20 Sep
On the 6th Day God Created. Manchester

The Best 25 Songs from Manchester 

In this post, I’ll take you through what I think are the best 25 songs from this great city.

This list is in no particular order; the numbers don’t carry any significance. Expect a mix of classics, shoe-ins, and hidden gems.
Also, for this list: Stockport is in Greater Manchester, not Cheshire!

So, in no particular order. 

1. The Smiths- How Soon is Now

Released as a 1984 B-side, this hypnotic masterpiece centres around Johnny Marr’s iconic guitar work. The song feels futuristic, like it’s from a dystopian universe. It’s The Smiths at their peak. It's probably my favourite by the band; it's one of the most unique guitar sounds ever put on record. A timeless piece of British guitar pop. 

First released as the B-side to the single 'William, It Was Really Nothing' before later being featured on the compilation album 'Hatful of Hollow'. From the very first note, Johnny Marr’s hypnotic, oscillating guitar riff creates a soundscape that’s otherworldly and deeply haunting. Marr produced a sound that was lightyears ahead of its time. This riff, now iconic, seems to pulse and shimmer, evoking a sense of mystery and isolation that perfectly complements Morrissey’s introspective lyrics.

Lyrically, the song tackles loneliness and aching to belong, trying to find a connection where you feel constantly on the fringes.  Morrissey’s lyrics capture a deep sense of alienation and longing: “I am human, and I need to be loved / Just like everybody else does.” It’s one of his most direct and painfully honest lines.

It’s a raw depiction of loneliness, of the awkwardness that so many feel but rarely articulate. “I am the son and the heir / Of a shyness that is criminally vulgar.”

While the words are simple, they hit hard, resonating with anyone who’s ever felt invisible in a crowd or struggled to connect.
An anthem for the introverts, that engulfs the listener. With hypnotic guitars and beautiful yet brutal lyrics. It's an expansive song that feels huge when listening. 

Providing a snapshot into the thoughts and feelings of the misfits, introverts and those who feel out of place. Giving them a sense of hope and belief that there is someone for them out there. You are not alone.

Quite simply the best b-side ever, the best song by the most important British band of all time, and if push comes to shove, the greatest song of the 1980s.

2. The Stone Roses- Waterfall

From their legendary debut album, Waterfall is a psychedelic indie classic. It’s the track that introduced me to The Stone Roses and began my journey into their world. One of the most psychedelic songs on this list it's still one of my favourite pieces of music. Vibrant and dreamlike.

The song really showcases the depth of Squire's guitar playing, as John Robb comments in his brilliant book, 'Resurrection of British Pop:
"Waterfall rides in on that burning arpeggio. A spooked figure, it shimmers with that updated psychedelic that the band were now so adept at trading … when the acoustic guitar drops in near the end, it shifts another gear, you sit back and wait for one of those glorious churning endings that the Roses specialised in, but it tantalisingly goes to a fade out.

Despite its guitar playing, the song has a very folk feel. According to the producer John Leckie, Ian Brown had envisaged a “Byrds/Simon & Garfunkel thing”. When asked what the song was about, Brown said, “about a girl who sees all the bullshit, drops a trip and goes to Dover. She’s tripping, she’s about to get on this boat and she feels free”. 

Squire who helped write the lyrics has never fully explained what the song was written about. DJ Pete Mitchell believed that the song was partially about Squire’s loathing of the Americanisation of Britain (see “This American satellite’s won”). Proof? Squire’s own oil on canvas Waterfall (1988) meshes the Union Jack and Stars and Stripes flags. So maybe the lyric is about both. Who knows?

3. Oasis- Slide Away.

The best Oasis song, bar none. A raw emotional love song that talks through every stage of a relationship. Sung by a man who means every single word. It's a song that conquers all, written, recorded and sung by a band who were about to conquer the world. This is still some of Noel's best work. 

Every aspect of 'Slide Away' shows why it's the ultimate love song in Oasis's catalogue. It moves through every phase of a relationship, from longing "I dream of you and all the things you say / I wonder where you are now?" to the giddy anticipation of the future "I dream of you and we talk of growing old / but you said please don't." It captures melting-into-each-other devotion, "Let me be the one who shines with you, and we can slide away," boundless optimism ", Now that you're mine, we'll find a way, of chasing the sun," and reckless abandon. I don't know! I don't care! All I know is you can take me there!" No other Oasis song touches so many phases of love.

Musically, it's a masterclass in tension and release. The guitars both shimmer and roar. The rhythm section pushes the song forward without heaviness. Liam's vocals soar with raw conviction. There's an urgency, a sense that every phrase could be the last. The song grows in magnitude with each listen, revealing new layers of feeling and musicianship.

What makes 'Slide Away' special is its timelessness. Unlike some Oasis tracks anchored to their era, this song transcends time. It could have been written yesterday or fifty years ago, and it would still hit with the same emotional force. It's the ultimate declaration of desire, devotion, and rock' n' roll energy.

For Liam, this is a standout performance. He puts real feeling into every note and every word. Picture a crowded pub, with 'Slide Away' coming to life through a dusty jukebox. It's as if time stands still for a moment, and you find yourself swept up in a rush of emotions, longing, joy, hope, and even a bit of wildness. Not many songs capture so much passion, but 'Slide Away' does it with striking power. It's this ability to conjure vivid memories and emotions that makes it resonate on such a personal level.

4. Joy Division- Transmission

This electrifying track captures the essence of Joy Division’s raw post-punk energy. With its pulsating rhythm and Ian Curtis’ commanding vocals, ‘Transmission’ became an anthem for a generation. Its influence on Manchester’s music scene, and on the Madchester movement, cannot be overstated. This song marked the beginning of Manchester being one of the most important musical cities in the world.

