britpop? A love song about heroin? Both have been said about this brilliant track. 'There She Goes' was written in 1987 in Paul Hemmings’ stable come home studio and quickly became the blueprint for The La’s signature sound. Constructed around an endlessly cycling riff and a yearning lyric about an unattainable girl, Hemmings added a complementary riff on top, and with subtle nods to the Velvet Underground’s 'There She Goes Again', the song was complete.
At just over two and a half minutes, it’s a near-perfect slice of indie jangle pop, a romantic, melodic gem that immediately captured attention. Those who first heard it at The Picket in June 1987 knew they were witnessing something special. Its simplicity, shimmering guitars, and infectious melody made it instantly memorable, and it remains one of the most enduring songs to emerge from the Liverpool indie scene.
The song’s lyrics have sparked speculation for decades. Despite references to a female “she,” some listeners believe the track is about heroin, pointing to lines like: "Pulsing through my vein / And I just can't contain / This feelin' that remains."However, all members of The La’s have firmly denied this interpretation. Paul Hemmings clarified in a 1995 interview with Udiscover Music: "Also, one thing I want to get straight for good about 'There She Goes' is that whatever it is about, it’s absolutely not about heroin. There’s been a lot of speculation over the years, but Lee told me emphatically that it isn’t about heroin during a long train journey from London to Liverpool we shared."
At the time of writing, Mavers didn’t even have enough money for drugs. His songwriting during this period was instead cosmic and instinctive. In a 1990 Melody Maker interview, he explained: "The phrasing, the rhythms just come to me. And then I trace over them, like with tracing paper, the words and melody. I usually take five minutes to write a song; it just happens. It's like a medium; his mind takes over. The subconscious is always better than the conscious. There's star material, not like pop star shit; there's a light in all of us. You've just got to levitate to the right level."
Although 'There She Goes' was fully formed by the band's now famous 1987 show at the Picket in Liverpool (albeit with a slightly different middle eight), it would take around a year, three studios, and three producers before the song was officially released. After an initial, frustrating session with Cure producer David M. Allen at Ezee Studios in London, the band tried again with John Leckie at Chipping Norton Studio in March 1988, just before he began work on The Stone Roses’ debut.
Finally, in July 1988, The La’s recorded the single with Bob Andrews at Woodcray Studios in Wokingham. Andrews, who had previously worked with Jona Lewie, Tenpole Tudor, and The Bluebells, found Mavers a demanding musician. By this point, Mavers had become obsessed with sonic perfection—he instructed engineers to place microphones in trees, inside a Steinway piano to capture string vibrations, and even tuned his guitar to match the frequency of a refrigerator buzz. Andrews recalled: "While we got on quite well, he was hard to deal with. We were in a residential studio, so after dinner I might mention something the song needed and Lee would be, ‘Right, let’s do it now.’ Then the next day, he might not like it, then another day, he might like it again. But I had to strike while the iron was hot."
The single version, drawn from the sessions with Andrews, was released in November 1988, a full year after the band’s debut, 'Way Out'. It failed to crack the UK Top 50 at the time, but its legacy has only grown. Over the decades, 'There She Goes' has become one of the most iconic tracks in British indie pop, a flawless blend of jangly guitars, melodic precision, and wistful longing. Its influence stretches far beyond Liverpool, inspiring generations of bands and helping to shape the Britpop movement. Despite its modest chart performance, the song endures as a true classic, a testament to Lee Mavers’ meticulous songwriting and the enduring magic of The La’s.
20. OMD-Enola Gay
One of Britain’s synth-pop classics, 'Enola Gay' carries a dark undertone beneath its infectious melodies. The song, written by Liverpool’s Orchestral Manoeuvres in the Dark in 1980, is named after the B-29 Superfortress that dropped the first atomic bomb on Hiroshima at the end of World War II, events that took place 35 years prior and 5,800 miles away. Despite the geographical and temporal distance, OMD crafted a song that is both thought-provoking and musically irresistible, questioning morality, responsibility, and the human cost of war.
'Enola Gay' is the iconic single from OMD’s debut album 'Organisation', and it quickly became the band’s signature track. Its distinctive synth-pop sound—a bright, futuristic melody layered over precise electronic rhythms—contrasts sharply with the grim subject matter, creating a striking and memorable tension. The lyrics grapple with the moral and ethical implications of the atomic bombings of Hiroshima and Nagasaki. Lines like “It shouldn’t ever have to end this way” reflect the devastating consequences of nuclear warfare, while the repeated phrase “It’s 8:15, and that’s the time that it’s always been” hauntingly references the exact moment of the bomb’s detonation, capturing the permanence of its impact.
