An Indie Valentine: The Ultimate Love & Heartbreak Playlist
With love being in the air, I wanted to give a little rundown of some of my favourite indie love songs, and maybe a couple of breakup anthems in there, too. Whether you're celebrating with someone special or navigating the day on your own this year, this is still a brilliant playlist.
Wolf Alice- 'Don't Delete the Kisses'
A love song for the modern age, 'Don’t Delete the Kisses' feels like an anthem for the romantics who still dare to believe. The song captures the essence of modern romance: the hesitation, the self-doubt, and ultimately, the leap of faith required to let love into your life. Ellie Rowsell’s half-spoken delivery makes the lyrics feel like a private internal monologue, one that moves from fear to total surrender.
The track begins with the agonising overthinking that defines a new crush. It’s the sound of someone standing in their own way, paralysed by the "gossip's eye" and the fear of rejection.
"I'd like to get to know you / I'd like to take you out / We'd go to The Hail Mary / And afterwards make out / Instead, I'm typing you a message / That I know I'll never send / Rewriting old excuses / Delete the kisses at the end"
Its enduring appeal lies in this brutal honesty. Wolf Alice doesn’t offer a neatly packaged love story; instead, they present the messy, uncertain reality of trying to be "cool" while your heart is racing. We see the narrator trapped in a cycle of "Irish goodbyes" and late-night regrets on the bus ride home, asking the question so many of us have:
"And I like you, and I'll never let it show / And you won't wait, and maybe I won't mind / I work better on my own... What if it's not meant for me? / Love"
But as the synths swell, the mood shifts from doubt to a dizzying, "teenage girl" level of infatuation. The lyrics capture that wonderful moment when you stop fighting the feeling and admit that someone has turned your world upside down.
"I'm losing self-control, and it's you / It really is, one thousand times / I look at your picture and I smile / How awful's that? ... I'm electric, a romantic cliché / Yeah, they really are all true"
By the time the song reaches its cinematic climax, the "French exit" is no longer an escape from the person, but an escape with them. The uncertainty of the beginning is replaced by a powerful, echoing realisation that carries the track to its finish.
"Me and you were meant to be / In love / Me and you were meant to be / In love / I see the signs of a lifetime, you 'til I die"
It’s a masterpiece that reminds us that the happy ending is possible, but it requires us to stop deleting those kisses and finally let the world in.
The Last Shadow Puppets – 'Sweet Dreams, TN'
If you want to hear what total, unadulterated obsession sounds like, look no further. Taken from 'Everything You've Come to Expect', this track sees Alex Turner channelling his inner Scott Walker. It’s a grand, orchestral declaration of being completely "besotted." The vocal performance is legendary, building from a lounge-singer croon to a desperate, lung-bursting crescendo. It’s a reminder that love isn't always quiet; sometimes it’s a loud, crashing, cinematic event.
The lyrics are raw and frantic, capturing a love that feels more like a physical ailment than a Hallmark card. Turner’s descriptions are vivid and visceral:
"It's love like a tongue in a nostril / Love like an ache in the jaw / You're the first day of spring with a septum piercing / Little Miss Sweet Dreams, TN"
He paints a picture of someone completely undone by their feelings, admitting, "I just don't recognise this fool that you have made me." It’s a track that perfectly balances high-art orchestration with the gritty, messy reality of being "loopy" for someone. It’s bold, it’s intense, and it’s easily one of the most powerful love songs of the last decade.
Peace – 'Lovesick'
Released as the fourth single from their debut album 'In Love', 'Lovesick' is an unapologetic anthem of reckless abandon. The song stands as one of the definitive indie love tracks, its lyrics refreshingly simple and direct. Peace are in love, and they want the world to know it. The track opens with a list of all the mundane responsibilities the narrator is ready to abandon just to stay in the orbit of their partner.
"I don’t wanna go to school / I don’t wanna take the call / I just wanna be a fool and get lovesick with you / I don’t wanna move my head, lay around and die in bed"
'Lovesick' carries echoes of the past, notably with a refrain that mirrors the celebratory spirit of The Cure’s 'Friday I'm in Love ', but it speaks to love in the modern era, celebrating those timeless, messy romantic gestures. It’s one of the best indie love songs ever written, precisely because of its simplicity; it says exactly what it is on the tin. The lyrics lean into the idea that love is a kind of delicious illness that renders the rest of life irrelevant.