Released as Joy Division’s first single with Factory Records in 1979, ‘Transmission’ represented a turning point for the band. Up to that point, they had been steadily refining their sound, moving beyond the raw edges of punk into something darker and more atmospheric. The song’s driving bassline from Peter Hook, paired with Bernard Sumner’s sharp guitar stabs and Stephen Morris’ urgent drumming, laid the foundation for a sound that was both minimalist and powerful. Over it all, Ian Curtis delivered a performance that was at once hypnotic and commanding, capturing the emotional intensity that would come to define the band’s brief but remarkable career.

Within the context of Joy Division’s discography, ‘Transmission’ stands as a crucial step between their early raw recordings and the haunting sophistication of their later albums, ‘Unknown Pleasures’ and ‘Closer’. It showed that the band could channel their energy into a focused, anthemic form without losing the starkness and tension that made them unique. While their studio albums revealed a band capable of creating bleakly beautiful soundscapes, ‘Transmission’ was a declaration of intent—a call to arms that demanded to be heard on the stage and the dance floor alike.

The enduring power of ‘Transmission’ lies not just in its sound but in its role in Joy Division’s legacy. It became one of the definitive songs of the post-punk era, influencing generations of artists across rock, electronic, and indie music. For Joy Division, it was the song that solidified their place in history, setting the stage for both their own groundbreaking work and, after Curtis’ tragic death, the emergence of New Order. Even today, ‘Transmission’ remains a timeless marker of Joy Division’s career, a track that continues to pulse with the urgency of a band that forever changed modern music.

5. The Chameleons- Swamp Thing

 A hidden gem in Manchester’s musical history, Swamp Thing features haunting vocals and an industrial edge to its instrumentation. The song’s sprawling, atmospheric sound and anthemic quality influenced countless Manchester bands. It’s a song that deserves far more recognition than it gets by a band that also doesn't get the credit it deserves.

What makes the song especially significant is its role as a bridge between post-punk intensity and the emerging alternative rock of the late ’80s and early ’90s. Its atmosphere can be heard echoed in later Manchester acts who balanced grit with grandeur, from the shoegaze-inspired swells of the early ’90s to the atmospheric leanings of Britpop’s deeper cuts. Though the band behind ‘Swamp Thing’ never achieved the household-name status of Joy Division, The Stone Roses, or Oasis, their influence reverberates in the DNA of Manchester’s sound.

Noel Gallagher, in particular, has stated his love for this record and said that he's heard himself using elements from both 'Swamp Thing' and its parent album 'Strange Times'

6. Blue Monday

Released in 1983, just 3 years after the death of Ian Curtis. Blue Monday became a landmark release, becoming the biggest-selling 12-inch single of all time. The track’s groundbreaking blend of electronic dance music and rock elements influenced countless artists and marked the beginning of a new era in music production. It also marked a new beginning for New Order; they had left Joy Division behind them and were forging a new path.

At first listen, 'Blue Monday' stands out for its minimalist, mechanical beats, which were groundbreaking at the time. This is dance music in its most skeletal form, written and recorded by a band who weren't sure what exactly they were doing. The iconic opening is driven by the relentless thud of a drum machine, soon followed by layers of pulsating synthesisers, a deep bassline, and Bernard Sumner's detached, almost robotic vocals.

What makes the song remarkable is that it defies conventional song structures. With a length of over seven minutes, it lacks a typical chorus, building instead around a hypnotic progression that gradually unfolds. Despite this non-standard formula for creating a song, the song became a hit at the time and has become one of the most important records of its era. 

It remains the best-selling 12-inch single of all time, a format choice that emphasised the song’s dance-floor appeal. The single gained immense popularity in clubs, helping to blur the lines between rock, dance, and electronic music.

The song’s influence extended beyond the music scene. Its iconic floppy-disc-inspired cover design, created by Peter Saville, became a visual symbol of the 1980s, representing the intersection of technology and art. The design featured no band name or song title, just a cryptic set of colored code blocks, which many fans didn’t immediately realise was an encoding of the title and catalogue number. Catalogue numbers were used by Factory Records to add meaning to items. 'Blue Monday' is catalogue number 'FAC-73'.

It has been said that due to the design of the sleeve, Factory Records lost money on every copy that was sold.  The intricate design, with its die-cut holes and the use of custom colours and matte finishes, costs far more than a typical sleeve. Factory Records, the independent label to which New Order was signed, didn’t seem to anticipate just how much demand there would be for the single or how expensive that demand would become.

Despite the loss of money, the sleeve for this record remains one of the most iconic pieces of album art ever; it symbolises not only an important musical moment, but an important moment in design and pop culture. This song still sounds fresh and modern, and it paved the way for New Order's career. The band left Joy Division behind and took a huge step into uncharted territory.

7. 808 Pacific State.

This 1989 classic brought the sound of Acid House to the mainstream. Its lush saxophone melody and atmospheric production captured the euphoric essence of Manchester’s club scene. Pacific State became a defining track for both 808 State and the late-80s dance revolution. A firm favourite the the Hacienda and arguably Britain's first Acid House song.

The Hacienda nightclub, located in the heart of Manchester, was more than just a venue; it was a beacon for the burgeoning rave culture and the epicentre of the acid house movement. This nightclub, known for its eclectic mix of genres and notorious all-night parties, played a pivotal role in shaping the soundscape that would define a generation.

808 State, one of the most influential acts of the era, was at the forefront of this revolution. Comprised of Graham Massey, Gerald Simpson, and Martin Price, the group combined innovative drum machine programming with hypnotic synths to create a sound that captured the essence of the time: a thrilling, unrestrained escape into rhythm, bass, and melody.

'Pacific State', the track that would become their most well-known release, was the epitome of this style. Its smooth, swirling synths and laid-back groove were a far cry from the harder, faster beats that were dominating rave culture at the time. The track's mellow yet hypnotic flow made it an immediate classic, earning it a spot in clubs across the UK and beyond, including the infamous Hacienda. It captured the spirit of an era where music was about immersion and freedom, offering a soundtrack to a time of cultural exploration and nightlife escapism.