The song’s title and lyrics also contain subtle personal allusions. “Is mother proud of Little Boy today?” references both the bomb’s nickname, Little Boy, and the pilot, Colonel Paul Tibbets, who named the plane after his mother, Enola Gay Tibbets. This layered detail emphasises the human dimension behind one of history’s most destructive events.
What makes 'Enola Gay' particularly remarkable is how a band from Liverpool, so far removed from the events of Hiroshima managed to create a track that is simultaneously a pop anthem and a profound historical commentary. Its combination of infectious synth hooks, driving rhythm, and thoughtful, morally reflective lyrics set a new standard for electronic pop music, influencing countless British synth and guitar acts in the decades that followed.
OMD’s ability to confront such a sensitive topic with intelligence, creativity, and melodic sophistication is a testament to their vision. More than 40 years later, 'Enola Gay' remains fresh and relevant, it's sound as forward-looking as its message is timeless, a rare example of pop music that entertains while compelling listeners to reflect on one of the most significant moments of the 20th century.
21. John Lennon- Imagine
'Imagine' is one of the most iconic and enduring songs of the 20th century, and its author, John Lennon, remains one of Liverpool’s most famous and influential sons. Released in 1971 on the album of the same name, the song showcases Lennon at his most reflective and idealistic, offering a vision of peace, unity, and a world without borders, possessions, or divisions. Its simplicity, piano-driven melody, understated arrangement, and gentle vocals highlight the power of its message, which has resonated across generations and around the globe.
Lennon’s impact as a musician cannot be overstated. As a member of The Beatles, he helped transform popular music, pushing creative boundaries in songwriting, recording techniques, and cultural expression. Beyond the Beatles, his solo work, epitomised by 'Imagine', established him as a voice for social consciousness and political reflection. The song’s lyrics are so simple and yet so direct. Instantly recognisable, carrying a universal message that continues to inspire artists, activists, and audiences alike.
Some of its lines are the best lyrics Lennon ever wrote.
"Imagine there's no heaven
It's easy if you try
No hell below us
Above us, only sky"
"You may say I'm a dreamer
But I'm not the only one
I hope someday you'll join us
And the world will be as one"
They're not just words without meaning, though; Lennon means every word he sings on his most famous solo song. It's more than a hit single; it's his manifesto for the world he wants to live in.
Born in Liverpool in 1940, Lennon’s connection to his hometown is central to his story. The city’s working-class spirit, rich musical heritage, and vibrant culture shaped him into a restless, imaginative, and rebellious artist. From the early days of skiffle and rock ’n’ roll in Liverpool clubs to his meteoric rise with The Beatles, Lennon’s roots remained an integral part of his identity. His influence on Liverpool’s music scene is immeasurable; he not only put the city on the global map but also inspired countless musicians who came after him, from the post-punk era to modern indie acts.
'Imagine' is more than a song; it is a cultural touchstone, a statement of hope and idealism that continues to resonate decades after its release. Its piano-led simplicity allows the message to shine through, making it both accessible and profound. Lennon’s artistry, lyricism, and fearlessness as a musician combined to produce a work that transcends its time, reinforcing his reputation as one of the greatest songwriters of all time.
22. Wings- Band on the Run
'Band on the Run' is one of Paul McCartney’s most iconic post-Beatles songs, and a crowning achievement for his band Wings. Released in 1973 as the title track of the album 'Band on the Run', the song is a multi-part epic, blending rock, pop, and orchestral textures into a thrilling, cinematic journey. Its lyrics, telling the story of outlaws escaping from captivity, combine adventure with a sense of liberation, mirroring McCartney’s own break from the shadow of The Beatles and his embrace of artistic freedom.
McCartney may be the most famous son of Liverpool, and one of the most famous musicians ever. Born in 1942, his early years in the city shaped his musical sensibility, from the skiffle craze of the 1950s to the explosion of Merseybeat in the early 1960s. As a Beatle, McCartney helped transform popular music, co-writing some of the most enduring songs in history, from 'Yesterday' to 'Hey Jude'. After The Beatles disbanded in 1970, McCartney embarked on a solo career, quickly forming Wings with his wife Linda McCartney and guitarist Denny Laine, demonstrating that his creativity and ambition were far from over.
