Entering the year 2000, many anticipated a seismic shift in music, a soundscape befitting a new millennium. While the complete overthrow of late ‘90s chart-toppers didn’t occur overnight, the dawn of the 2000s indeed heralded a significant evolution in popular music. The giants of 1999 – the boy bands, girl groups, rap breakouts, and rock stalwarts – remained forces in 2000, but they seemed invigorated by the millennial milestone, pushing their creative boundaries and propelling music forward.
This transformation was significantly fueled by the era’s visionary super-producers. Timbaland and Rodney “Darkchild” Jerkins injected a heightened sense of drama into R&B, crafting tracks that felt like soundtracks to a futuristic opera. The Neptunes and Swizz Beatz adorned hip-hop with innovative sounds, paving its path to mainstream dominance. And Max Martin, the architect of TRL pop, refined his signature sound, ensuring that pop music and its leading figures would not be relegated to the ‘90s.
The 100 Greatest Songs of 2000
However, 2000 was more than just established ‘90s acts receiving sonic upgrades. Hip-hop’s center of gravity shifted with the emergence of a major rap icon from the Midwest. R&B underwent a dual modernization, embracing both pop sensibilities and a return to its roots, as neo-soul experienced a peak in both commercial appeal and critical acclaim. Furthermore, several ‘80s icons resurfaced with radically reinvented sounds, proving their enduring relevance into their third decade in the spotlight.
Marking the 20th anniversary of *NSYNC’s No Strings Attached, a defining 2000 pop album celebrated for its cutting-edge production and record-breaking sales – and with many seeking an escape in 2020 – Billboard celebrated the year 2000 with a week-long retrospective. This began with a countdown of our 100 favorite songs from this historically rich year, followed by a series of articles, interviews, lists, and flashbacks to the turn of the millennium.
Regarding eligibility for this list of Top Songs Of 2000: songs were considered if they were released as singles in ’00, if they first appeared on the Billboard charts in ’00, or if they reached No. 1 in ’00. Songs that broke through on the Hot 100 in 2001, or debuted in ’00 but didn’t hit No. 1 until the following year, are considered for the 2001 list. Apologies to future hits like “Ms. Jackson,” “It Wasn’t Me,” “Yellow,” “One Step Closer,” and “One More Time” – you’ll likely see them next year.
Explore our curated list of top songs of 2000 below, find a Spotify playlist featuring all 100 tracks at the end, and revisit Billboard.com for more stories behind the most interesting songs and albums of 2000. It’s been a long time – let’s journey back together with 100 incredible tracks.
100. Zombie Nation, “Kernkraft 400” (Sport Chant Stadium Remix) (No. 99, Hot 100)
As the ‘90s concluded, the lines between video game music and sports anthems blurred, becoming almost interchangeable. “Kernkraft 400” perfectly captured this convergence at the turn of the millennium. This high-energy dance track, a remix of a video game theme, layers a soccer chant over its pulsating beat. It’s a minimalist anthem, stripped of verses, designed for pure, unadulterated energy. — ANDREW UNTERBERGER
99. P!nk, “There You Go” (No. 7, Hot 100)
Before P!nk became known for her acrobatic stage presence and pop-rock anthems, she was introduced as a promising R&B artist with her debut single, “There You Go.” Its confident production and soulful vocal delivery led many to believe she was a Black artist. While that wasn’t the case, “There You Go” established P!nk as an artist unwilling to conform to the bubblegum pop mold of the Y2K era and beyond, showcasing her raw talent and versatility. — BIANCA GRACIE
98. O-Town, “Liquid Dreams” (No. 10, Hot 100)
For a snapshot of early 2000s pop culture, look no further than O-Town’s “Liquid Dreams.” This track name-drops zeitgeist figures like Destiny’s Child, Madonna, Janet Jackson, Angelina Jolie, Cindy Crawford, Tyra Banks, and Salma Hayek, alongside a mysterious “Jennifer.” With its catchy beat and smooth melody, “Liquid Dreams,” the debut single from Diddy’s Making the Band creation, O-Town, reached the Hot 100 top 10. Its brilliance lies in its infectiousness, subtly masking the song’s suggestive theme. — TAYLOR WEATHERBY
97. The White Stripes, “Hello Operator” (Did not chart)