The creation of 'Pacific State' was as experimental as the track itself. Initially pieced together by Graham Massey and Gerald Simpson at Spirit Studios in Manchester, the early version emerged from a late-night jam session that blended analogue synths, saxophone samples, and sampled bird sounds recorded from a BBC effects album. Simpson’s love for jazz, combined with Massey’s studio know-how, helped birth the track’s distinctive, serene atmosphere.

Shortly after the track’s early recording, Gerald Simpson left the group to pursue a solo career under the name A Guy Called Gerald. It wasn’t long before he made his own mark on the scene with the release of 'Voodoo Ray', another landmark of UK acid house. With its quirky samples and hypnotic groove, 'Voodoo Ray' became a huge underground hit and cemented Simpson’s place in electronic music history. 

8. Happy Mondays- Kinky Afro

With its funky groove, witty lyrics, and Shaun Ryder’s distinctive drawl, 'Kinky Afro' blends indie, funk, and dance in a way only the Mondays could pull off. Released in 1990 as the opening track on Pills ’n’ Thrills and Bellyaches, the song set the tone for what would become the band’s most successful and enduring album. The record captured the Madchester movement at its peak, and Kinky Afro was its bold, cheeky calling card.

The track’s swaggering rhythm, driven by a looping bassline and irresistible beat, made it an instant dancefloor favourite. Its opening line, “Son, I’m thirty / I only went with your mother ‘cause she’s dirty”, became one of the most instantly recognisable lyrics of the era, encapsulating Ryder’s mischievous humour and unapologetic brashness. It was the perfect mix of indie rock attitude and club-ready energy, bridging two worlds that were colliding in late-’80s and early-’90s Britain.

Chart success soon followed, with the single reaching No. 5 in the UK, giving the Happy Mondays one of their biggest hits. More than just a commercial win, though, it symbolised how the band managed to channel the chaotic spirit of Manchester nightlife into music that felt fresh, vital, and impossible to ignore. For many fans, 'Kinky Afro' was the track that introduced them to the hedonistic, baggy swagger of the Mondays.

Today, the song is often remembered as one of the defining anthems of the Madchester scene, standing alongside classics by the Stone Roses and Inspiral Carpets. Its blend of funk grooves, indie edge, and dance sensibilities influenced countless acts that came after, paving the way for the rise of Britpop and beyond. More than three decades on, Kinky Afro still sounds as bold, playful, and infectious as ever, a reminder of why the Happy Mondays were both unpredictable and unforgettable.

9. Buzzcocks- Ever Fallen In Love (With Someone You Shouldn’t’ve)

A timeless punk-pop anthem, 'Ever Fallen in Love (With Someone You Shouldn’t’ve)' pairs raw energy with heartfelt lyrics about unrequited love. Its catchy melody and emotional resonance made it an instant classic, helping define the post-punk genre in the late 1970s. Pete Shelley’s poignant lyrics, coupled with his emotive delivery, capture the vulnerability and yearning of a love unreturned. The song’s driving rhythm and jangly guitar riffs inject a sense of urgency and intensity, creating a perfect balance between punk’s rebellious spirit and the vulnerability of pop.

Recorded at a time when punk was evolving into more melodic and introspective forms, 'Ever Fallen in Love (With Someone You Shouldn’t’ve)' exemplifies the Buzzcocks’ ability to combine heartfelt storytelling with the raw immediacy of punk. The track’s infectious chorus and tight arrangement made it both a critical and commercial success, securing its place as one of the defining songs of the era. Its themes of longing, frustration, and emotional turbulence resonated with a generation navigating both personal and societal upheaval.

Beyond its musical influence, the song also showcased the vibrant creativity emerging from Manchester at the time, marking the city as a fertile ground for groundbreaking music. Often regarded as one of the most underrated songs to come from Manchester, it remains a testament to the Buzzcocks’ brilliance in combining intellectual lyricism with irresistible hooks.

Decades later, 'Ever Fallen in Love (With Someone You Shouldn’t’ve)' continues to resonate with listeners for its emotional depth and universal themes of love and heartache. Its timeless quality ensures it remains a touchstone not only for fans of punk but for anyone who has experienced the bittersweet sting of unrequited love, proving that great music transcends time, trends, and genre.

10. James- Sit Down

Few songs can bring people together like 'Sit Down'. With its soaring chorus and heartfelt lyrics, this 1991 anthem became a unifying chant at gigs and beyond, capturing the spirit of camaraderie and togetherness. The track’s emotive melody, layered instrumentation, and dynamic build create an immersive listening experience that draws fans into its powerful message of connection and solidarity.

'Sit Down' showcases James at their most anthemic, blending indie rock sensibilities with a pop accessibility that helped the song achieve both critical and commercial success. Its memorable chorus, instantly singable and emotionally charged, has made it a staple at live performances, where audiences often join in, creating a collective moment that transcends the music itself.

Beyond its immediate impact, 'Sit Down' has endured as a symbol of unity and emotional resonance. Its themes of togetherness, support, and shared experience resonate as strongly today as they did in the early ’90s, cementing the song’s place not just in James’ catalogue, but in the broader landscape of British alternative music. The track remains a shining example of how music can forge connections, uplift spirits, and leave a lasting impression across generations.

11. Blossoms- Charlemagne 

A more recent addition to Manchester’s musical canon, 'Charlemagne' is a synth-pop masterpiece with an infectious chorus and retro-inspired production. Blossoms’ knack for crafting catchy, feel-good tunes is on full display here, blending shimmering synths, vibrant guitar lines, and upbeat rhythms that evoke both nostalgia and contemporary pop sensibilities. The track showcases the band’s ability to create music that is instantly memorable while retaining an emotional warmth that resonates with listeners.

'Charlemagne' draws its title from the legendary emperor, but it’s the anthemic chorus and jubilant energy that truly define the song. Its hook propelled the band to widespread recognition, filling venues with fans singing along and cementing Blossoms’ reputation as one of Manchester’s most exciting modern acts. The combination of playful lyricism, polished production, and a sense of youthful optimism gives the track a timeless quality, connecting it to the city’s rich musical legacy.