"I don’t wanna make no sense / I don’t wanna pay the rent / I just wanna lay down dead and get lovesick with you"
With one of the best choruses of the 2010s, it is designed for those communal, shared moments. The repetition of the hook becomes a mantra for anyone who has ever felt that all-consuming spark:
"I wanna get lovesick / I wanna get lovesick with you"
Whether you're in an indie nightclub in Birmingham, lost in the crowd at a festival field in Leeds, or sharing a quiet moment with a partner, the song’s energy creates an instant connection. There is even a touch of self-aware wit in the later verses, acknowledging the intensity of the feeling: "Trust me, baby, I’m the creep, and I’m lovesick with you." It’s a track that pulls people together, transforming any setting into a celebration of love and carefree joy. An absolute shoo-in for a list like this.
The Stone Roses – 'Sally Cinnamon'
Before they changed the world with their debut album, The Stone Roses gave us 'Sally Cinnamon'. It is arguably the blueprint for the melodic indie-pop that followed. There’s a jangle-pop sweetness here that feels like a summer afternoon; it’s innocent, catchy, and remains one of the most endearing songs ever written. The track showcases Ian Brown’s soft, almost whispered delivery, which perfectly captures the vulnerability of burgeoning affection.
The lyrics start with a confession of how life-changing this connection feels, painting a picture of someone who has finally found shelter from their own personal storms.
"Until Sally, I was never happy / I needed so much more / Rain clouds oh, they used to chase me / Down they would pour / Join my tears / Allay my fears / Sent to me from heaven / Sally Cinnamon, you're my world"
There is a beautiful, psychedelic touch to the way the lyrics describe the obsession of a crush, where the person’s face seems to manifest in the very world around you, reflected in every surface.
"Your eyes are gazing back / From every little piece of glass / You seem to smile from every blade / Sally Cinnamon, you are my world"
However, the final verses reveal a deeper layer to the story. We learn that this tribute comes in the form of a letter found in an abandoned jacket, "On a train in town," and it isn't from the suitor we might have initially imagined. As the narrator describes finding the note and tucking it back into its pocket, the perspective shifts.
"Then I put the letter back / In the place where it was found / In the pocket of a jacket / On a train in town / Sent to her from heaven / Sally Cinnamon, you're her world"
By ending with that final line, the song reveals that the object of Sally’s affection is actually another woman. It’s a beautiful, poetic piece of songwriting that captures a private moment of adoration stumbled upon by a stranger, making 'Sally Cinnamon' not just a catchy tune, but a masterclass in storytelling.
Oasis – 'Slide Away'
You can’t have a list like this without the crown jewel of 90s indie. Frequently cited by both Gallagher brothers as one of their finest moments, 'Slide Away' is a towering wall of sound that captures the pure desperation of wanting to escape with the person you love. While 'Wonderwall' might be the more famous ballad, 'Slide Away' is the one that truly gets under the skin of the fans.
Liam’s vocal performance here is legendary, raw, soulful, and completely unfiltered. It isn't a "polite" love song; it’s a massive, sweeping epic. The opening lines immediately set a scene of cosmic upheaval, where a person’s entire world is redirected by the presence of another.
"Slide away and give it all you've got / My today fell in from the top / I dream of you and all the things you say / I wonder where you are now"
It is a masterclass in songwriting, building to a crescendo that feels like sliding away into another world. The lyrics perfectly mirror that feeling of being knocked off your feet, capturing the bittersweet dream of a shared future. There is a beautiful, grounded honesty in the line: "I dream of you and we talk of growing old / But you said 'Please don't!'" It suggests a love that is caught in the heat of the moment, too electric to worry about the distant future.
The chorus is where the song truly takes flight, shifting from a plea into a soaring anthem of partnership and shared light.
"Now that you're mine / We'll find a way / Of chasing the sun / Let me be the one that shines with you"
As the track reaches its climax, it transforms into a chant of total surrender to the feeling. The repetition of "Slide away" alongside the frantic, ad-libbed desires of wanting to "make you mine now" creates an overwhelming sense of urgency.