'Band on the Run', recorded under challenging circumstances in Lagos, Nigeria, exemplifies McCartney’s ingenuity as a songwriter and bandleader. The album itself was a critical and commercial triumph, showcasing his ability to craft songs that were both ambitious and accessible. The title track, in particular, has become emblematic of McCartney’s post-Beatles brilliance: a song that is simultaneously narrative, anthemic, and melodically irresistible. Its layered instrumentation, shifting tempos, and soaring chorus encapsulate everything that makes McCartney’s songwriting so enduring: catchy yet complex, emotionally resonant, and endlessly inventive.
Wings’ career, spanning the 1970s, was defined by a string of hits, including 'Live and Let Die', 'Jet', and 'My Love', each demonstrating McCartney’s gift for melody, arrangement, and performance. Yet 'Band on the Run' remains the song most synonymous with his post-Beatles artistry: a statement of independence, creativity, and enduring musical ambition. It cemented his reputation as not only a former Beatle but as a pioneering artist in his own right, capable of producing work that stood shoulder-to-shoulder with the legendary catalogue he had helped create in The Beatles.
Through Wings and his solo career, McCartney has influenced generations of British musicians, proving that his inventiveness and melodic genius extend far beyond the Beatles era. 'Band on the Run' is more than a song, it's a highlight in one of the greatest contributions to popular music ever.
23. George Harrison- What Is Life
'What Is Life' is one of the standout tracks from George Harrison, often dubbed the “quiet Beatle,” and remains a favourite for many fans of the band and his solo work alike. Released on 15 February 1971, it appeared on 'All Things Must Pass', Harrison’s first post-Beatles album to reach Number One, a milestone achieved shortly after the UK chart-topping success of his first solo single, 'My Sweet Lord'. It was also the first post-Beatles single to top the charts.
The song is a joyful, exuberant expression of love and gratitude, driven by Harrison’s signature slide guitar, lush production, and uplifting melody. While Harrison was often overshadowed by Lennon and McCartney during his time in The Beatles, 'What Is Life' showcases his unique ability to blend introspective lyricism with irresistible pop sensibilities. It's infectious riff, buoyant rhythm, and rich backing instrumentation, including contributions from the legendary “Wall of Sound” producer Phil Spector.
Harrison’s emergence as a solo artist marked a turning point, allowing him to step out of the shadow of his bandmates and fully explore his musical and spiritual interests. 'All Things Must Pass' and songs like 'What Is Life' reveal Harrison’s gift for crafting songs that are both deeply personal and universally resonant. It's optimistic, life-affirming lyrics:
"But my love is there for you any time of day
But if it's not love
That you need
Then I'll try my best to make everything succeedIt "
combines with a soaring, anthemic chorus to create a track that has become a staple of classic rock radio and a highlight of Harrison’s live performances.
Born in Liverpool in 1943, Harrison is part of the city’s extraordinary musical lineage, alongside fellow sons John Lennon and Paul McCartney. His work helped expand the possibilities of popular music, incorporating elements of Indian instrumentation, spiritual reflection, and rich harmonic textures into mainstream rock. During his time with The Beatles, Harrison contributed some of the band’s most enduring songs, including ‘While My Guitar Gently Weeps’, ‘Here Comes the Sun’, and ‘Something’, the latter famously praised by Frank Sinatra as “the greatest love song ever written.” Though often limited to fewer tracks per album compared to Lennon and McCartney, his songs consistently stood out for their emotional depth, melodic sophistication, and spiritual undertones. 'What Is Life' in particular has influenced countless British and international artists, bridging the gap between Beatles-era pop and the solo artistry that defined the early 1970s.
Decades later, 'What Is Life' remains a testament to Harrison’s talent, optimism, and enduring influence. It is a song that continues to resonate with new generations, a joyful and timeless statement from one of Liverpool’s most celebrated musicians, and a reminder that even the “quiet Beatle” could create work as vibrant and powerful as his bandmates.
There were so many of his songs I could have picked for George, in my opinion, his solo career is the best out of the former Beatles, and it's not even close!