As one of the standout songs of recent Manchester music, 'Charlemagne' demonstrates the city’s ongoing influence on pop and indie music. Its infectious energy, clever songwriting, and celebratory spirit make it a worthy addition to Manchester’s storied musical history, proving that the city continues to produce songs that capture hearts and energise audiences.

12. Joy Division- Love Will Tear Us Apart

This iconic track, 'Love Will Tear Us Apart', is Manchester’s unofficial anthem. Ian Curtis’ haunting lyrics about fractured relationships, combined with the driving bassline and melancholy melody, create a song that transcends its time. It’s both a personal lament and a cultural touchstone, symbolising the emotional depth and creative brilliance of Joy Division. Released in 1980, the song’s poignant exploration of love and despair resonates just as powerfully today, making it a timeless masterpiece. Its haunting refrain and Curtis’ deeply affecting delivery ensure it remains etched in the hearts of listeners, while its influence can be felt across decades of music that followed.

Beyond its lyrical and musical impact, 'Love Will Tear Us Apart' helped define Manchester’s post-punk identity. Joy Division’s work captured the city’s industrial grit, emotional intensity, and creative energy, turning Manchester into a beacon for innovative music in the late ’70s and early ’80s. The track’s resonance with local audiences and its subsequent global acclaim underscored the city’s ability to produce music that was both deeply personal and universally compelling.

Following Curtis’ tragic death, the surviving members of Joy Division formed New Order, carrying forward the legacy of their earlier work while exploring new musical territories. The shadow of 'Love Will Tear Us Apart' loomed large, influencing New Order’s fusion of post-punk sensibilities with electronic dance music. Tracks like 'Blue Monday' and 'Bizarre Love Triangle' reflect this evolution, blending the emotional weight of Joy Division with a pulsating, modern sound that helped solidify Manchester’s reputation as a hub for groundbreaking music.

Today, 'Love Will Tear Us Apart' is not just a song; it is a symbol of Manchester itself, its creativity, resilience, and cultural influence. From the industrial landscapes that inspired its creation to the thriving music scene it helped ignite, the track remains a testament to the enduring power of Joy Division and the continuing impact of New Order, reminding listeners of the city’s pivotal role in shaping music.

13. Oasis- Don't Look Back in Anger

 It's impossible to talk about Oasis without mentioning 'Don't Look Back in Anger'. For many of us in the UK, it's one of the first Oasis songs we ever hear. Alongside 'Wonderwall', it's instantly recognisable, and the chorus is ingrained into us from a young age. This song is part of the furniture. But beyond its status as a pop classic, it has taken on a deeper meaning, especially for the city of Manchester.r

Following the Manchester Arena attack in 2017, the song became an anthem of defiance, unity, and resilience. On the 25th May 2017, three days after the attack, mourners gathered in St Ann's Square to pay their respects. Following a period of silence, one mourner, Lydia Bernsmeier-Rullow, began to break into the opening verse of 'Don't Look Back in Anger. The crowd of people joined in.

They were singing because they needed something that made sense, something familiar, powerful, and healing. When politicians and the powers at be could not provide the help and support. Manchester rallied around a song.

In Britain, 'Don't Look Back in Anger' has become part of the national furniture. One of those songs woven so deeply into the cultural fabric that it feels like it's always been there. It echoes through football stadiums, fills pub gardens after last orders, and sits permanently on the playlist of every busker, wedding DJ, and indie discos. It's been sung in joy and grief, at parties and vigils, in defiance and remembrance. It's passed down from siblings, learned by osmosis, blasted from radios and shouted from terraces. And no matter where you're from, whether you grew up with Britpop or discovered the song decades later when that chorus hits, you're part of something bigger. It's more than a song now. It's a unifier, an unofficial British hymn.

14. The Stone Roses- I Am The Resurrection

This eight-minute epic, 'I Am the Resurrection', showcases the full range of The Stone Roses’ talents, from Reni’s intricate drumming to John Squire’s soaring guitar solo. It’s a euphoric track that perfectly blends indie rock with danceable grooves, making it a cornerstone of Manchester’s music history. The song transitions seamlessly from a melodic, sing-along first half into an explosive instrumental outro that allows each band member to shine. Mani’s pulsating bassline anchors the track, while Ian Brown’s defiant lyrics and charismatic delivery add an anthemic quality. A true masterpiece, 'I Am the Resurrection' encapsulates the spirit of a generation and remains a defining moment in the band’s legacy.

Religious imagery and rock stars seem to go hand in hand. In July 1966, John Lennon famously claimed in an interview with the Evening Standard, “Christianity will go. It will vanish and shrink. … We’re more popular than Jesus now; I don’t know which will go first, rock ’n’ roll or Christianity.” The statement caused uproar in the U.S., with radio stations banning Beatles songs, fans burning records, and threats of violence when the band visited. Twenty-three years later, Ian Brown would make his own audacious proclamation with sacrilegious flair, declaring, “I am the resurrection and I am the light,” in an eight-and-a-half-minute epic that closed their politically charged, optimistic, and perspective-shifting debut album.

According to Reni, the song supposedly began as “a piss-take” of Paul McCartney’s bassline on The Beatles’ 'Taxman'. “Mani would play the riff backwards during soundchecks, and we played along over the top for a laugh. Finally, we said, ‘Let’s do this joke song properly and see what happens. ’” The resulting track is the band’s most ambitious effort ever. Kicking off with a pounding, four-to-the-floor Motown-esque rhythm from drummer Alan ‘Reni’ Wren and bassist Gary ‘Mani’ Mounfield, the song negotiates three verses before Ian Brown makes the grandiose claim, “I am the resurrection and I am the light,” releasing the tension in perfect theatrical fashion.