By the time the outro hits, the lyrics reflect a love that is no longer about logic or plans, but about the destination the other person represents.
"Don't know, don't care / All I know is you can take me there / Take me there, take me there, take me there"
It remains a definitive moment in British rock, reminding us that sometimes love isn't about the quiet moments—it's about the roar of the guitars and the feeling that, as long as you have each other, you can find a way to chase the sun.
Queen – 'You’re My Best Friend'
John Deacon wrote this for his wife, Veronica Tetzlaff, as an expression of his deep love and appreciation. This personal touch adds an authenticity that makes it stand out amidst Queen’s more bombastic, theatrical hits. Musically, it is a significant departure from the harder rock sound the band was known for in the mid-70s. The track's bright, warm, and distinctive feel is largely due to the Wurlitzer electric piano. Interestingly, Freddie Mercury famously disliked the instrument, so Deacon ended up playing it himself, creating a pop masterpiece that celebrates the steady, enduring side of romance.
The song doesn't focus on the high drama or the explosive heartbreak often found in rock ballads; instead, it focuses on the comfort of having a partner who acts as your anchor. Deacon opens the track with a simple, powerful declaration:
"Ooh, you make me live / Whatever this world can give to me / It's you, you're all I see / Ooh, you make me live now, honey"
It’s a song that acknowledges the passage of time and the loyalty that comes with it. When Freddie sings, "I've been with you such a long time / You're my sunshine," he is capturing that rare sense of gratitude for a partner who has stayed through every phase of life. Over the decades, it has remained a staple for celebrating the fact that the best loves are built on a foundation of true friendship.
"Ooh, I've been wandering 'round / But still come back to you / In rain or shine, you've stood by me, girl / I'm happy at home / You're my best friend"
The beauty of the track lies in its honesty about the outside world. It acknowledges that life isn't always kind, but having that one "only one" makes the hardships bearable. The lyrics highlight a protective, healing kind of love:
"Whenever this world is cruel to me / I got you to help me forgive / Oh, you're the first one / When things turn out bad / You know I'll never be lonely"
Ultimately, 'You’re My Best Friend' is a tribute to the sanctuary of a good relationship. It ends on a note of simple, domestic bliss, being "happy at home", reminding us that after all the wandering is done, there is nowhere else we'd rather be.
Courteeners – 'That Kiss'
Courteeners summed up those shameful, regretful moments of love and lust that probably shouldn't have happened. The song showed a more intimate side to the band and is still some of Liam Fray's best-ever lyrics. Fray doesn't dismiss these as drunken moments of regret; he paints a vivid picture of settings where people's true feelings finally come to fruition.
His descriptions are so localised and real, painting a picture of someone who knows they are being used as a "stop gap" but can't help but lean into the moment anyway. It captures the tension of a night out, the lack of trust, and the bittersweet realisation that a single moment can mean nothing and everything all at once.
"The way that you looked at him / And then you looked at me / You must think that I'm proper blind / Proper blind not to see / That I was just a stop gap / Sitting somewhere in between his hand and his lap"
"That kiss it lasted too long / And we probably shouldn't have danced to that song / It was nothing / It was everything / It's really such a shame / It's so hard to explain to you"
"I know that I shouldn't but I enjoyed it / I know that I shouldn't but I enjoyed it"
Despite not always being the first song mentioned when discussing the band’s greatest hits, 'That Kiss' remains one of their most underrated gems. It continues to resonate with anyone who has experienced that exact mix of "lust, the lack of trust, and the temptation you fought."
Noel Gallagher's High Flying Birds – 'If I Had a Gun...'
Not the most romantic title, Mr Gallagher. Despite its rather sinister name, 'If I Had a Gun...' sees the elder Gallagher at his best and most heartfelt. The song showed a vulnerable side to Noel that we hadn't seen for a long time. Released as part of his first self-titled solo album, it carries a wistful, almost regretful tone, with lyrics that paint a picture of unfulfilled love and deep yearning.