In a year dominated by nu-metal acts like Limp Bizkit and Linkin Park, The White Stripes offered a refreshing throwback sound. On their album De Stijl, the Detroit duo expanded their garage rock blues sound. While De Stijl is full of classics, “Hello Operator” stood out with its raw, untamed energy. Jack White’s guitar work is electrifying, and Meg White’s drumming provides a powerful backbone to this concise rock anthem. In just over two minutes, “Hello Operator” proved that classic rock was alive and well in the new millennium. — KATIE BAIN
96. Toby Keith, “How Do You Like Me Now?!” (No. 31, Hot 100)
Years after “Should’ve Been a Cowboy,” Toby Keith rebounded from a period of less successful singles with “How Do You Like Me Now?!” This honky-tonk anthem is a playful send-off to a high school crush who once overlooked him. While the protagonist’s tactics might be questionable, the song’s hook is undeniable, soaring straight to the listener’s ears with its catchy chorus and Keith’s signature country swagger. — CHRIS PAYNE
95. Mandy Moore, “I Wanna Be With You” (No. 24, Hot 100)
Mandy Moore was only 16 when she released “I Wanna Be With You,” her biggest Hot 100 hit. This tender ballad of teenage longing, reminiscent of Jessica Simpson’s “I Wanna Love You Forever,” captures youthful yearning. However, “I Wanna Be With You” possesses a vulnerability and maturity that hinted at Moore’s later singer-songwriter direction. With its soft vocals and heartfelt lyrics, it’s a TRL-era take on the classic longing of songs like “Wouldn’t It Be Nice.” — A.U.
94. Black Rob, “Whoa!” (No. 43, Hot 100)
While The Notorious B.I.G. and Ma$e were Bad Boy Records’ ‘90s pillars, Diddy expanded his roster by signing Harlem lyricist Black Rob in 1997. In 2000, Black Rob delivered with “Whoa!,” a hard-hitting single filled with New York grit and swagger. “Whoa!” is a quintessential East Coast banger, showcasing Black Rob’s lyrical prowess and solidifying his place in the Bad Boy legacy. — CARL LAMARRE
93. The Dandy Warhols, “Bohemian Like You” (No. 28, Alternative Songs)
There’s a self-aware irony in an alternative band like The Dandy Warhols creating a popular song about the contradictions of hipster culture. “Bohemian Like You,” with its unforgettable riff and relatable lyrics, became their biggest hit. Its use in commercials further propelled its popularity, painting a clear picture of the pseudo-counterculture that defined the late 90s and early 2000s, and making The Dandy Warhols minor stars. — STEPHEN DAW
92. Miss Kittin & The Hacker, “Frank Sinatra” (Did not chart)
French electroclash pioneer Miss Kittin, with Marlene Dietrich’s detached coolness, recounts scandalous tales of Frank Sinatra over a stark, icy beat. “Frank Sinatra”’s dark humor and bluntness have ensured its cult status. Even as electroclash faded from mainstream nightlife, its influence, particularly its fetishization of synth-pop and ‘90s house, persisted in dance music. — JOE LYNCH
91. Hanson, “This Time Around” (No. 20, Hot 100)
Widely known as Hanson’s “We’re adults now!” single, “This Time Around,” the title track from their 2000 album, faced the challenge of following up their massive 1997 debut, Middle of Nowhere. It aimed to convince listeners that the young voices behind “MMMBop” could mature. While not a huge hit, “This Time Around” is a strong pop-rock track with a memorable piano line and sing-along chorus, foreshadowing Hanson’s evolution into respected songwriters, even if they never returned to their initial chart-topping heights. — JASON LIPSHUTZ
90. PJ Harvey, “Good Fortune” (Did not chart)
“Good Fortune” marked a significant shift for PJ Harvey. The lead single from Stories from the City, Stories from the Sea is upbeat, melodic, and lyrically lovelorn, a departure from the darker tones of Is This Desire? and the complex arrangements of To Bring You My Love. “Good Fortune” predates Liz Phair’s crossover hit “Why Can’t I?” but Harvey’s dreamy, optimistic track struck a unique balance, remaining distinctly PJ Harvey and still somewhat outside mainstream radio formats. — ERIC FRANKENBERG
89. 2Gether, “The Hardest Part About Breaking Up (Is Getting Back Your Stuff)” (No. 87, Hot 100)
“Hardest Part” is a pitch-perfect parody of TRL-era boy band breakup anthems, complete with fake fan testimonials in the video. It so accurately captures the boy band sound that one might expect Max Martin and Rami Yacoub’s names in the credits (though Brian Kierulf and Joshua M. Schwartz did contribute to Britney Spears’ Britney album). The lyrics are witty, but the ad-libs, like the strangled “meow!” after the chorus, are truly inspired. — A.U.
