The Roaring 20's: The Best Songs of the Decade. So Far
The last 5 years have been a huge time for music, we've had reunions, break out stars, farewells, and some massive moments. Some of the songs released in this period rival any other decade. Here's some of my favourites.
Courteeners- Hanging Off Your Cloud
Released right at the start of the decade, in January 2020, ‘Hanging Off Your Cloud’ arrived with a sense of familiarity and emotional weight. It had already found its way into Courteeners' live shows as early as November 2018, building anticipation among fans long before its official release. After a few years away from the spotlight, and following the release of two bold and unexpected singles ‘Heavy Jacket’ and ‘More. Again. Forever’ this track felt like a real return to form for the band.
Where those earlier singles pushed the boundaries of the band’s sound, experimenting with funk-driven grooves and layered production, ‘Hanging Off Your Cloud’ pulled things back to a more classic Courteeners mode: introspective, melodic, and lyrically rich. In fact, it features some of Liam Fray’s most poignant and heartfelt writing to date.
There's a tenderness and vulnerability here that cuts through the noise, offering something deeply personal yet universally resonant.It remains one of the band’s most beloved songs from the ‘More. Again. Forever’ era. While other tracks from that record may have come and gone from the live rotation, this one has endured becoming a setlist staple and earning its place alongside Courteeners’ greatest hits. For longtime fans, ‘Hanging Off Your Cloud’ is more than just a standout track; it’s a reminder of what makes the band so special when they’re at their best: emotional honesty, a strong sense of melody, and beautiful personal lyrics.
Blossoms- Oh No (I Think I'm in Love)
Blossoms kicked off 2020 with ‘Foolish Loving Spaces’, a brilliant, joyously vibrant album that showcased the band at their most confident and musically adventurous. It’s packed with some of their best work to date, so much so that almost any track from the record could have earned a spot on this list.
But ‘Oh No (I Think I’m in Love)’ stands out not only as one of the album’s most immediate highlights, but also as a cornerstone of Blossoms’ live show ever since.
From the moment of its release, the song felt destined to be a fan favourite. With its massive, ABBA-sized chorus, irresistibly infectious melody, and shimmering production, it perfectly captures the band’s knack for blending classic pop sensibilities with a modern, dancefloor-ready polish. It’s everything that makes Blossoms great fun, self-aware, romantic, and slightly tongue-in-cheek, yet musically sharp and effortlessly catchy.
Live, the song has taken on a life of its own, becoming one of those moments where the crowd and the band are completely in sync hands in the air, lyrics shouted back with total joy. It also marked a subtle but significant shift in the band’s sound: more disco influences, more groove, more flair. It showed they weren’t afraid to lean into their pop instincts, and it paid off brilliantly.
Gerry Cinnamon- Where We're Going
Another one from 2020, this time from a lockdown album. Gerry Cinnamon released his second album 'The Bonny' at the height of the pandemic just a couple of weeks after the UK went into its first lockdown.
Despite the circumstances in which the record was released, there are moments of hope. 'Where We're Going' in particular was a real show of defiance. At the time, it was the sound we needed to hear.
When delving deeper into the song, we find out it's a particularly personal one to Gerry himself, and yet he makes it universal and beautiful a tale of how the everyman can overcome anything. With huge choruses that would later be chanted around stadiums and festival fields, it set Gerry Cinnamon off on a journey that would make him one of the most celebrated musicians in Britain.
It’s a song that reminds us even in the darkest moments, there’s light to be found. A rallying cry disguised as a ballad, 'Where We're Going' captured a shared spirit of resilience and became an anthem for a generation stuck indoors but dreaming big.
Circa Waves- Sad Happy
The title track of the band’s ambitious fourth album, ‘Sad Happy’ captures Circa Waves at a pivotal moment: balancing introspection with evolution. The album offers a conflicted, contemplative look at modern life, full of contradiction and emotional whiplash. It's a record that embraces the indie-rock sound that propelled the band to prominence, while also signaling a willingness to explore more complex, textured sonic territory.
Structured in two parts ‘Happy’ and ‘Sad’ the album splits its emotional focus down the middle.
The title track acts as the bridge between those two worlds, marking the turn into the ‘Sad’ half. Musically, it's a distillation of everything Circa Waves had done up to that point: bright, infectious indie foundations laced with a subtle undercurrent of electronic and synth textures that hint at a more refined, mature approach.
Lyrically, ‘Sad Happy’ gets right to the point. It’s direct, emotionally transparent, and disarmingly relatable—perfectly capturing the uneasy blend of optimism and anxiety that defines so much of contemporary life. It doesn’t hide its contradictions; instead, it leans into them. The song is messy, driven, and sometimes confusing but that’s exactly the point. It reflects the chaotic duality of feeling everything at once. Both the song and the album stand as bold, emotionally intelligent pieces of work.
Haim- Now I'm In It
Similarly to Blossoms, Haim released a brilliant record in 2020. All of the songs are brilliant pieces of music and I could have chosen so many songs. The one I always seem to go back to though is 'Now I'm In It' one of the very first songs released from the record.
‘Now I’m In It’ stands out as a striking departure from the rest of ‘Women in Music Pt. III’, trading the band’s usual sun-soaked guitar pop for something darker, sharper, and more immediate. Driven by snappy, almost industrial-sounding drums and a jittery, anxious bassline, the track pulses with a restless energy that mirrors its lyrical themes of depression and emotional disorientation. It’s a sound we’d never quite heard from Haim before, edgier, rawer, and more unflinchingly honest.But what makes it so powerful isn’t just the sonic left turn; it’s the sense of unity and resilience that courses through it.
This is the sound of a band who’ve not only found their place within the modern musical landscape, but who have drawn strength from years of shared history, grief, and growth. ‘Women in Music Pt. III’ as a whole radiates that same blend of humor, sincerity, and vulnerability qualities that have always been part of Haim’s DNA, but here, they’re sharper and more self-assured than ever.With this album, and especially with tracks like ‘Now I’m In It’, Haim broke free from what the world expected of them. They didn’t just evolve, they redefined themselves, creating one of the most inventive and emotionally resonant records of the decade so far.
Sam Fender- Seventeen Going Under
In a previous blog post, I proclaimed that this song was the best one of the decade. This song changed guitar music in the UK, and it rapidly changed the trajectory of Sam Fender himself. Released as the breakthrough single from his second album of the same name. It's a song at hits like a wave, personal yet universal, tender yet furious, poetic yet brutally honest. And it’s that rare balance that sets it apart.Released during a time when the UK was emerging from a pandemic and grappling with a decade of political upheaval, ‘Seventeen Going Under’ struck a nerve.
It didn’t just chart well, it cut through. It reached the Top Ten in the Official UK Singles Chart and received massive airplay across mainstream radio stations, an impressive feat for a song rooted so deeply in regional identity and social commentary.At its core, ‘Seventeen Going Under’ is a coming-of-age story. But not the kind romanticised in films. This is the gritty, real version. Fender reflects on his youth in North Shields, a town steeped in working-class history, where industry has been replaced by uncertainty and opportunity feels like a luxury.
The lyrics don’t flinch. They dive headfirst into the rawness of Fender’s teenage years the helplessness of watching his mother’s health decline, the frustration of bureaucratic cruelty, the disillusionment with politics, the simmering anger that comes from being dismissed and misunderstood.
And yet, there’s beauty here too. Fender captures the emotional complexity of youth the vulnerability, the loyalty to friends and family, the hunger to be seen and heard, the slow erosion of innocence. The track is an elegy for that lost boy, but also a celebration of survival.In an era when working-class communities have been marginalised by both policy and media, Sam Fender’s success is more than a musical triumph, it’s a political and cultural one. He doesn’t just speak for himself. He speaks for the kids who are told to be quiet. For the families stretched to the brink. For the towns the government forgot.
Sam Fender- Spit of You
Sam's second album is nothing short of a masterpiece, and where 'Seventeen Going Under' looks outward to the wider world, and critques governments, policy and the harsh nature of modern society. 'Spit of You' is just as cutting, and heartfelt but it hits closer to home.