"If I had a gun, I'd shoot a hole into the sun / And love would burn this city down for you / If I had the time, I'd stop the world and make you mine / And every day would stay the same with you"
These lines showcase his ability to craft grand, poetic imagery while maintaining a deeply personal touch. It is a song of absolute devotion, where the narrator views their partner as something sacred.
"Excuse me if I spoke too soon / My eyes have always followed you around the room / 'Cause you're the only god that I will ever need / I'm holding on and waiting for the moment to find me"
Fans resonated with these themes of longing and the desire for "my heart to be unbroken by the seams." It reinforces that Noel remains one of the greatest songwriters of his generation, capable of turning a simple sentiment into something monumental. It is truly the sound of a man finally letting his guard down and admitting to a love that is all-encompassing.
Bloc Party – 'This Modern Love'
Blending infectious guitar riffs with raw emotion, 'This Modern Love' establishes an immediate sense of urgency. From the opening chords, the delicate interplay of shimmering guitars and intricate drumming creates a soundscape that builds in intensity, mirroring the emotional turbulence of a relationship. Kele Okereke’s lyrics walk a fine line between tender sincerity and quiet desperation.
The song captures a deep, almost frightening emotional dependence. Okereke doesn't just sing about love; he sings about the consumption of one's feelings by another.
"And you told me you wanted to eat up my sadness / Well jump on, enjoy, you can gorge away"
What makes it so powerful is its relatability, the miscommunications and the bittersweet moments of clarity that define love in the modern age. It is a song about the fear of being alone and the exhaustion of trying to keep a connection alive. It builds to a frantic, pleading climax that feels like a heart beating out of a chest.
It's a masterpiece and remains one of the most beautiful, yet hauntingly honest, songs of the 2000s, a definitive anthem for a generation trying to find something real in a digital world.
Blur – 'To the End'
The perfect blend of romance, melancholy, and resignation. Featured on 'Parklife', its orchestration is much more grandiose than anything else the band had done previously, featuring sweeping strings and a vintage, almost filmic quality reminiscent of classic French chanson music.
The lyrics paint a picture of a relationship slowly unravelling, depicting not a dramatic breakup but a slow, inevitable decline. Damon Albarn’s plaintive vocals convey an acceptance of love slipping away, a theme that resonates deeply with anyone who has experienced the slow dissolution of a long-term partnership. It captures how fragile, yet beautiful, a shared history can be, even when it's reaching its conclusion.
"All those dirty words... They make us look so dumb / Been drinking far too much / And neither of us mean what we say"
"Well, you and I collapsed in love / And it looks like we might have made it / Yes, it looks like we've made it to the end"
The addition of the French refrain ("Jusqu'à la fin" / "En plein amour") adds to the sense of tragic sophistication. It feels like a final glass of wine shared in the wreckage of a romance. It isn't a song about hate; it's a song about the exhaustion of loving someone for a long time and finally accepting that the end has arrived.
"What happened to us? / Soon it will be gone forever / Infatuated only with ourselves / And neither of us can think straight any more"
Mystery Jets (feat. Laura Marling) – 'Young Love'
Released in 2008, 'Young Love' remains an enduring indie favourite. It tells the story of a brief romantic encounter where two strangers share a moment that lingers long after they part. The lyrics, sung in a call-and-response style between Blaine Harrison and Laura Marling, capture the essence of a missed connection—a love story that was over before it truly began.
The track is famous for its relatable, almost cinematic portrayal of a fleeting crush, complete with the ultimate indie tragedy: a phone number lost to the elements.
The track is famous for its relatable, almost cinematic portrayal of a fleeting crush, complete with the ultimate indie tragedy: a phone number lost to the elements.
Laura Marling’s contribution adds a layer of weary wisdom to the track, contrasting with the boys' frantic searching. She delivers one of the song's best lines, a sharp, unmistakable reference to Blondie’s classic:
"Young Love / Never seems to last / Far too young / Until they have a past / Playing games / People move so fast / You don't need eyes to see / If someone's got a heart of glass"
It’s one of the catchiest songs on this list and doesn't take itself too seriously. There is a charm to its innocence, transporting listeners back to a time of youthful naivety and the what-ifs of a night out. It is the perfect indie disco staple that feels as fresh today as it did over a decade ago.