24. The Coral- Goodbye
When The Coral burst onto the scene in 2002 with their self-titled debut album, they were barely out of their teens, yet they sounded like seasoned veterans drawing on decades of British guitar music. Hailing from Hoylake on the Wirral, just across the water from Liverpool, the band fused psychedelia, Merseybeat, sea shanties, ska, country, and modern indie into something entirely their own. Their debut was an astonishing statement of intent, shortlisted for the Mercury Prize, and packed with songs that showcased their fearless eclecticism. Tracks like ‘Dreaming of You’, ‘Shadows Fall’ and ‘Goodbye’ captured the public’s imagination, instantly marking them as one of the most exciting and original new bands of the era.
At the heart of the record is ‘Goodbye’, a track that crystallises everything special about The Coral. It’s moody, mysterious, and dripping with atmosphere, with James Skelly’s vocals carrying both menace and melancholy. The swirling guitars and eerie organ lines give the song a timeless quality, as if it could have been unearthed from a lost psych-folk archive rather than written by a group of 20-year-olds. Lyrically, it has a dark, theatrical edge, more gothic fairytale than straightforward pop song, setting The Coral apart from many of their indie contemporaries.
Part of what made The Coral so distinctive was their ability to absorb and reinterpret their influences. From Liverpool, they inherited the melodic directness of The Beatles, the melancholia of Shack, the jangle of The La's and the experimental edge of Echo & the Bunnymen and The Teardrop Explodes. Beyond their city, they took inspiration from Captain Beefheart, Love, The Doors, The Byrds, and even Jamaican ska and dub, creating a wild, kaleidoscopic sound that felt rooted in tradition yet completely fresh. This fearless genre-blending meant that a track like ‘Goodbye’ could sit comfortably alongside a jaunty pop gem like ‘Dreaming of You’ on the same record without sounding incoherent.
‘Goodbye’ also showed the band’s boldness early on; they weren’t content to just write catchy singles (though ‘Dreaming of You’ would later become a beloved indie disco staple). Instead, they leaned into a sound that was rich, unsettling, and evocative, proving their range from the very beginning. Listening back today, it still feels like a daring and mature piece of work, the kind of song most bands wouldn’t attempt until years into their career.
An exceptional record.
25. The Beatles- A Day in the Life
The internal universe exploded; the everyday made epic. Lennon’s ‘Sgt. Pepper…’ closer filtered a series of newspaper clippings, from the death of Guinness heir Tara Browne to roadworks in Blackburn, Lancashire, through LSD-tinted lenses and emerged as a world-beating vision. Out of these mundane details came ‘A Day in the Life’, a song that not only ended the album but redefined what a rock record could be.
The track brought the landmark 1967 album ‘Sgt. Pepper’s Lonely Hearts Club Band’ to a close and provided The Beatles with one of their most transcendent moments, on what many regard as their greatest artistic achievement. Lennon’s dreamlike verses turned the news into surreal reflections, only pausing for McCartney’s jaunty middle section — a brisk sketch of his own childhood routine in Liverpool, running for the bus and drifting into workaday repetition. This sudden gear shift provided a sharp counterpoint, before the song slipped back into Lennon’s detached, cosmic musings.
What truly set the track apart, though, was its sonic daring. The two orchestral crescendos, now considered the most famous in rock history, saw a 40-piece symphony orchestra climb in chaotic unison from the lowest to the highest notes, conjuring an overwhelming surge of sound that felt both anarchic and meticulously orchestrated. The final piano chord, struck simultaneously by Lennon, McCartney, Starr, and George Martin on multiple keyboards, reverberated for nearly a full minute, hanging in the air like a question without an answer. It seemed to suspend time itself, leaving listeners adrift between reality and dream.
The song’s impact was immediate and seismic. Critics hailed it as proof that pop music could rival classical composition in ambition and artistry, while fans were left spellbound by its mix of grandeur and intimacy. Its influence rippled outward, inspiring generations of musicians in Liverpool and beyond to think bigger, to treat rock not just as entertainment but as art.
Decades later, ‘A Day in the Life’ remains the ultimate statement of The Beatles’ creativity, a song that transforms the ordinary into the extraordinary, stretching the boundaries of popular music and reminding us of the limitless potential of imagination.
So that brings us to the end. A city that has given us some of the greatest songs ever, and there's what I thought were 25 of the best. What did I miss?
Thank you for reading
Jack