88. Delerium feat. Sarah McLachlan, “Silence” (No. 6, Dance Club Songs)
Before Sarah McLachlan became synonymous with tear-jerking ASPCA commercials, she was captivating audiences with her ethereal vocals, both as a solo artist and with electronic group Delerium. “Silence,” a collaboration with Delerium, combines McLachlan’s dreamy vocals with Gregorian chants and a captivating beat. It has endured through club remixes, most notably Tiësto’s epic “In Search of Sunrise” edit, and its dark, ethereal influence can still be heard in contemporary artists like Grimes. — ANNA CHAN
87. Hoku, “Another Dumb Blonde” (No. 27, Hot 100)
Amidst the wave of overtly sexualized teen pop stars, Hawaiian 18-year-old Hoku offered a different approach with her debut single, “Another Dumb Blonde.” This feisty track is a “get lost” anthem aimed at shallow players. “Another Dumb Blonde” is assertive and empowering, turning the blonde stereotype into a message of strength for heartbroken teens, regardless of hair color. — T.W.
86. Jagged Edge, “Let’s Get Married” (No. 11, Hot 100)
Since its release in 2000, “Let’s Get Married” has become a wedding anthem. Jagged Edge’s ballad hits all the R&B sweet spots: smooth harmonies, body-rocking rhythms, and heartfelt lyrics about true love. “Married” reached No. 1 on the Hot R&B/Hip-Hop Songs chart and No. 11 on the Hot 100, boosted by a popular Run-D.M.C.-sampling remix featuring Reverend Run. In an era increasingly focused on casual encounters, “Let’s Get Married” reminds us of the enduring desire for songs about lasting love and commitment. — GAIL MITCHELL
85. Ricky Martin, “She Bangs” (No. 12, Hot 100)
By the time “She Bangs” was released in 2000, Ricky Martin was already a global superstar. This track blends salsa rhythms with rock guitar and an irresistible pop beat, resulting in a universally appealing dance anthem. “She Bangs” reached the top 20 on the Hot 100 and top five in numerous countries. Its most memorable impact, however, might be William Hung’s infamous American Idol audition. — TAYLOR MIMS
84. Beenie Man feat. Mya, “Girls Dem Sugar” (No. 54, Hot 100)
Beenie Man had already achieved US success with “Who Am I (Sim Simma).” For “Girls Dem Sugar,” he collaborated with The Neptunes, who reimagined a portion of “Who Am I” into a polished, scratch-heavy club track. Mýa’s dreamy vocals elevated the song further, creating a smooth and infectious dancehall-pop crossover hit. — B.G.
83. Carlos Vives, “Fruta Fresca” (No. 1, Latin Songs)
Vives’ “Fruta Fresca” revolutionized Latin music in the early 2000s. This track, produced by Emilio Estefan and Juan Vicente Zambrano, blends traditional vallenato with pop sensibilities. “Fruta Fresca” opens with intriguing guitar chords before exploding into a vibrant mix of Vives’ vocals, accordion, caja, and guacharaca. It seamlessly merged Colombian folk music with Latin pop, making Vives a leading figure in tropical music. — PAMELA BUSTIOS
82. Limp Bizkit, “Break Stuff” (No. 14, Alternative Songs)
For anyone who experienced the nu-metal craze of the early 2000s, the opening riff of Limp Bizkit’s “Break Stuff” instantly evokes that era. This Significant Other single, designed for mosh pits, captures nu-metal at its most primal and aggressive. “Break Stuff” remains an anthem for youthful angst and frustration. — J. Lipshutz
81. Carl Thomas, “I Wish” (No. 20, Hot 100)
Many R&B songs explore unrequited love, but Carl Thomas’ “I Wish” uniquely laments a love that is reciprocated but unattainable. This heartbreak ballad is elevated by Mike City’s breezy, piano-driven production and Thomas’s soaring vocals. Despite its melancholic theme, “I Wish” became a major hit, inspiring countless off-key imitations of its iconic chorus. — A.U.