Yeah Yeah Yeahs – 'Maps'
'Maps' stands as a testament to raw emotion and the power of simplicity in songwriting. The title, which stands for "My Angus Please Stay," hints at the song’s desperate plea for devotion. Karen O’s vocal delivery is what makes it so powerful; her voice trembles with vulnerability, making every word feel raw and sincere.
Musically, it was a departure from the chaotic energy the band was known for, proving they were more than just punk attitude. Nick Zinner’s shimmering guitars and Brian Chase’s steady, deliberate drumming allow the emotion in the vocals to take centre stage.
"Pack up / I'm straight / Enough / Oh, say say say / Oh, say say say"
"Wait! they don't love you like I love you / Wait! they don't love you like I love you / Ma-a-a-aps, wait!"
The repeated refrain echoes like a mantra of heartbreak and longing, resonating with anyone who has felt love slipping through their fingers. The lyrics are sparse but devastating:
"Made off / Don't stray / My kind's your kind / I'll stay the same"
It remains one of the most emotionally impactful songs of the early 2000s indie scene, a stripped-back masterpiece that propelled the Yeah Yeah Yeahs from New York indie kids to global icons.
Joy Division – 'Love Will Tear Us Apart'
The last song recorded by Joy Division before the death of Ian Curtis, this track has become both an anthem of heartache and a haunting reflection on the fragility of relationships. With its infectious yet melancholic melody, it blends a sense of longing with the inevitability of dissolution. Curtis’s deep, emotive voice drips with a sadness that feels both personal and universal, exploring the emotional distance between two people who, despite their feelings, are caught in an unrelenting cycle of misunderstanding.
The lyrics are famously stark, moving from the physical sensation of routine to the quiet desperation of a shared life that no longer fits.
"When routine bites hard and ambitions are low / And resentment rides high but emotions won't grow / And we're changing our ways, taking different roads / Then love, love will tear us apart again"
"Why is the bedroom so cold? / You've turned away on your side / Is my timing that flawed? / Our respect runs so dry / Yet there's still this appeal / That we've kept through our lives"
The pulsating bass, driving drum beat, and shimmering, icy synths create an emotional tension that underscores the lyrical despair.
It was recorded by a band at their absolute peak, and it shows. Despite its bleak subject matter, it remains a masterpiece of modern music, offering a beautiful, melancholy reminder that love, in all its forms, is never as simple as it seems.
Stereophonics – 'I Wanna Get Lost With You'
This track captures the heart of a romance that is intense, spontaneous, and free from the constraints of everyday life. Released in 2015 as part of their 'Keep the Village Alive' album, it describes the all-consuming longing for a deeper connection. Kelly Jones’s gravelly voice adds a raw edge to the track, his delivery filled with desire as he describes a love that makes the rest of the world fade into the background.
The lyrics paint a cinematic picture of how these things often start, a chance meeting at a party that turns into an obsession, eventually overcoming the messed-up complications of the past to find a moment of peace.
"Do you remember the lighting flame? / It was a birthday party of someone / Then you told me your name / Thought you were one in a million"
"I walked you home in the rain / Speaking the same language / You were running around in my brain"
It perfectly describes the all-consuming phase of romance, that feeling where you want nothing more than to escape the noise of the world with someone and do whatever it takes to make that happen. It’s a truly beautiful song designed for both wild, carefree moments and those quiet, intimate ones where it's just the two of you.
"I know we did some wrong / You told me that night... That you were with someone / It got messed up / With so much stuff / Like living a loaded gun / But now that I'm out of my mind with you / We got that day in the sun"
"I wanna get lost with you / It's the only thing I wanna do / Get out of my mind with you / So come on over"
The 1975 – 'Somebody Else'
The 1975 have made a career out of capturing the highs and lows of modern love, but 'Somebody Else' might be their most heartbreaking. Drenched in melancholy and synth-heavy production, it feels like a song for late-night drives and quiet moments of reflection. Lyrically, it delves into the pain of seeing someone move on while you are still consumed by the shadow of what you had.
Matty Healy’s vocals are hauntingly vulnerable, perfectly capturing the torment of pretending to be fine when you’re anything but. The song explores that uncomfortable middle ground where you no longer want to be with someone, yet you can't stand the thought of them belonging to another.