But that’s only phase one. At around 3 minutes and 40 seconds, the song seems to be drawing to a close, until John Squire takes over. For the next four-and-a-half minutes, the listener learns several lessons: that the words ‘indie’ and ‘dance’ can coexist beautifully, that Squire is an exceptional guitarist, and above all, that The Stone Roses, at their peak, were near untouchable. Speaking to NME about the instrumental, Mani revealed, “The end section was recorded in one take by me, John and Reni.”

The earliest recording of 'I Am the Resurrection' dates back to 30 May 1988, a year before the album’s release. The Stone Roses appeared on a bill with fellow Mancunians James, performing at a benefit at Manchester’s International venue to protest Clause 28, the government’s law banning the “promotion” of homosexuality in schools. Among the crowd were two teenage brothers, Liam and Noel Gallagher, though true to form, they arrived separately. For fifteen-year-old Liam, seeing Ian Brown command the stage was a revelation and the moment he decided he wanted to be a frontman. For Noel, the gig opened doors into the city’s music scene, eventually leading to his stint as a roadie with Inspiral Carpets. Both would later say that without that show, Oasis might never have existed, cementing the performance as a pivotal moment in the story of British rock.

15. The Verve- Bittersweet Symphony

A string-laden masterpiece, 'Bittersweet Symphony' captures the tension between hope and despair. Its monumental sound, combined with Richard Ashcroft’s poignant lyrics, makes it one of the most iconic tracks of the 1990s. The song also marked a bittersweet moment for The Verve, leading to one of the most infamous legal battles in music history. The band had obtained permission to use a portion of the Rolling Stones’ orchestral recording, but after the song’s release, they were sued by Allen Klein, the Rolling Stones’ former manager, who claimed that The Verve had used "too much" of the sample. As a result, all royalties and songwriting credits were handed over to Mick Jagger and Keith Richards. In 2019, in a surprising turn of events, Jagger and Richards returned the rights of 'Bittersweet Symphony' to Ashcroft, acknowledging that the song was truly his creation.

'Bittersweet Symphony' turned The Verve into a household name. No longer just the indie cult band from Wigan, they arguably became Britain’s biggest band, cementing themselves as one of the most important acts of the decade. The track quickly became the defining single of the late ’90s, reaching No. 2 on the UK Singles Chart and receiving significant airplay internationally, even breaking into the US market, where British rock bands often struggled. Its sweeping, cinematic sound, combined with a deeply personal yet universal message, resonated with listeners from all walks of life. The iconic music video, featuring Ashcroft walking defiantly through the streets of London while bumping into pedestrians, added to the song’s rebellious, everyman ethos.

The success of 'Urban Hymns', bolstered by follow-up hits like 'The Drugs Don’t Work', The Verve’s first UK No. 1 single and 'Lucky Man', solidified the band’s status as one of Britain’s biggest acts. The album itself went on to sell over 10 million copies worldwide, making it one of the best-selling albums of the decade. For a brief moment, The Verve were the undisputed kings of British rock.

At its core, 'Bittersweet Symphony' explores the tension between hope and despair balancing act between the highs and lows that make life both beautiful and painful. The opening lyric, "‘Cause it’s a bitter-sweet symphony, this life," immediately sets the tone. It speaks to the universal experience of joy and sorrow coexisting. In the verses, Ashcroft laments the feeling of being trapped in a predetermined system, where “you're a slave to money, then you die.” This stark, relatable lyric reinforces the song’s enduring emotional impact and its resonance across generations.

16. Elbow- One Day Like This

This uplifting anthem is a celebration of life’s most beautiful moments. With its orchestral arrangement and Guy Garvey’s heartfelt lyrics, 'One Day Like This' is a modern classic that never fails to lift spirits. The song’s soaring strings and anthemic chorus create a euphoric atmosphere, making it a staple at festivals, weddings, and emotional life events. Garvey’s warm, soulful vocals invite listeners to pause and appreciate the joy and beauty around them, while the climactic repetition of “Throw those curtains wide” feels like an open call to embrace life with optimism and gratitude. It’s not just a song, it’s an emotional experience that leaves a lasting impression.

Beyond its immediate impact, the track showcases Elbow’s masterful ability to blend introspection with grandeur. The subtle build-up from gentle piano motifs to full-bodied orchestration mirrors the journey from quiet reflection to exuberant celebration, reinforcing the song’s message of seizing the moment. Its universal themes of hope, renewal, and appreciation for the small yet profound joys of life resonate across generations, giving it a timeless quality. Whether experienced alone through headphones or collectively in a live arena, 'One Day Like This' has a rare power to evoke both personal reflection and communal elation, solidifying its place as one of the defining songs of the 21st century.

17. New Order Ceremony

'Ceremony'  is a song written by Joy Division and first released as New Order's debut single in 1981. The track and its B-side, 'In a Lonely Place', were recorded as Joy Division before the death of their lead singer, Ian Curtis. Both were re-recorded and carried over to Joy Division's reformation as New Order.

According to guitarist Bernard Sumner, the group wrote the song a few weeks before Ian Curtis died "to try and heal him through music" and keep him "involved in the band and involved in music and remind him of what ... a great future he had". Sumner concluded, "Unfortunately, it didn't work"

At the time, the group felt that the song represented a major step forward and had the potential to be a major hit. Sumner characterised the song as "a very uplifting track, filled with and enhanced by Ian's lyrics"

There are three recorded versions by Joy Division in existence. The first is a live version, available on the Still album, from their final concert at High Hall, Birmingham University, on 2 May 1980. The second, available on the Heart and Soul four-disc box set, is from a studio session on 14 May 1980, four days before Curtis's suicide. It was the group's last recording. The third is a version recorded at the soundcheck on the afternoon of 2 May 1980 (along with 'Decades') and is only available via bootleg. In all recordings, the vocals are only partially audible.