80. 3LW, “No More (Baby I’ma Do Right)” (No. 23, Hot 100)
3LW, despite their young ages, addressed mature relationship problems in “No More (Baby I’ma Do Right).” This catchy kiss-off anthem details frustrations with a cheating boyfriend and his constantly buzzing pager. The trio’s youthful exasperation and infectious melody made “No More” a relatable and empowering hit. — KATIE ATKINSON
79. Sting feat. Cheb Mami, “Desert Rose” (No. 17, Hot 100)
Fifteen years into his solo career, Sting embraced his global musical interests with “Desert Rose.” This track, featuring Algerian singer Cheb Mami, blends pop with world music elements, creating an exotic and romantic soundscape. “Desert Rose,” with its cinematic scope, transported listeners to a sonic oasis. The music video, set in the Mojave Desert and featuring a Jaguar product placement, further enhanced its otherworldly appeal. — C.P.
78. Kylie Minogue, “Spinning Around” (Did not chart)
While some artists aimed to reinvent music for the new millennium, Kylie Minogue embraced classic disco-inspired Europop with “Spinning Around.” This track perfectly captured the sound that would define her 21st-century resurgence. “Spinning Around” became a massive hit globally, though it took a few more years for America to fully catch on. Its infectious melodies and danceable beat proved that timeless sounds can still resonate. — S.D.
77. Samantha Mumba, “Gotta Tell You” (No. 4, Hot 100)
Samantha Mumba’s debut album, Gotta Tell You, is packed with bubblegum pop gems, and the title track, her debut single, is a standout. “Gotta Tell You” exudes confidence beyond Mumba’s 17 years, featuring a powerful minor-key chorus. The music video, with Mumba’s iconic front flip, further solidified the song’s memorable impact. Mumba’s brief but impactful pop career remains a bittersweet “what if” for many fans. — KEVIN RUTHERFORD
76. The Baha Men, “Who Let the Dogs Out?” (No. 40, Hot 100)
“Who Let the Dogs Out?” is a cultural phenomenon, a stadium anthem that transcends genres and generations. Despite the lingering mystery of who actually “let the dogs out,” the song’s infectious energy and call-and-response chorus have made it a timeless party starter. This Grammy-winning (?) track remains a guaranteed crowd-pleaser, prompting enthusiastic “yippie, yi, yo!” singalongs two decades later. — JOSH GLICKSMAN
75. Erykah Badu, “Bag Lady” (No. 6, Hot 100)
Erykah Badu’s soulful “Bag Lady” is a therapeutic classic about releasing emotional baggage. With its soothing beat and timeless wisdom, the song offers comfort and guidance. A sample from Dr. Dre’s “Xxplosive” adds a subtle hip-hop touch to its minimalist sound. “Bag Lady,” Badu’s highest-charting single, earned Grammy nominations and continues to resonate with its message of self-care and emotional liberation. — TATIANA CIRISANO
74. Air, “Playground Love” (No. 28, Dance Singles Sales)
Air’s “Playground Love,” with its dream-pop melodies and gentle vocals, evokes the romanticism of the 1970s. Featured on the soundtrack of Sofia Coppola’s The Virgin Suicides, set in the Me Decade, “Playground Love” captures youthful longing and tragic romance. Its timeless appeal has resonated with generations of sentimental souls. — JESSICA ROIZ
73. Janet Jackson, “Doesn’t Really Matter” (No. 1, Hot 100)
“Doesn’t Really Matter” is a celebration of inner beauty, sung by the outwardly stunning Janet Jackson. Featured in Nutty Professor II: The Klumps, the song, co-written with Jimmy Jam and Terry Lewis, emphasizes love’s ability to see beyond superficiality. The music video, set in a futuristic Tokyo, with its sparkly gadgets and levitating platforms, perfectly complements the song’s forward-thinking sound and message. “Doesn’t Really Matter” became Jackson’s first Hot 100 No. 1 of the 2000s, proving her timeless appeal. — DANICA DANIEL
72. Deftones, “Change (In the House of Flies)” (No. 3, Alternative Songs)
The video for Deftones’ “Change (In the House of Flies)” perfectly captures the song’s atmosphere: mysterious, seductive, and subtly menacing. Chino Moreno’s vocals, delivered with a haunting fragility, enhance the song’s unsettling beauty. “Change” is a nu-metal track that prioritizes atmosphere and suggestion over shock value, remaining profoundly impactful two decades later. — A.U.