Especially for young men. The stories in this song, have shaped Sam, and they are deeply personal. For example he ruminates of the passing of his grandmother, and how his father reacted. Recognising flaws in both of their characters. (“smashing cups off the floor / And kicking walls through / That’s me and you”) and compassion: “you kissed her forehead”, he remembers, knowing that “one day that’ll be your forehead I’m kissing / And I’ll still look exactly like you”
The chorus is where the song really excels though, with one line Sam tapped into his fan base, and sums up many young men's relationships with their dads. It's simple but cutting “I can talk to anyone / I can’t talk to you". Not only one of the best songs from that album, it won my award for the Song of the Year in 2021, and it quite simply had to make this list.
Wolf Alice- The Last Man on the Earth
Wolf Alice staked their crown as Britain's best band in 2021, with an album that showcased the band at their peak. 11 songs that see the band transport you to very specific places, both physically and mentally. First single 'The Last Man on the Earth' is a piano based emotional epic, about the arrogance of us as humans. Where we constantly attempt to find meaning in everything we consume. Trying to find out how this can relate to ourselves.
Relatability is big currency in pop culture these days and it’s a common phenomenon for us to interpret songs, books, movies and more based on our own experiences. We inject importance into their storylines and lyrics based on how they make us feel about our lives, the lines between whether a piece of art is actually good or just makes us feel seem increasingly blurred. An event that Rowsell addresses in the song “Every book you take and you dust off from the shelf/ Has lines between lines between lines that you read about yourself,” she observes. “Does a light shine on you?
It was a real return to form, and a huge leap forward for the band, when Wolf Alice released this song, they were coming off the back of an already exceptional second album that had won they the Mercury Prize. Rather than come back with a bang, they came back with sharp songwriting, that provides a critical assessment into humanity egotistical impulses but also allows us to do that very thing, the song is attempting to warn us about. It's nothing short of exceptional.
Wolf Alice- Delicious Things
‘Delicious Things’ is Wolf Alice at the height of their creative powers. A sweeping, cinematic journey that showcases the band’s evolving ambition and Ellie Rowsell’s vivid storytelling. It’s a wide-eyed, kaleidoscopic exploration of escapism, as Rowsell careers through the surreal highs and creeping lows of leaving home behind and chasing something bigger.
Her vocal delivery, half-dreamy, half-disoriented, adds another layer to the lush soundscape: “I don’t care, I’m in the Hollywood Hills / I’m no longer pulling pints, I’m no longer cashing tills.” It’s euphoric, yet grounded in something fragile and fleeting. The instrumentation swells and glides, creating a rich sonic backdrop that feels like motion itself, layered guitars, and pulsing drums pulling the listener along for the ride.
But the adventure doesn’t last forever. As the track gently shifts, reality creeps back in. The fantasy dissolves with a quick-witted, emotionally sharp turn: “Hey, is mum there? / It’s just me, I felt like calling.” It’s a single line that collapses the distance between Hollywood illusion and the need for home, anchoring the song with startling intimacy.
Everything about ‘Delicious Things’ feels expansive, cinematic, and emotionally resonant. It’s a song that captures the thrill of transformation and the ache of disconnection in equal measure. Even years after its release, many still consider it Wolf Alice’s crowning achievement.
Inhaler- It Won't Always Be Like This
The lead single and title track from the band's debut album, 'It Won’t Always Be Like This', is more than just an introduction it's a declaration. First written when Inhaler were still teenagers, the song originally captured the raw emotion of a breakup. But as time passed, and the world changed, its meaning deepened.
Re-released during a period marked by uncertainty and isolation, the track struck a new chord with listeners navigating the emotional toll of lockdowns, social distancing, and endless waiting.For a generation cut off from one another, its central refrain became both a comfort and a promise: things will get better. ‘It Won’t Always Be Like This’ became an anthem for youth resilience a shout into the void that echoed across bedrooms, phone screens, and eventually, festival fields.Musically, it’s a blast of defiant energy. Guitars shimmer and charge forward beneath soaring vocals, capturing the urgency of youth and the need to break free.
As the galvanising opener to the album, it sets the tone with conviction. At once deeply personal and universally relatable, 'It Won’t Always Be Like This' cemented Inhaler’s reputation as torchbearers for a new era of indie rock
Stereophonics- Do Ya Feel My Love?
Stereophonics have released two albums in this decade, and as one of my favourite bands, I feel as if I can comment on them both with some perspective. In my opinion, the output has been patchy. Flashes of brilliance scattered among tracks that haven’t always hit the mark.
That said, ‘Do Ya Feel My Love’ is a standout. In fact, it's one of the best things they’ve released in recent memory.The song crackles with the kind of swagger and urgency that defined the band’s early years, but it’s paired with a polish and maturity that shows how far they’ve come. Kelly Jones’s vocals are as gritty and commanding as ever, cutting through a tight arrangement of pounding drums and punchy guitar riffs.
There’s a confidence to the track that feels earned, not a nostalgic throwback, but a reminder of what made them great in the first place.Lyrically, it leans into big emotions without slipping into cliché, and musically, it finds that sweet spot between arena-ready anthemic rock and something more introspective. It’s not reinventing the wheel, but it doesn’t need to. It’s bold, melodic, and totally infectious.
For longtime fans, ‘Do Ya Feel My Love’ is a reassuring reminder that Stereophonics still have that spark. Even if the albums as a whole haven’t been their strongest, this track proves they can still land a punch when it really counts.
Wunderhorse- Teal
Wunderhorse exploded in 2022. A band that more and more people began to talk about. Their front man Jacob Slater has already lived quite a life playing Sex Pistols’ Paul Cook in the recent TV series PISTOL and fronting the over-before-they-began Dead Pretties.
Those who saw Dead Pretties could see the star potential in Slater in those fleeting moments. Despite the project being over before it had hit the ground running. Slater was determined to continue, and left London and it's punk scene behind, heading instead to Cornwall where he spent time surfing working odd jobs and writing new music.
That new music would become his debut album with Wunderhorse. 'Teal' was the first song released under the new moniker. The song retains his punk snarl, but is more introspective than anything Dead Pretties had released. With a riff that sits between Sam Fender and Neil Young, and heartfelt lyrics about someone close to him.
Slater described the track to the NME. " “It’s about a very dear friend of mine who went through a really shitty patch a few years ago, and the lyrics just fell out.” Where once he aimed to be provocative, 'Teal' sees him being protective talking about his relationships and his own experiences. You can tell that this is a deeply personal song to Slater. It was also more in tune to the music he enjoys listening to.I remember hearing this song for the first time and being blown away. It's such a profound song, on an album full of brilliant storytelling. The song is full of emotion and has some deep hard hitting lyrics.
“It was the light of a candle, in the depths of the dark/And there was a fire, it danced in your eyes”
"And how could this happen man, I'm just a kid/I've got something to live for, and so much to give"
"You gotta gift man, go and be something/If I was in your shoes, I would be jumping"Slater's ability as a songwriter really shines on this track, his lyrics are some of the best in recent memory. In a similar way to Sam Fender he can make the heartfelt, anthemic and exciting. Wunderhorse have become one of the most exciting bands around at the moment. Their a band with something to say but combine the impressive lyricism, with punchy guitars, and grunge like vocals.
Fontaines D.C- I Love You
Fontaines D.C. have firmly established themselves as one of the most revered and vital bands of the 2020s, releasing three critically acclaimed albums that trace an arc of growing ambition, emotional depth, and political urgency. By the time they released their third album, ‘Skinty Fia’, the band had relocated from Ireland to London a move that deeply informed the record’s themes. Now outsiders looking in, they grappled with a sense of cultural displacement and the pain of watching their homeland change from afar.
Nowhere is this internal conflict more potent than on ‘I Love You’, one of the most emotionally raw and politically charged songs in the band’s catalogue. On the surface, the title might suggest a ballad, but what unfolds is something far more complex: a searing, conflicted love letter to a country that the band clearly cherishes but refuses to romanticise.