Following the death of Curtis, the remaining members of Joy Division formed New Order and set to work recording 'Ceremony'. Because Curtis had never transcribed the lyrics to "Ceremony" and because his singing was muted to the point of near-inaudibility on all surviving recordings, Sumner said he had to put them through a graphic equaliser to approximate the lyrics. “To work out the lyrics we had to listen to them over and over again,” Hook wrote in his memoir Substance: Inside New Order, “and hearing Ian’s voice like that it was almost like he was back with us in [the studio] again. Weird. And then it hit you that he wasn’t.”

New Order released the song as a single twice, firstly in March 1981 and secondly in September 1981, featuring new member Gillian Gilbert; the latter recording appeared on the 1987 compilation album 'Substance'. Between these two versions, you can hear the new beginnings of New Order, the sound of a new band starting to set the wheels in motion.

It's one of the most important and unique debut singles ever written and recorded. Not only did it mark the start of New Order, it allowed Peter Hook, Stephen Morris and Bernard Sumner to grieve for their frontman and friend in a way that they felt best, by honouring his song.

A spectacular effort by a band who were coming to terms with the loss of a friend, sung by a frontman who'd never taken the lead before. One of the band's very best.

18. The Smiths- There Is A Light That Never Goes Out 

This song summarises what The Smiths are about; it's melancholic, melodic, and truly beautiful. Every member of the band has their moment in the sun.  With some beautifully delivered lyrics, where Morrissey sings about not having a home, but generations of fans have found some kind of home in this song. It’s all here – the passion, the pain, the pleasure, the privilege, the double-decker bus, the victory of love over death (even the clumsiest, most painful fumbling-in-the-underpass kind of love). It’s bitterly comic, yet life-affirming and wildly romantic, with Johnny Marr overdubbing himself into a one-man orchestra of guitars and synthesised strings. The whole song is a mix tape of perfect moments, like that softly moaned “ooooh” into the final chorus. It’s their most beloved standard – Andy Rourke once called it “the indie ‘Candle in the Wind.'”

More than just being a song for the millions of lost indie kids, it remains even today a tribute to the two writers and their friendship. Two friends who had met just four years before, when Marr knocked on the door of 384 Kings Road, Stretford, Manchester. Morrissey would invite him inside, nd the two sat down to listen to music, talking endlessly about pop culture and their shared musical tastes. Though they seemed so different in character, their discussions revealed that they had strikingly similar views on what music should be an outlet for rebellion, individuality, and expression. This meeting was the spark that ignited one of Britain’s most important and prolific songwriting partnerships. A pair who defined indie music in Britain, who became bastions of a genre, heroes to a generation. 

When this song was released, that friendship and the band had only a year left to run, sadly. But like all the great music the Smiths left behind, this song is a light that never goes out and never will.

19. Courteeners Not Nineteen Forever

A raucous, anthemic track that captures the recklessness of youth. Its relatable lyrics and sing-along chorus make it a staple of indie playlists and a defining moment in The Courteeners’ career. One of the defining songs of my teenage years. A song that has sound tracked many of the most important moments in my life. 

A song about growing up, transitioning from youthful excess and recklessness to the realities of adulthood. Something we all go through. Life doesn't pause for any of us. There’s a sense of frustration but also acceptance. It’s a heady mix of nostalgia and forward momentum, as much about celebrating youth as it is about understanding that it’s fleeting..

“You’re not nineteen forever, pull yourself together.” It’s a line that’s both a reminder and a challenge, urging the listener to take stock of their life while acknowledging the allure of youthful abandon. It’s a message that’s just as relevant to someone leaving their teenage years behind as it is to those well into their twenties or beyond.

Hearing this song live sends shivers down my spine every time. I remember when Blossoms used to play it before stepping on stage; it would light up the room, getting everyone bouncing, even before the band appeared. Some of my best nights at uni were soundtracked by this song, whether in my halls' kitchen, at Shit Indie Disco, or dancing at Heebie Jeebies.

This song fills me with happiness, and the memories attached to it are ones I'll hold onto forever. It brings back the faces of certain people I’ve shared those moments with, reminding me of the power music has to transport us back in time. It takes me back to a time that has since passed and to a person who is no longer with us, making it even more special

20. Inspiral Carpets- This Is How It Feels

A poignant song about the struggles of daily life, 'This Is How It Feels' blends synth-pop with introspective lyrics, creating a track that resonates deeply with listeners. The song’s haunting organ riff and steady rhythm provide a melancholic yet captivating backdrop to lyrics that touch on themes of loneliness, financial strain, and emotional disconnect. Tom Hingley’s plaintive vocals deliver the lines with a raw sincerity, making the song feel intensely personal yet universally relatable. Its unassuming brilliance and relatable storytelling solidified Inspiral Carpets’ place in the Manchester music scene, with this track standing as one of their most enduring and cherished anthems.

Beyond its immediate emotional impact, 'This Is How It Feels' exemplifies the band’s talent for merging upbeat musicality with sobering lyrical content, creating a bittersweet tension that lingers long after the song ends. The subtle interplay between the organ, guitar, and rhythm section mirrors the complexities of everyday life, underscoring the fragility and resilience inherent in human experience. Its themes of struggle and perseverance continue to resonate across generations, marking it as a timeless reflection on the pressures of modern life.

Released during the height of the late-1980s Madchester movement, the song also captures the era’s unique blend of rave-influenced energy and indie authenticity. While the jangly guitars and swirling organ lines evoke a sense of nostalgia, the lyrics’ raw honesty ensures the track remains emotionally relevant even decades later. It is a song that has been celebrated not only for its musical craftsmanship but also for its ability to give voice to the quiet frustrations and hidden struggles of everyday people. Live performances of 'This Is How It Feels' often amplify its emotional weight, with audiences drawn into the shared catharsis of Hingley’s delivery and the band’s understated yet powerful instrumentation.

Ultimately, 'This Is How It Feels' endures as more than just a hit single; it is a testament to Inspiral Carpets’ artistry and a cultural touchstone that continues to resonate with anyone who has navigated the trials of ordinary life. Its combination of melodic warmth, lyrical depth, and heartfelt performance ensures it remains a defining track not only of the Madchester era but of British indie music as a whole.