"I don't want your body / But I hate to think about you with somebody else / Our love has gone cold / You're intertwining your soul with somebody else"
It has become an anthem for anyone navigating the "ghost" of a relationship, addressing jealousy and the inevitable disconnect that happens when one person is no longer emotionally invested, even though the other hasn't quite caught up yet. It’s a raw, electronic-pop masterpiece that doesn't shy away from the uglier side of a breakup.
Arctic Monkeys – 'Mardy Bum'
Alex Turner perfectly examined young love and its frustrations on 'Mardy Bum'. Featuring on the band's debut album, 'Whatever People Say I Am, That's What I'm Not', it captures the unique blend of sweet and bitter that defines a developing relationship. His Northern wit highlights the playful frustration of dealing with someone you care about, even when they’re in a "mardy" mood.
"Well, now then, mardy bum / Oh, I'm in trouble again, aren't I? / I thought as much / 'Cause you turned over there / Pulling that silent disappointment face / The one that I can't bear"
"So laugh and joke around / Remember cuddles in the kitchen, yeah / To get things off the ground / And it was up, up and away"
"Oh, but it's right hard to remember/ That on a day like today when you're all argumentative/ And you've got the face on"
The song juxtaposes the good times with the petty arguments, creating a snapshot of the early days of a relationship when everything is intense and slightly messy. It is a brutally honest and quintessentially British love song that remains one of the band's most well-loved tracks.
Buzzcocks – 'Ever Fallen in Love (With Someone You Shouldn't've)'
A timeless punk anthem that encapsulates the chaotic, exhilarating, and often painful experience of falling for the wrong person. Released in 1978 as part of their 'Love Bites' album, it blends the raw energy of punk rock with a vulnerability that was rare for the genre at the time. The song is about the turmoil of falling for someone who causes more heartache than happiness, yet you remain irresistibly drawn to them.
The song’s hook is one of the most iconic lines of any love song ever written, capturing the irrationality of desire that many of us know all too well.
"You spurn my natural emotions / You make me feel I'm dirt and I'm hurt / And if I start a commotion / I run the risk of losing you and that's worse"
"Ever fallen in love with someone / Ever fallen in love / In love with someone / You shouldn't've fallen in love with?"
Pete Shelley’s vocals are filled with a perfect mix of frustration and longing. The tension between the infectious, energetic melody and the self-destructive lyrics creates a compelling contrast. It’s a song about the confusion and complexity of human connection.
Ultimately, it’s a song about the heartache that comes from falling for someone who might not be right for you, yet its infectious chorus remains a sing-along favourite in indie and punk circles alike. It’s a classic because it’s true: love doesn't always make sense.
Blossoms – 'Oh No I Think I’m in Love'
Sometimes it is the simple songs that do things the best. Blossoms' 'Oh No I Think I’m in Love' is a perfect example. This self-proclamation of love plays on the idea that falling for someone is both bold and inevitable. The song marked a defining moment for the band, cementing a shift in their sound as they embraced a more pop-oriented style, filled with infectious disco grooves and ABBA-like choruses.
Since its release in 2020 on 'Foolish Loving Spaces', it has become a mainstay in the band’s setlist. It’s the sound of a band confident in who they are, where they’re going, and exactly how they’re feeling. The lyrics capture that moment of total certainty, where the past fades away, and the only thing that matters is the person standing beside you
"You and me, we're different as people / Always at one when it's needed / I just can't remember anything without you"
"Home is, home is where I'll be / When you're standing beside me / I've never been so sure about it, can you tell?"
"Oh no, I think I'm in love with you / Oh no, I think I'm in love with you"
The band wears their heart on their sleeves, pulling on the strings of their listeners with a track that feels fresh and authentic. It proves that sometimes simple, happy declarations are the best, especially when they come with a groove this good.
"Then you gave me more than I came for / I was aching, in time my pain cured / Now I've fallen, talking for once / And this is how I feel"
The End
That brings me to the end of a few of my favourite 'love' songs.
Happy Valentine’s Day. I have attached a playlist featuring all of these songs, and a few more indie classics.
What's your favourite indie love song?
Thank you for reading.
Jack x