The track begins with frontman Grian Chatten examining his own privilege and complicity before turning his focus outward addressing the youth of Ireland with piercing honesty and frustration.In one of the song’s most haunting lines “Flowers read like broadsheets / Every young man wants to die” Chatten captures a nation haunted by loss, mental health crises, and institutional failure. When Chatten disrupts the song’s dreamy atmosphere to rail about his island being “run by sharks with children’s bones stuck in their jaws,” it’s like the Stones Roses’ 'I Wanna Be Adored' being gate-crashed by John Cooper Clarke.
The lyrics cut deep, referencing Ireland’s worsening housing situation, and calling out the long-dominant political parties, Fianna Fáil and Fine Gael, for their roles in perpetuating inequality and disenfranchisement.‘I Love You’ is the sound of a band maturing into their role as both artists and commentators. It’s a furious, poetic reckoning that doesn’t offer easy answers but refuses to look away. With this track and ‘Skinty Fia’ as a whole Fontaines D.C. didn’t just move away from home physically; they deepened their relationship with it artistically, proving that sometimes distance brings things into sharper focus.
Foals- Looking High
When Foals returned with 'Life is Yours in 2022', few could have predicted the direction they’d take. A band known for their brooding intensity and intricate guitar work pivoting to a bright, dance-infused sonic palette wasn’t exactly on anyone’s bingo card.
And yet, it worked brilliantly. Shedding the weight of the world they once carried in their music, Foals embraced a looser, more exuberant spirit, one that resulted in their most joyful and immediate album to date.Take Looking High, for instance a track bursting with energy, laced with shimmering synths and verses that tip their hat to 80s new wave. But it's the chorus where the song truly comes alive: expansive, euphoric, and tailor-made for festival singalongs.
It revealed a version of Foals that many listeners had never encountered a band unafraid to lean into pure, unfiltered fun.The entire record follows suit, managing to feel fresh and unexpected while still unmistakably Foals. It’s a testament to their ability to evolve without losing their core identity. 'Life is Yours' isn’t just a stylistic departure; it’s a celebration of reinvention and life itself, proving that even after more than a decade in the game, Foals still have surprises up their sleeve.
The 1975- The 1975
The 1975 have made a tradition of opening each of their albums with a track titled 'The 1975'.
Historically, these intros have kept the same lyrics across projects, merely shifting the sonic backdrop, like a recurring thesis statement subtly reinterpreted each time. But on their most recent album, 'Being Funny in a Foreign Language', the band breaks from their own formula. Instead of recycling familiar lines, they deliver something altogether new: a raw, reflective update that feels more like a self-aware dispatch from the eye of the storm. The shimmering piano and building momentum even echo LCD Soundsystem’s 'All My Friends', as if Matty Healy is placing himself in that lineage of aging, self-examining frontmen.
Healy’s songwriting here is some of his most contradictory and compelling to date. He swings from biting self-deprecation and absurdist wit “this will get bigger, if you know what I mean”) to unexpectedly tender, emotionally disarming admissions: “I’m sorry about my twenties, I was learnin’ the ropes / I had a tendency of thinking 'bout it after I spoke.” These lines land with surprising sincerity, peeling back the layers of irony and artifice to reveal something deeply human.This opening track functions as a mission statement—an encapsulation of The 1975’s contradictions: playful yet profound, self-aware but searching.
It sets the tone for what follows, a record that dials back the maximalist chaos of their previous work and leans confidently into pop craftsmanship. 'Being Funny in a Foreign Language' isn’t just a reset; it’s the band refining their sound into something tighter, warmer, and more emotionally direct. After years of wild experimentation, this album feels like the most natural next step.A collection that balances their instinct for massive hooks with the introspective lyricism that has always set them apart.
Which brings me to the next song...
The 1975- About You
'About You' is the penultimate track on 'Being Funny in a Foreign Language', and for many fans, it stands as one of the band’s most emotionally resonant moments—a spiritual sequel to their 2013 cult favourite 'Robbers'. Where 'Robbers' captured the reckless passion of young love, 'About You' feels like its haunted, more mature counterpart: reflective, foggy, and steeped in the ache of memory.
The track sees The 1975 venturing into lush shoegaze territory, with swirling guitars, cavernous reverb, and a sense of emotional weight that hangs in every note. The band enlisted Warren Ellis best known for his atmospheric, cinematic work with Nick Cave & the Bad Seeds to contribute string arrangements. His touch is unmistakable, lending the track a ghostly grandeur that elevates it into something otherworldly. The sonic texture is rich and disorienting, like a dream slowly collapsing in on itself.
Lyrically, 'About You' is elliptical and mysterious, capturing the blur of unresolved feelings. Matty Healy sings with a fragile intimacy, his voice at times buried beneath the haze, mirroring the theme of emotional distance and longing. “Do you think I have forgotten / About you?” he asks, as if both pleading and resigned.
Adding a new emotional layer to the song is the inclusion of Carly Holt wife of guitarist Adam Hann whose ethereal backing vocals drift in during the song’s final minutes. Her voice arrives like an apparition, subtly shifting the narrative and giving the song a tender, almost cinematic sense of closure. It’s a rare but powerful moment that underlines the song’s depth and collaborative intimacy.
Over time, 'About You' has become a fan favourite not just for its sonic beauty but for the way it captures the essence of what makes The 1975 special: their ability to blend grandeur with vulnerability, to tell deeply personal stories in a way that feels universal. It’s the kind of song that gets played late at night, on long drives, or in quiet moments of reflection. For many fans, it has already earned its place among the band’s most beloved and enduring tracks.
Arctic Monkeys- Body Paint
After the 2018 album 'Tranquility Base Hotel & Casino' which had divided the fan base in two, many wondered where the Arctic Monkeys would venture next. 'The Car' felt much more human, than it's predecessor and it summed up the whole Arctic Monkeys journey so far: sharp songwriting, relentless innovation and unbreakable teamwork.
'Body Paint' is the albums defining moment. A 70's inspired epic that features the whole band sounding their brilliant best. Alex Turner is much more self referential on this record, commenting on all of the costumes he wears and how they are "writing tools", the themes from previous albums are still present on 'Body Paint' the romance found on the debut and 'AM' are still present but it's just done in a more grand way.
The riffs are more subdued but the band sound the best that they've sounded in years. It's one of the bands most impressive and accomplished pieces of music to date. They may no longer be the same wiry teenage upstarts who emerged from High Green, Sheffield, but why would they be? Seven albums into their career, here is a band comfortable enough to speed off in that titular car, leaving old sounds in the dust as they pursue something new.
Jamie T- The Old Style Raiders
After a five-year hiatus, 'The Old Style Raiders' marked Jamie T’s explosive return to music kicking the metaphorical door down with urgency and intent. It’s a defiant anthem, rallying fans to fight tooth and nail for the people and things that truly matter.
The line “Told to fight for something you love in life” is delivered with raw conviction, like his very survival depends on it.Speaking about the track, Jamie T explained: “It’s fighting to find something that means enough to you that you love. The fight to find that, and carry on striving, to find something you love enough to hold on to.
Rather than kid love or movie love or gushy love or lust love, whatever you have when you’re younger it’s actually trying to fight for something that means more than that. It’s the struggle to find that.”There’s a newfound maturity in both message and delivery a sense that Jamie T has emerged from the chaos older, maybe more bruised, but sharper and more focused.
'The Old Style Raiders' isn’t just a comeback single; it’s a mission statement, a rallying cry for resilience, and a powerful reminder of why his voice still matters.His album 'The Theory of Whatever' finds him at his most introspective and cinematic. There’s weariness in the tone, but also a palpable sense of growth. The songwriting is more refined, the production broader in scope, yet it still clings to the gritty, street-level honesty that has always defined his sound. And it all begins with 'The Old Style Raiders' a track that not only reintroduces Jamie T, but sets the emotional stakes for everything that follows.
Florence & the Machine- Free
'Free' is an anthem of resilience that captures everything that makes Florence + the Machine so powerful, distilling it into a beautiful, danceable, ecstatic mantra. It channels the emotional intensity of Welch’s earlier work, but steers it in a more euphoric, liberating direction.