21. Happy Mondays- 24 Hour Party People

A song that perfectly encapsulates the Madchester era, '24 Hour Party People' is a witty, energetic ode to Manchester’s legendary party scene. Shaun Ryder’s playful lyrics capture the wild, hedonistic energy of the time, while the band’s signature fusion of indie rock, funk, and dance beats brings the vibe of the Hacienda directly to the listener. The track’s infectious rhythm and carefree spirit make it a celebration of the city’s cultural renaissance, where music, art, and nightlife collide to create something extraordinary. As the namesake of the iconic film about Manchester’s music culture, '24 Hour Party People' has become a defining anthem of an unforgettable era.

Beyond its rollicking energy, the song also serves as a time capsule of the late 1980s and early 1990s Manchester music scene. The driving basslines and groovy percussion reflect the club culture that was thriving in the city, while Ryder’s irreverent storytelling provides a humorous yet affectionate chronicle of the personalities and antics that defined it. The track captures the sense of community, rebellion, and experimentation that characterised Madchester, making listeners feel as if they are part of the scene itself.

Its influence extends far beyond its initial release, inspiring countless artists who sought to merge rock with dance rhythms and creating a blueprint for the indie-dance crossover that would dominate the UK charts in the early ’90s. Live performances of '24 Hour Party People' often become communal celebrations, with audiences singing along to Ryder’s charismatic delivery and the band’s irresistible grooves. More than just a song, it embodies the spirit of an era when creativity, nightlife, and youthful exuberance converged, cementing its status as both a cultural landmark and a perennial crowd-pleaser in the history of British music.

22. The Smiths- This Charming Man

Although ‘Hand in Glove’ was the band’s debut single, it was with ‘This Charming Man’ that The Smiths made their first real impact on British youth culture, especially after their now-legendary performance on Top of the Pops. Broadcast across the nation, the appearance sent a shockwave through Britain. Audiences had simply never seen anything like The Smiths before.

Morrissey bounded onto the stage brandishing a bunch of gladioli, swinging the flowers with theatrical flourish, while Johnny Marr, Andy Rourke, and Mike Joyce stood behind him, sharp, focused, and powerful. Morrissey may have dominated the spotlight with his eccentric charisma, but the entire performance etched The Smiths into the imagination of a generation and marked a turning point in British popular music.

The performance reshaped more than music; it influenced the way young people spoke, the books they read, the art they embraced, and, above all, the band they now adored.

Reflecting on the moment in a 2011 piece for The Guardian, Marr recalled: “At the time, there’d been this question of whether it was cool to go on Top of the Pops.” The show had lost some of its relevance during the punk era, when miming to the establishment seemed outdated. “[It was] probably from the Clash refusing to do it. But we were a new generation, and it felt like there were new rules,” Marr explained.

Musically, the song is defined by Marr’s sparkling, jangly guitar riff, one of his most iconic and by Morrissey’s unmistakably arch and melancholic lyricism. The narrative follows a male protagonist whose bicycle tyre bursts on a lonely hillside. He encounters a suave stranger in a luxury car who offers him a lift. The hesitant rider deliberates, then accepts, leading to flirtation tinged with awkward vulnerability. “I would go out tonight, but I haven’t got a stitch to wear,” the narrator laments, to which the driver replies: “It’s gruesome that someone so handsome should care.”

Morrissey later explained his intentions: “I really like the idea of the male voice being quite vulnerable, of it being taken and slightly manipulated, rather than there being always this heavy machismo thing that just bores everybody.”

That vulnerability, paired with the playful yet ambiguous homoerotic undertones, gave ‘This Charming Man’ its unique power. At a time when British pop was dominated by the brash confidence of new wave and the polished gloss of synth-pop, The Smiths offered something strikingly different: literary lyrics, oblique humour, and a subversion of gender norms. The ambiguity of the protagonist’s relationship with the “charming man” was groundbreaking for 1983, resonating with listeners who saw themselves reflected in the song’s coded exploration of identity, sexuality, and attraction.

Johnny Marr’s guitar line, meanwhile, became a blueprint for the jangly indie-pop sound that would influence a generation of bands from the UK’s C86 scene to later Britpop acts. His guitar work on not just this song but throughout The Smiths' whole career cannot be understated. The word genius is thrown around a lot; Marr is comfortably a genius. One of Britain's best guitar players.

In 2004, a BBC Radio 2 retrospective noted that ‘This Charming Man’ was the first encounter most people had with The Smiths, introducing them to “the weird, wordy world of Morrissey and the music of Johnny Marr.” Uncut magazine, reflecting on the televised debut, wrote: “Thursday evening when Manchester’s feyest first appeared on Top of the Pops would be an unexpected pivotal cultural event in the lives of a million serious English boys. His very English, camp glumness was a revolt into Sixties kitchen-sink greyness against the gaudiness of the Eighties new wave music.”

Noel Gallagher also remembered the seismic impact of the performance: “None of my mates liked them; they were more hooligan types. They came into work and said, ‘Fuckin’ hell, did you see that poof on Top of the Pops with the bush in his back pocket?’ But I thought it was life-changing.”

23. Oasis- Live Forever

A single song can redefine the musical landscape, and 'Live Forever' is one such song. For Noel Gallagher, it marked a turning point; he has claimed on multiple occasions that it was the first great song he ever wrote. It arguably launched Oasis and changed people's outlook on music. 

Released four months after Kurt Cobain took his own life, it delivers a powerful and inspiring message: a song about you, the underdog, harnessing the potential and belief within yourself to achieve what you want ("maybe I just wanna fly / wanna live and don't wanna die"). It's also an ode to those who are with us along the journey ("we'll see things they'll never see"). The song rejects the banal and mediocre ("maybe I don't really wanna know how your garden grows / and I just wanna fly") and instead celebrates just how magnificent human beings can be ("maybe I will never be all the things that I wanna be / now is not the time to cry, now's the time to find out why").