The twitchy, urgent percussion drives the song forward, heightening one of the most rapturous choruses of the band’s career. Here, Welch doesn’t just confront anxiety she transcends it, delivering a performance filled with awe at the sheer possibility of joy.“And for a moment / When I’m dancing / I feel free,” she sings, her voice soaring above a swirl of synths, bass pulses, and shimmering textures.
By repeating that mantra throughout the track’s radiant choruses, Welch turns a fleeting moment into a lifeline each repetition brimming with gratitude, surprise, and defiance. It’s not just a celebration of joy, but a recognition of how hard-won it is.Within the context of the album 'Dance Fever', 'Free' becomes a centerpiece both thematically and sonically. It encapsulates the record’s central tension: the battle between physical stillness and emotional movement, between fear and release.
Welch has always been a master of catharsis, but here, she embraces lightness without losing depth. The result is one of her most compelling and life-affirming songs to date.
Noel Gallagher's High Flying Birds- Easy Now
Noel Gallagher spent the early part of the decade exploring new sounds and ideas, releasing a series of EPs that rode the momentum of his cosmic pop third album, 'Who Built the Moon?'.
But with his fourth album, 'Council Skies', Noel returned to his roots in more ways than one. The second single, 'Easy Now', is a clear nod to the classic Oasis era, blending jangly, psychedelic-tinged strumming with introspective lyricism.On 'Easy Now', Noel reflects with a rare tenderness, offering advice to his younger self while also highlighting the boundless power and optimism of youth.
Lines like “Soon your future will appear / There’s nothing left for you to fear” resonate like a quiet reassurance, underscoring the song’s theme of hope and self-acceptance.
This track could easily slip into the Oasis back catalogue alongside the timeless classics that Noel once sang as the elder Gallagher brother. For many fans, 'Easy Now' was exactly what they had been waiting for. A return to heartfelt songwriting after years wandering through the more experimental, cosmic pop wilderness.
Stripping back to acoustic guitar and raw emotion, Noel delivers arguably his best solo tune to date, reminding listeners why his voice and songs have always carried such weight.
Blur- The Narcissist
When Blur announced that they would be reuniting for some concerts in late 2022. Fams were in shock. Announcing dates at Wembley Stadium as well as shows in Madrid, Porto, Dublin, Amsterdam. What happened in April 2023 was even more of a shock. New music. Blur had made attempts to record an album before, and despite releasing 'The Magic Whip' in 2015, it wasn't an album made in the traditional way.
In May 2013, Blur found themselves in Hong Kong due to a canceled festival in Japan. With unexpected downtime, they decided to use the time productively and booked 5 days of studio time at Avon Studios in Kowloon. With no specific plan, the band spent the time mostly jamming and recording rough demos, with the ideas quickly being shelved. A year later, guitarist Graham Coxon, along with longtime Blur producer Stephen Street, revisited the recordings. They sifted through 15 hours of material, selecting the most promising parts. Albarn was then invited to write lyrics and record vocals, now that the musical foundation had been refined.
Blur’s ninth studio album, 'The Ballad of Darren', marked a return to a more traditional recording process for the band. Leading the charge was its debut single, 'The Narcissist' a track that immediately resonated with fans and critics alike.
Described by the band as "an aftershock, a reflection, and a comment on where we find ourselves now," 'The Narcissist' is more than just a song it’s a poignant meditation on memory, mortality, and legacy. Frontman Damon Albarn looks back at the lives and losses of close friends, including Bobby Womack, Tony Allen, and beloved tour manager Craig Duffy and his wife. The result is a deeply emotional and introspective piece that feels both timeless and painfully current.Far from a typical comeback single, 'The Narcissist' doesn't strive for reinvention instead, it distills the essence of Blur into something both familiar and transcendent.
It stands effortlessly alongside the finest moments in their discography. This is not just one of the best songs of the year it is one of the greatest Blur songs ever recorded. A breathtaking, hauntingly beautiful guitar-driven track that captures the full sweep of the band’s legacy in just a few minutes.
Gorillaz- Skinny Ape
Sticking with Damon Albarn. In the same year that Blur released 'The Ballad of Darren', Gorillaz also released an album,'Cracker Island'. An album that saw the band collaborate with Beck, Tame Impala, and Stevie Nicks! However, my favourite track on that album, features now collaborations at all. It’s the penultimate track on the album: 'Skinny Ape'.
'Skinny Ape' delivers an electrifying fusion of acoustic strumming, glitchy electronic beats, and soaring crescendos, resulting in a sound that is both unexpected and deeply compelling. It begins with a mellow, almost folk-like ambience, featuring delicate acoustic guitar and Damon Albarn’s introspective vocals. But before long, the song erupts into a thrilling electronic frenzy, driven by energetic drum breaks and layered synths echoing Gorillaz’s earlier works while embracing a sleek, futuristic edge.In many ways, the track feels like a sonic memoir of Albarn’s career, encapsulating his musical evolution in a single piece.
It opens with echoes of Blur’s 'Think Tank' and 'The Magic Whip' eras before pulsating drum machines pull it firmly into Gorillaz’s signature aesthetic. Albarn’s vocals shift seamlessly at moments recalling his Britpop roots in 'Parklife' and 'The Great Escape', then tapping into the raw energy of 'Song 2', before effortlessly returning to the unmistakable world of Gorillaz.
The result is a seamless blend of everything he has ever done. At times, it feels like a lost Blur classic; at others, a modern pop experiment. Lines like “Don’t be sad for me, I’m a cartoon G” playfully nod to Gorillaz’s virtual identity, blurring the boundaries between fiction and reality. This mix of self-awareness and melancholy adds yet another layer of intrigue, reinforcing Albarn’s reputation as a masterful storyteller.The term "masterpiece" is often used loosely these days, but Skinny Ape truly earns the title. In just four minutes and forty-one seconds, it allows Albarn to explore new musical landscapes while revisiting the ones that shaped his career. It captures the essence of what makes Gorillaz so captivating, genre-defying experimentation, sharp lyricism, and boundless creativity. While also paying homage to his work with Blur. The track not only encapsulates the spirit of his past but propels him forward into new sonic territory, blending nostalgia with innovation in perfect harmony.
For me, Skinny Ape stands as the pinnacle of Gorillaz's catalogue, a breathtaking testament to Albarn’s artistic evolution. It's not just the best Gorillaz song to date; it feels like a bold declaration of what the band and Albarn himself, are capable of achieving.
Young Fathers- Sink or Swim
The word masterpiece gets thrown around a lot, and often incorrectly. However, I cannot think of another word to describe 'Heavy Heavy' the fourth album by Scottish band Young Fathers.
The whole thing is simply breathtaking. A collection of anthemic, boundary-breaking pop. Choosing just one song from this album was difficult, there is so much to pick from. The numerous styles that fill their sonic smorgasbord – soul, pop, rock, hip-hop, noise fit together neatly here like the pieces of a puzzle; the band never once sounding disjointed when one sound gives way to the next, often within the same track.
'Sink or Swim' is the song I've chosen, the song doesn't let up, it feels like typical Young Fathers, but it keeps fans on their toes. It feels uneasy, and forboading but the melodies are danceable and anthemic.
Young Fathers can do the serious band making fun music, and the fun band making serious music, within the same song. There is no other band in the world who can do what Young Fathers do. Their songs are incredible.
Inhaler- Dublin in Ecstasy
'Dublin in Ecstasy' had been a fan favourite long before its release on Inhaler's second album 'Cuts & Bruises', featuring in the band’s setlist well before their debut album had even come out. This version more than does the song justice. It’s one of the longest and most ambitious songs released by the band to date, showcasing a sweeping, euphoric soundscape that feels both nostalgic and forward-looking.
The track captures the raw energy of their early live shows while blending it with the polish and confidence of a band hitting their stride. It's a standout moment on the album a testament to the band's evolution and their ability to turn long-loved live staples, into a classic piece of indie pop.
Inhaler were brave releasing this on their second album and making fans wait, they could have easily dropped the track on their debut, but instead they held out and released it two albums in taking everything they learnt on the road, and in the studio to ensure they did it justice.
The Royston Club- 52
The Royston Club’s debut album, 'Shaking Hips and Crashing Cars', is one of the most confident and compelling first records in recent memory. From start to finish, it's a vibrant, emotionally charged collection that feels anything but introductory. '52' stands out as one of the album’s defining moments a track that showcases the band’s musical dexterity and evolving sound. It opens with tight, punchy drums and subdued guitar riffs that ebb and flow beneath the vocal, before crashing back into life with explosive energy.
Talent is seeping out of every pore this is a group clearly destined for bigger stages. The biggest compliment you can give a song like '52', and the album as a whole, is that it doesn’t sound like a debut. It doesn’t even sound like an album track, it sounds like a single. The whole record carries the polish and maturity of a band far beyond their years, with a sharp ear for melody, emotion, and dynamics.It’s a brilliantly crafted set of songs, exploring themes of love, lust, disillusionment, and youth.
The entire album feels like a coming-of-age film soundtrack cinematic, personal, and full of bite. '52' is, in many ways, the album’s emotional core: its anthemic chorus and standout lyrics (“You wanna sleep for an eternity / Fade into obscurity” and “Each day's a little heavier than the last / Every morning, waking with a funeral for the past”) hit hard and linger long after the song ends.
The Royston Club sound like they’ve been doing this for a decade, yet there’s a freshness and vitality that keeps everything feeling new. At a time when guitar music is experiencing a much-needed resurgence, they’re not just part of the wave, they’re helping lead it. With a second album on the way this year, expectations are high. And if it’s even half as good as their debut, we’re in for something truly special.
The Beatles- Now & Then
November 2nd 2023, over 50 years after the break up of one of the biggest bands ever. The Beatles released a new song. With all four members taking up their respective roles for one last time. Lennon & McCartney with those harmonising vocals we love. Harrison with some of his unique and beautiful guitar lines, and Ringo picked up his drum sticks again.‘Now & Then’ has a complex story, from the very beginning. Written by Lennon in the Dakota building in the 1970’s after the break up of the band, a simple demo with a piano and him singing. It was then resurected in the 1990s where the three surviving Beatles, McCartney, Harrison and Starr attempted to record the track alongside two others ‘Free as a Bird’ and ‘Real Love’ which had been given to them by Lennon’s wife Yoko Ono.1995 saw The Beatles release ‘Anthology’ and fans got to hear ‘Free as a Bird’ and ‘Real Love’ however ‘Now & Then’ was abandoned, they could not separate Lennon’s vocal from the piano, and therefore attempts to record the song were unsuccessful. It seemed to be that was that.
Harrison would pass away in 2001 and it seemed that we had heard everything we would ever hear from The Beatles.
Yet in 2021 The Beatles and Peter Jackson released ‘Get Back’ a series of archive footage, that was thought to be lost. Showcasing the band recording songs for what would become ‘Let It Be’ and preparing for a live show that ultimately never ended up materialising. Fans got to see John Lennon, Paul McCartney, George Harrison and Ringo Starr in a way we had never seen them before. ‘Get Back’ also managed to dismiss many of the myths about the end of The Beatles. It’s a truly spectacular look into one of the most significant pieces of popular culture ever.Peter Jackson wasn’t finished there though. After helping McCartney and Lennon duet at Glastonbury in 2022, on ‘I’ve Got A Feeling’ using vocal separation technology. That allowed tracks to be separated into the key elements.
McCartney and Starr decided to go back and re visit ‘Now & Then’ and use this new technology.
They managed to get Lennon’s vocal line to really shine through. McCartney provides backing vocals and we get to hear that unique duo one more time. It’s one of the most distinct sounds in music. Harrison does what he does best a beautiful guitar backing, on an acoustic guitar. McCartney honours his band mate by playing a slide solo on the song. Starr keeps the track moving with his drums, always setting the pace but not deferring from what the others do.
McCartney and Giles Martin, son of George Martin, take things from The Beatles past to add to the song. Backing vocals are taken from ‘Here, There and Everywhere, Because, and Eleanor Rigby’ the Beatles magic is littered throughout the song. Even the opening line, with McCartney counting us in, just as he did on ‘I Saw Her Standing There’ in 1963.
It’s the final chapter in musics greatest story. A story in which four lads from Liverpool took on and took over the world, a story filled with chaos, tragedy, beauty, controversy, sadness and joy, friendship and soundtracked by some of the greatest songs ever written. Has its final chapter. For those who are still here and for those lost along the way.
The Libertines- Run, Run, Run
'Run Run Run' marked The Libertines’ long-awaited return their first new music in nearly a decade. It set the tone perfectly for their 2024 album 'All Quiet on the Eastern Esplanade'. It’s a classic Libertines track in every sense: raw, melodic, and made for the dancefloor. Both Doherty and Barât trade verses with that familiar, ragged charm echoing the same dual-frontman magic that made 'Can’t Stand Me Now' so iconic.
Lyrically, 'Run Run Run' sees the band casting a clear-eyed gaze back on their chaotic early years, but with older, wiser heads. The song is littered with references to places, people, and memories from their formative days, a scrapbook of the Libertines' past but it’s never indulgent. Instead, the message is clear: they refuse to be trapped by nostalgia. As the band themselves have said, “the worst thing for The Libertines would be to get stuck in a rut, constantly trying to relive the past.”
There’s reflection here, but it’s grounded. This isn’t a band clinging to former glories it’s a band owning their legacy while pushing forward. 'Run Run Run' is vibrant, confident, and sharp, showing that The Libertines aren’t just back they’re better. It was the perfect track to launch this new chapter: familiar enough to stir up the old excitement, but fresh enough to prove there’s still plenty left to say.It has slotted in with the very best songs the band have ever written.
A tale of where they've come from with a few subtle nods to where they are going. Wrapped up in some beautiful lyrics and brilliant instrumentation that highlights where they are now. Away from the drugs, the clubs and pubs. The Libertines are four extremely talented musicians ‘Run Run Run’ proves this.
The K's- Hoping Maybe
When The K's released their debut album, it felt like a long time coming. Their debut single 'Sarajevo' was released in 2017, and since then they'd steadily released new music, with each release getting better. However, they really did save their best for the album.
The K's had been known for fast paced, frentic indie bangers built for sweaty venues and festival fields.With 'Hoping Maybe' the band showed a new side to their music, with lush instrumentation and ballad like choruses. The four piece stretch their musical legs, displaying their musical and melodic abilities. This still sounds like The K's but it is delivered in a more subdued way.
It adds a real variety to the record, and has become not only a fan favourite but a live staple. Perfect for the bigger crowds that the band are already now playing. Since the release of the album, the band have played some massive support slots, and already received main stage billing at huge festivals. The thing is, they are just getting started. The K's will have plenty more songs on this list, when we next re-visit it.
Fontaines D.C.- Favourite
The winner of Beyond the Grooves’ Song of the Year for 2024, ‘Favourite’ stands as a towering achievement in Fontaines D.C.’s already remarkable catalogue. As the second single from their fourth album 'Romance', it marked a stark departure from the gritty, chaotic energy of lead single 'Starburster'. Where that track was urgent and visceral, ‘Favourite’ is expansive and emotionally resonant a swirling, hypnotic song that the band themselves described as having “this never-ending sound to it, a continuous cycle from euphoria to sadness, two worlds spinning forever.” The Cure’s influence is unmistakable, with a shimmering riff reminiscent of 'Just Like Heaven' providing the perfect backdrop for the song’s lyrical depth.
It’s a track built on reflection on childhood, friendship, and the unspoken bonds formed in those early years. “To see people that we know as adults at such an intimate level as children,” they said, “we explore where we come from and who we still are.” It’s a powerful sentiment, and it anchors the song in a bittersweet nostalgia that never slips into sentimentality.Lyrically, ‘Favourite’ is Fontaines D.C. at their very best.