It's uplifting and enduring; Liam's distinct vocal carries Noel's lyrics to a place that hits home beautifully. Every Oasis fan has their own story with 'Live Forever'; the song carries a sense of immortality and feels eternal over thirty years later. Its soaring chorus and heartfelt melody evoke both nostalgia and hope, capturing the youthful idealism and defiance that defined Britpop at its peak. The song has earned generational acclaim and is routinely ranked as not only one of the best Oasis songs but one of the greatest songs ever written.

Musically, 'Live Forever' balances raw energy with melodic sophistication. The jangly guitars, steady rhythm, and subtle interplay between Noel and Liam create a timeless sound that transcends the era it was written in. Lyrically, it rejects despair and embraces possibility, offering an anthem for anyone who has ever dared to dream bigger than their circumstances. Its influence is undeniable, shaping the new musical movement in Britain, inspiring countless bands, and serving as a rallying cry for a generation hungry for optimism and authenticity.

24. The Chemical Brothers- Setting Sun

'Setting Sun' was released as the lead single from Dig Your Own Hole, the Chemical Brothers' second studio album. What truly set 'Setting Sun' apart was the collaboration with Noel Gallagher, the lead guitarist and principal songwriter of Oasis, one of the biggest bands in the world at the time. Gallagher provided the vocals and co-wrote the track, bringing his signature swagger and Britpop sensibilities into the mix. Yet unlike the anthemic, melodic Britpop of Oasis, 'Setting Sun' is a trippy, disorienting whirlwind of sound that drew comparisons to The Beatles’ 'Tomorrow Never Knows', an experimental track from the 1966 album 'Revolver'.

Noel Gallagher had been a fan of The Chemical Brothers since their debut record, 1995's 'Exit Planet Dust', and was already a devoted dance music enthusiast, having been a regular at both Manchester’s Hacienda during the peak of Acid House and London’s Heavenly Social to watch The Chemical Brothers DJ. It was at the Heavenly Social that the idea for 'Setting Sun' began to take shape, inspired by the band’s habit of weaving 'Tomorrow Never Knows' into their DJ sets.

The Chemical Brothers were known for creating immersive, almost cinematic soundscapes, and 'Setting Sun' is a prime example of their craft. From the very first seconds, the track throws listeners into a vortex of distorted beats, hypnotic rhythms, and swirling electronic textures. Built around a hard, thumping breakbeat that drives the track relentlessly forward, it is the layering of psychedelic effects and Gallagher’s haunting, urgent vocals that give the song its otherworldly character.

The influence of The Beatles is palpable throughout. Both 'Setting Sun' and 'Tomorrow Never Knows' share a hypnotic, almost chaotic repetition that disorients while mesmerising. The Chemical Brothers openly acknowledged their admiration for The Beatles and their experimental approach on 'Revolver'. Channelling that same spirit of sonic exploration, 'Setting Sun' acts almost as a modern-day continuation of that experimental legacy, but instead of tape loops and backward guitar solos, The Chemical Brothers employed samplers, drum machines, and synthesisers to craft their psychedelic sound.

Upon release, 'Setting Sun' skyrocketed to the top of the UK charts, becoming The Chemical Brothers’ first number-one single. It also became a defining track of the big beat genre, which fused breakbeats, rock riffs, and electronic flourishes. Alongside contemporaries such as The Prodigy and Fatboy Slim, The Chemical Brothers helped push electronic music into the mainstream, proving it could be just as visceral, daring, and rebellious as rock or punk.

It was a bold statement that combined rock and electronic music and challenged both of these genres to create something totally new. A truly groundbreaking piece of art, more than just a product of its time. A footprint rather than a footnote.

25. The Stone Roses- She Bangs the Drums

Buried within these three and a half minutes is arguably the band’s finest lyric—a short, sharp burst of poetry that captures the essence of youth and boundless optimism: “Kiss me where the sun don’t shine / The past was yours, but the future’s mine / You’re all out of time.”

Ian Brown delivers these lines with his trademark cool detachment, while John Squire provides the chorus, a melodic line that, on paper, reads like a simple love song. Yet, as with so much of The Roses’ work, it’s layered with meaning. It could be about a romantic partner, about music itself, or about the ecstatic rush of a dancefloor moment. That ambiguity, that openness to interpretation, is part of what gives the song its enduring appeal.

What truly elevates 'She Bangs the Drums' into the realm of timelessness, however, is the music itself. Mani’s bass bubbles and drives the track forward, Squire’s guitar rings out bright and precise, and Reni’s drumming snaps with both finesse and swagger. Together, they create a sound that feels effortless yet meticulously crafted, a masterclass in how to write great guitar pop. The track balances immediacy with sophistication, delivering an infectious energy that is both joyous and expansive.

Though The Stone Roses often bristled at comparisons to the 1960s, 'She Bangs the Drums' channels the spirit of that era: jangly, melodic, and instantly captivating. Yet it also points forward, hinting at the evolution of British music in the decade to come. Its structure, energy, and production embody the Madchester ethos: a seamless fusion of indie rock, danceable rhythms, and a palpable sense of creative freedom.

A joyous celebration of youth, creativity, and music itself, 'She Bangs the Drums' remains a standout track from one of the most influential albums of all time. Ian Brown’s evocative lyrics capture the thrill of discovering music that moves you, while John Squire’s melodic guitar riffs shine with vibrancy and inventiveness. Mani’s groove-laden bass and Reni’s intricate, dynamic drumming provide the perfect foundation, producing a track that feels both timeless and euphoric. As an anthem of youthful exuberance and artistic liberation, 'She Bangs the Drums' endures as a cornerstone of the Madchester era, a song that continues to inspire generations and define what it means for music to feel alive.

So that brings my list to a close. Anything I've missed? Anything you'd add or take out? Let me know in the comments below.

Comments
* The email will not be published on the website.