Their last record, 'Skinty Fia', hinted at a leap in lyrical maturity particularly on tracks like ‘I Love You’ but this feels like a culmination of that evolution. The writing here is poetic, sharp, and emotionally charged.Lines like “Each new day I get another year older / Every time you blink you feel a change” perfectly capture the relentless pace of time and the disorientation that comes with it. There’s commentary on class “when they painted the town with Thatcher” and on the gentrification of cities that have lost their soul. Touring life and displacement also haunt the track: “Cities on return are often strange” a beautifully understated line that speaks volumes.
‘Favourite’ is more than just a standout single it’s a career-defining moment. A song that manages to feel intimate and universal all at once. Fontaines D.C. have always worn their hearts on their sleeves, but here, they reveal something deeper: a growing wisdom, a sharper eye, and a willingness to explore the uncomfortable. It’s the sound of a band not just evolving, but ascending.
Wunderhorse- Arizona
When Wunderhorse released ‘Arizona’ as the final single ahead of their second album ‘Midas’, it immediately felt like a pivotal moment not just for the record, but for the band’s evolution as a whole. Wunderhorse, led by Jacob Slater and supported by a tight-knit ensemble, has always thrived in the space where grit meets vulnerability.
Their debut album ‘Cub’ introduced us to their blend of raw indie rock and tender storytelling, but ‘Midas’ pushes deeper. It’s an album that crackles with live energy, embraces imperfection, and leans fully into the kind of emotional honesty that’s becoming increasingly rare in modern guitar music.Recorded at Pachyderm Studio in Minnesota with producer Craig Silvey (known for his work with The Rolling Stones and Florence + The Machine), ‘Midas’ was built to capture Wunderhorse’s live presence. The sound is intentionally rough around the edges distorted guitars, unfiltered vocals, and a heartbeat you can almost feel beneath the mix. Songs like ‘Midas’ and ‘July’, roar with frustration, pacing restlessly between themes of disillusionment, love, and identity.
There’s anger here, but also beauty, especially on quieter moments like ‘Silver’ and ‘Emily’, where Jacob Slater pulls everything back to let the emotion speak for itself.But ‘Arizona’ is the album’s quiet centrepiece the song where Wunderhorse’s emotional depth reveals itself most completely.At first glance, ‘Arizona’ feels simple a soft, almost folk-leaning ballad but the weight of the lyrics tells another story.
The song opens with a stark image:"There’s space that’s always empty / There’s a ghost without a name”
Right from the beginning, Slater places us in the presence of absence. It’s grief that doesn’t have a face, a name, or a place to land. There’s a suggestion here of a life that never fully arrived perhaps a child lost before birth. This interpretation is supported by the recurring theme among fans that ‘Arizona’ may be about abortion or miscarriage a quietly devastating grief that society often leaves unspoken.
'Arizona' is one of the most striking and beautiful pieces of indie rock released in this decade. It sits alongside 'Teal' as the bands defining moment. Wunderhorse are comfortably the next big thing in the landscape of British guitar music. Where they go with record number three who knows but one thing is for certain they can write some extraordinary songs.
The Clause- Weekend Millionaire
The Clause like many of the other bands on this list, have been around for a number of years but on the 27th September 2024, they released their magnum opus. 'Weekend Millionaire. A song that since that date has been in heavy rotation on pretty much all of my playlists. Its nothing short of a triumph, easily the bands best effort to date. With references to the past, but a sound firmly fitting of 2024. The band are not imitating anyone here it is firmly The Clause. Tackling the idea of being young and ambitious but also with the fear of falling behind in the modern world. An indie classic, that is relatable to us all. A song that tackles the universal nature of being young in the UK.
Whether that is in Birmingham or Bolton.The song talks about the escapism that comes with going at the weekend. Whatever that may be. Musically the song is a massive jump. Each member has their moment in the sun, and it knits together perfectly. It's been the most I've been gripped by a new song in a very very long time.
I cannot stop playing it, it has that infectious feel that makes you want keep listening. A catchy chorus, and verses that are so relatable.It's reliability alongside the sing along nature of 'Weekend Millionaire' makes it one of the best songs of the year. It's something we can all relate to, tackling friendships falling apart, the nature of the world at the moment, young lust, young love, the ecstasy and agony that comes with a heavy weekend.
A song that will go on to soundtrack plenty more heavy weekends, and lead the indie faithful to the dancefloor. A battle cry for the youth of today.
Blossoms- Gary
Now five albums into their career, Blossoms have firmly cemented themselves as one of the most beloved indie bands of the 2010s and 2020s. Known for their knack for melody, wit, and warmth, the band returned in 2024 with 'Gary' a delightfully unexpected single from their forthcoming album of the same name. Inspired by a true story Tom Ogden heard on the radio about an eight-foot gorilla statue with a “fibre glass heart” stolen from a Scottish garden centre it’s as bizarre as it is brilliant.
‘Gary’ perfectly encapsulates everything that makes Blossoms who they are: catchy, playful, and irresistibly charming. It’s a song that could only come from this band — clever without being pretentious, funny without being throwaway, and musically tight with an undeniable groove. Blossoms have never pretended to be Radiohead, and they don’t need to. What they’ve delivered here is one of the most unexpected earworms of recent memory.
The song took on a life of its own following the band’s biggest headline show to date a huge hometown performance at Manchester’s Wythenshawe Park in August 2024. In front of a 30,000-strong crowd, ‘Gary’ received one of the loudest reactions of the night, instantly confirming its place as a fan favourite. It’s the kind of song that thrives in a live setting joyful, weird, and utterly unforgettable.
With ‘Gary’, Blossoms once again prove that they don’t need to overthink it. They just need a great story, a strong hook, and their signature charm and the result is one of the most delightfully original singles of the decade.
Courteeners- First Name Terms (Feat.Pixey)
Courteeners’ seventh album is a bold, kaleidoscopic body of work. One that sees the band stretching far beyond their Manchester roots, both sonically and thematically. There are several standout tracks on this seventh record that could have made this list, but from the very first listen, this was the one that hit hardest.
Among a handful of collaborations on the album, this track stands out not for being loud or flashy, but for its quiet power. Pixey’s guest vocal is beautifully understated her bittersweet tone perfectly complementing what is arguably Courteeners’ most political statement to date. This is a song that takes direct aim at the state of modern Britain, calling out the complacency of the ruling class and the emptiness of being told to simply “get on with it.”
The opening line alone “Lie back and think of England, but when does England ever think of you?” is among the most striking and resonant lyrics of the year. It cuts through with clarity and frustration, capturing a national mood of disillusionment in a single, stinging phrase. In a year where artists like Jamie Webster, Jake Bugg, and Sam Fender have all used their platforms to speak out, who would’ve expected Liam Fray to deliver one of the most cutting political songs of 2024? Honestly, not me.
But here we are. It’s a brilliant track, both lyrically and sonically. Courteeners have taken a creative leap with this album, stepping into new territory with confidence and purpose. And if this song is anything to go by, it’s a direction that suits them. Bold, reflective, and refreshingly unfiltered this isn’t just a standout track; it’s a statement. And I’m all in.
The Last Dinner Party- Beautiful Boy
The Last Dinner Party first came onto the radar in late 2023, quickly capturing attention with their theatrical flair and genre-defying sound. But it was with the release of 'Prelude to Ecstasy' in February 2024 that they truly solidified their place as one of the most exciting new bands in years.
On an album filled with standout moments, this track subtle, striking, and utterly unique feels like the crown jewel.A dialed-down affair, the song opens with delicate piano and softly woven panpipes a surprising yet perfectly measured combination. It’s a moment of stillness and restraint, a muted breath that completely shifts the pace and tone of the record. In contrast to the grandeur and intensity that surrounds it, this track feels intimate, theatrical, and meticulously crafted. It’s rock music at its most unconventional.
More opera house than mosh pit and few bands have ever managed to fuse those worlds so seamlessly.Described by the band as a cinematic slow dance, the song tackles the societal privilege of being a handsome man with both subtlety and bite. There’s humour, melancholy, and commentary all wrapped into one executed with grace and a knowing wink. It’s a moment that shows just how much depth and control The Last Dinner Party possess, even at this early stage in their career.
It’s not just one of the best songs on the album, it’s one of the best songs of the decade. A miniature masterpiece that feels like a cathartic release with every listen. Haunting, clever, and completely original, it’s a track that lingers long after the final note fades. From one of the most accomplished debut albums in recent memory, this is a shining example of a band already operating at an astonishing level.
NewDad- Where I Go
Ireland continues to be a wellspring of incredible music, and NewDad are the latest in a long line of brilliant Irish bands making their mark. Their debut album 'Madra' is a deeply rewarding collection of propulsive, emotionally rich shoegaze pop a sound that feels both classic and refreshingly new.
Among the album’s eleven tracks, ‘Where I Go’ emerges as a true standout arguably the best song on the record.It marks the beginning of a particularly strong run of tracks that showcase the full spectrum of NewDad’s sound from the airy dream pop shimmer of ‘Dream of Me’ to the more riff-heavy, grunge-tinged ‘Let Go’. But ‘Where I Go’ sets the tone beautifully. It’s dark, brooding, and quietly intense a slow-burning track that doesn’t demand attention but earns it through atmosphere and emotional weight.
What sets NewDad apart from many of their contemporaries even their fellow Irish peers is their restraint. They don’t overpower with vocals or attempt to force moments. Instead, they let the textures do the talking. The instrumentation is stunning: layered guitars soaked in reverb, haunting melodies, and hypnotic vocals that feel more like spells than lyrics. It’s immersive and immersive by design.‘Where I Go’ is the kind of song that seeps into your subconscious. It doesn’t scream for recognition it quietly earns it. In a debut full of impressive moments, this track stands out as the one that lingers the longest.
NewDad have arrived with a clear sense of identity, and 'Madra' proves they’re not just ones to watch they’re already something special.
Circa Waves- We Made It
Released as the debut single from the bands sixth album 'Death & Love Part 1', 'We Made It' is classic Circa Waves a slice of infectious indie pop bursting with energy and melody. But while the sound is familiar, the story behind the song is anything but ordinary.
The track was born from a life-changing moment for frontman Kieran Shuddall, who underwent emergency heart surgery in 2023 after being diagnosed with a severely inflamed heart. The band were forced to cancel shows, and Shuddall was rushed to hospital for treatment that ultimately saved his life. What followed was a period of reflection, gratitude, and creative freedom.Rather than dwelling in darkness, the band turned a terrifying experience into something triumphant. The result is a punchy, euphoric anthem that not only celebrates Shuddall’s recovery, but bursts with a renewed sense of purpose. It feels alive in every sense both sonically and emotionally.
As Shuddall told NME: “I thought I might die before I made this record and then I didn’t, and I got to make an album of music that I loved. The shackles were off, in a way, because I had this newfound joy and excitement for being alive.”That joy is written all over this track. It’s one of the most relentlessly catchy songs of the year a song that demands repeat plays and feels tailor-made for the live stage. It already feels like a future setlist staple, and one of the most vital Circa Waves songs in years.
Since its release, it’s been on heavy rotation across my playlists and for good reason. It’s more than just a return to form it’s a celebration of survival, resilience, and the pure joy of making music. And it might just be one of the most uplifting indie moments of 2024.
Sam Fender- Crumbling Empire
‘Crumbling Empire’ sees Sam Fender at his most reflective and socially conscious, exploring the poverty and hardship he’s witnessed not only growing up in his hometown of North Shields but also while travelling on tour across the UK. It’s a track that connects the dots between the lasting effects of Thatcherism and the current state of working-class communities, painting a picture that is both grounded in personal experience and universally resonant.What makes this track particularly powerful is Sam’s self-awareness.
He doesn’t position himself as a spokesperson or saviour instead, he acknowledges the distance between where he came from and where he is now, without ever losing sight of his roots. The line “I’m not preaching, I’m just talking / I don’t wear the shoes I used to walk in” is one of the most honest and impactful moments in his catalogue to date. It captures the tightrope that artists like Sam often walk wanting to speak up for where they’re from, while recognising how much has changed in their own lives.
Musically, the song is rich and brooding, matching the weight of its themes with a stirring arrangement that slowly builds in intensity. It's a perfect encapsulation of what Sam Fender does best, blending the political with the personal, crafting songs that speak to individual struggle while echoing the wider social landscape.‘Crumbling Empire’ is, in my opinion, one of the finest songs Sam has ever written. It’s raw, thoughtful, and emotionally grounded a song that resonates with fans not just because of what it says, but because of how honestly it says it. It’s an anthem for those left behind, told by someone who hasn’t forgotten where he came from.
Sam Fender- TV Dinner
‘TV Dinner’ is another emotional high point in Sam Fender’s catalogue a stripped-back piano ballad that quietly delivers some of his most poignant and powerful lyricism to date. In this track, Sam turns his gaze toward the music industry itself, highlighting how it often exploits working-class artists, praising them in hindsight while offering little support when it truly matters. It’s a deeply personal reflection on fame, pressure, and the often unforgiving spotlight placed on those who rise from humble beginnings.
The song’s most striking moment comes with the line: “Like Winehouse, she was just a bairn / They love her now but bled her then.” It's a devastating observation raw in its simplicity and brutal in its truth. Here, Sam confronts the way Amy Winehouse was treated by the press and the public during her struggles, only to be posthumously revered.
It's a heartbreaking example of how working-class artists, especially women, are so often failed by the very industry that profits from their pain.Sam has spoken openly about how this lyric was born from his frustration at watching history repeat itself seeing the same media that tore Winehouse down turn her into a cultural icon only after it was too late. It’s a moment of deep empathy, and one that also serves as a warning: that behind the glamour and success, the toll of fame can be isolating, especially for those who don’t come from privilege.
‘TV Dinner’ strips everything back, allowing the vulnerability in both the lyrics and Sam’s voice to take centre stage. It's a song that doesn’t try to be loud its strength lies in its quiet honesty. And in doing so, it becomes one of the most affecting and meaningful tracks he’s ever released. A reflection on fame, class, and compassion it’s a reminder of the human cost behind the headlines.
Inhaler- Eddie's in the Darkness
The opening track of Inhaler’s third album, 'Open Wide', ‘Eddie’s in the Darkness’, might be one of the album’s least experimental songs especially when compared to more boundary-pushing moments like ‘Your House’ but that doesn’t take anything away from its impact. It’s a straight-up indie rock anthem that leans into what the band does best: big hooks, bold energy, and polished execution.
From the moment it kicks in, ‘Eddie’s in the Darkness’ rumbles with intent. Driven by a confident guitar line and underpinned by a sleek rhythm section, the track oozes self-assurance. It sounds sharp, modern, and arena-ready the kind of song that immediately demands attention. The chorus is especially massive, featuring a soaring call-and-response vocal arrangement that brings all four band members into the spotlight.
It’s one of those moments that feels tailor-made for a crowd to shout back, arms raised.While it may not push the envelope musically, ‘Eddie’s in the Darkness’ doesn’t need to. It’s a powerful statement of intent a song that sets the tone for the rest of the album with clarity and confidence. Inhaler are a band that continue to evolve, but here they choose to open 'Open Wide' with something familiar and electrifying.It’s one of the catchiest indie tracks of 2025 so far energetic, direct, and undeniably infectious.
As album openers go, ‘Eddie’s in the Darkness’ is exactly what it needs to be: bold, memorable, and a reminder that Inhaler know exactly how to write a great song.
Inhaler- A Question of You
Inhaler have been crafting festival-ready anthems since their debut, but ‘A Question of You’ might just be their best yet. It captures everything the band are known for soaring choruses, tight instrumentation, and undeniable energy but with a newfound sense of freedom and confidence.
There’s something looser, more unrestrained about this track. It doesn’t feel like it’s trying to fit a mold instead, it bursts out of the speakers with a natural ease, like a band that’s truly found its stride.While it’s clearly built for big stages with a chorus that feels tailor-made for festival singalongs and arena-sized moments 'A Question of You’ also signals growth.
Inhaler aren’t just repeating the formula; they’re expanding it. New sonic textures creep in, and there’s a sense of maturity in both the songwriting and the production. It’s vibrant, modern, and ambitious without losing the infectious spark that made them stand out in the first place.
You can hear the influence of their time on the road supporting acts like Arctic Monkeys and Harry Styles not in imitation, but in inspiration. There’s a refinement to their energy now, a sharper understanding of dynamics and pacing, and a willingness to experiment without losing themselves. ‘A Question of You’ feels like the product of a band that’s grown up on stage and come back sounding better than ever.
Haim- Gone
Haim have consistently demonstrated a fearless willingness to explore and embrace new sounds and musical ideas throughout their career. Far from sticking to one genre or style, they’ve effortlessly navigated a diverse range of influences from the raw, energetic vibes of 2000s garage to the introspective storytelling of folk and country, and even the edgy textures of post-punk.
Each album and track showcases their ability to reinvent themselves while maintaining their distinctive identity.With ‘Gone’, Haim make their most creative statement yet. With a low fi crunch, and an amazing example of George Michael's 'Freedom 90' complementing and clashing in equal measure with Danielle Haim's voice.
The band are not taking any shit with this song, "You can hate me for what I am / You can shame me for what I’ve done / You can’t make me disappear / You never saw me for what I was!”
In just under five minutes, ‘Gone’ introduces every inch of musical and referential ground that ‘I quit’ embodies.
The trackout as one of the very best songs on the bands fourth album 'I Quit'. Keeping up with the themes that run through the whole album, a relationship coming to an end. It's one of the best songs of 2025.
Pulp- Spike Island
Just as Blur did in 2023, Pulp returned with new music in 2025, and their first single in years manages to feel both fresh and unmistakably familiar. The track opens with a high-pitched whistle and a crisp cymbal count-in before erupting into glorious, technicolour Pulp vibrant, witty, and unmistakably Jarvis Cocker.
Ever the master of sharp human observation, Jarvis immediately pulls you in with the arresting opening line: “Something had stopped me dead in my tracks.” And yes, it certainly has.
Producer James Ford, who has been on an astonishing run, draws out the best in every band member. Candida Doyle’s shimmering synth line is elegantly simple yet utterly effective easily up there with her finest work. Nick Banks drives a tight, relentless rhythm that perfectly underpins Webber’s devastatingly precise guitar work. The production is clever too, with a subtle quiet moment before the final chorus drop that’s clearly designed for festival singalongs, inviting crowds to shout back in unison.
But this isn’t some lazy nostalgia trip. It’s a brilliantly crafted modern indie pop song that acknowledges the pitfalls of looking back through rose-tinted glasses. Even its title hints at the dangers of nostalgia how the past often seems perfect in memory, even when it was far from it.
Take Spike Island, for example: notoriously badly organised, musically underwhelming, and plagued by terrible sound, yet it’s since been mythologised as a sort of baggy-era Woodstock.Perhaps Jarvis is reflecting on Pulp’s own supposed glory days with a clearer, more mature perspective.
The references to Spike Island also touch on his discomfort with fame and conformity: “I was conforming to a cosmic design, I was playing to type.” It’s a candid admission that fame can be a confining script, and that the golden era fans remember wasn’t always as idyllic behind the scenes.
In all, this single reaffirms that Pulp aren’t merely revisiting their past they’re engaging with it honestly, evolving their sound while staying true to the wit and insight that have always made them great. It’s a welcome return that feels both like a nod to the past and a confident step forward.
Red Rum Club- American Nights & English Mornings
The Liverpool band have given fans an exciting teaser of their forthcoming fifth album, ‘Buck’, with the release of the first single, ‘American Nights & English Mornings’. This track is a beautifully crafted fusion of indie rock, dreamy soundscapes, and introspective lyrics a combination that has quickly made it one of my most played songs of 2025 so far.
The instrumentation on this track is truly immersive, creating an almost otherworldly atmosphere. Swirling guitars intertwine seamlessly with pulsing synths, working in harmony with the vocals to evoke a deep sense of longing and nostalgia. The sound perfectly captures the bittersweet nature of memories.
Lyrically, 'American Nights & English Mornings’ delves into themes of identity, place, and disconnection. It offers a poignant and thoughtful exploration of a narrative that feels both deeply personal and universally relatable. The title itself encapsulates a compelling duality, serving as a metaphor for the complexities and disorienting rhythms of modern life caught between different worlds, cultures, and emotions.
Through its evocative storytelling and rich sonic texture, the song invites listeners to reflect on their own journeys and the delicate balance between belonging and estrangement.As well as delving into these complex themes, the band have written maybe the best chorus of their whole career, and one of the catchiest songs of the year. 'American Nights & English Mornings' will remain in the setlist for a long, long time.
Wolf Alice- Bloom Baby Bloom
Wolf Alice made a triumphant return in early 2025 with ‘Bloom Baby Bloom’, their first new music in over four years — and it was well worth the wait. As the opening statement from their highly anticipated fourth chapter, the track is easily the band’s most accomplished and forward-thinking work to date. It’s bold, cinematic, and full of explosive energy. A thrilling leap forward that feels like a declaration of evolution.
While their previous records were marked by moments of restraint or introspection, this time there’s no holding back. ‘Bloom Baby Bloom’ is a band in full bloom confident, ambitious, and completely unapologetic.
Ellie Rowsell is, as ever, the magnetic centre of it all. Her voice is no longer just a vehicle for lyrics it’s a full-blown instrument in its own right, shifting effortlessly through emotional textures and tonal shifts. One moment she’s soaring with angelic clarity, almost choral in her delivery, and the next she’s snarling with intensity, contorting her voice into something raw and visceral. It's a vocal performance full of nuance and power, as captivating as it is unpredictable.But this track is far from a one-woman show.
The rest of the band are just as essential to the magic. Joff Oddie delivers one of his finest moments on record with a blistering guitar solo a reminder that he’s one of the most underrated and inventive guitarists on the current scene. Joel Amey’s drumming is sharp and dynamic, splattering moments of impact across the track and constantly driving it forward with urgency.
Meanwhile, Theo Ellis' bassline is a standout in its own right piercing through the pre-chorus with a pulsing, insistent groove that anchors the song’s more expansive moments.All four members are firing on all cylinders, working in perfect unison to craft something that feels massive and meticulously detailed.
‘Bloom Baby Bloom’ isn’t just a comeback it’s a step into a new era. It’s the sound of a band that knows exactly who they are and are ready to push even further. Breathtaking, defiant, and completely intoxicating, this is Wolf Alice at their absolute best — and it leaves no doubt that whatever comes next will be just as vital.
The End
And so we come to the end a collection of some of my favourite songs of the decade so far. Of course, this isn’t an exhaustive list. There are countless others I could have included, and narrowing it down was no easy task. But these tracks represent something more than just catchy choruses or clever lyrics — they’ve soundtracked moments, marked personal growth, and shaped my ever-evolving relationship with music.
Over the past few years, as I’ve moved through my twenties, my listening habits have changed in ways I never quite expected. I’ve found myself more open to exploring new sounds and genres music I probably wouldn’t have given a second glance in my late teens. Take Sleep Token, for example a band I’ve grown to really respect and enjoy over the last year or so. In hindsight, they probably deserve a spot on this list.
Charli XCX became a major part of my regular rotation following the release of ‘Brat’. That album hit differently bold, genre-bending, and totally addictive. It reshaped how I view pop music and what it can be.
More recently, Olivia Rodrigo’s Glastonbury set was a real turning point. I’d heard her before, but seeing her live made me revisit her work with fresh ears she’s brilliant, clever, and completely deserving of the spotlight she’s in.
And then there’s Kneecap whose presence on my hip-hop playlists has only grown stronger. Their energy, rawness, and cultural commentary make them one of the most compelling acts in the world right now. They’re a reminder that great music doesn’t just entertain it challenges, reflects, and speaks to something bigger.
Ultimately, this list isn’t about ranking or finality it’s about celebrating the tracks that have left a mark on me. And if the past few years are anything to go by, the next few years of the 2020's will be amazing.
Thank you for reading
Jack