71. Savage Garden, “I Knew I Loved You” (No. 1, Hot 100)
Savage Garden’s “I Knew I Loved You” is a quintessential power ballad, particularly popular in Southeast Asia. Its sentimental lyrics and soaring melody resonated deeply with audiences, especially in ballad-loving cultures like the Philippines. “I Knew I Loved You” became the duo’s second No. 1 hit on the Hot 100, further solidifying their global appeal. The music video, featuring Darren Hayes and Kirsten Dunst, added to its romantic charm. — MIA NAZARENO
70. Fuel, “Hemorrhage (In My Hands)” (No. 30, Hot 100)
Fuel’s “Hemorrhage (In My Hands)” is a crossover post-grunge ballad that surprisingly found success on pop radio. Frontman Carl Bell wrote the song about his grandmother’s battle with cancer. “Hemorrhage” features a powerful sing-along chorus and resonated on both rock and pop radio, spending 12 weeks at No. 1 on the Alternative Songs chart. — XANDER ZELLNER
69. Incubus, “Stellar” (No. 2, Alternative Songs)
Incubus, within the nu-metal landscape of 2000, offered a more surreal and enigmatic vision. “Stellar,” with its serpentine melody and Brandon Boyd’s celestial vocals, blends math-rock complexity with metal intensity. Its distortion-heavy chorus belies a tender love song at its core. “Stellar” proved to have lasting influence, particularly with the Guitar Hero generation. — BRYAN KRESS
68. Marc Anthony, “You Sang to Me” (No. 2, Hot 100)
Marc Anthony’s “You Sang to Me” is a breathtaking ballad that remains emotionally potent. This heartfelt track, with its weeping acoustic guitars and Anthony’s passionate vocals, reached No. 2 on the Hot 100 and topped the Adult Contemporary chart for seven weeks. Its subtle sentimentality, particularly Anthony’s a cappella coda, makes “You Sang to Me” a timeless classic. — C.P.
67. Toni Braxton, “He Wasn’t Man Enough” (No. 2, Hot 100)
After dominating the ‘90s, Toni Braxton returned in 2000 with the assertive “He Wasn’t Man Enough.” This upbeat Darkchild production fits perfectly into the post-TLC and Destiny’s Child R&B landscape. While initially condescending towards her ex’s new partner, Braxton’s tone shifts to protective. The music video, with its Y2K-futuristic aesthetic, is a visual time capsule of the era. — E.F.
66. David Gray, “Babylon” (No. 57, Hot 100)
David Gray’s “Babylon” is a warm and melancholic folk song that became his signature track. The chorus’s command to “let go” is both inviting and poignant. “Babylon,” from Gray’s breakout album White Ladder, blends folk with subtle electronic elements, capturing a sense of surrender and reflection on fleeting relationships in a modern-day Babylon (London). — P.B.
65. BBMak, “Back Here” (No. 13, Hot 100)
British trio BBMak emerged during the boy band craze as a slightly different offering – they harmonized but also played instruments. However, the quality of “Back Here,” a soft, beautiful pop track with a delicate bridge, transcends any notions of authenticity. “Back Here” reached No. 13 on the Hot 100 and has remained an adult contemporary radio staple. — J. Lipshutz
64. Madonna, “Don’t Tell Me” (No. 4, Hot 100)
Madonna often followed a flashy lead single with something more subtle yet equally rewarding. “Don’t Tell Me,” the follow-up to the euphoric “Music,” is a twangy, defiant track. With clipped vocals, guitar loops, and strings, it’s a mainstream take on folktronica that remains fresh and innovative. — J. Lipshutz
63. Peaches, “F–k the Pain Away” (Did not chart)
Before artists like Cupcakke and songs like “My Neck, My Back” pushed lyrical boundaries, there was Peaches’ “F–k the Pain Away.” This explicitly sexual and minimalistic track, built on buzzing bass and percussive claps, became a proto-meme. “F–k the Pain Away” remains a testament to Peaches’ forward-thinking vision, feeling distinctly modern even two decades later. — WILL GOTTSEGEN
62. SR-71, “Right Now” (No. 2, Alternative Songs)
SR-71’s debut single, “Right Now,” embodies the classic pop-punk sound of the early 2000s. Featured in Dude, Where’s My Car? and Harold & Kumar Go to White Castle, it became a stoner movie staple. From its opening riff to its guitar solo and the “Bohemian Rhapsody” nod in the video, “Right Now” is a nostalgic anthem of the Y2K era. — BECKY KAMINSKY
61. Aaron Carter, “Aaron’s Party (Come Get It)” (No. 35, Hot 100)
Before Aaron Carter faced personal struggles, he delivered the infectious “Aaron’s Party (Come Get It).” This funky, guitar-driven pop-rap track captured a simpler time when a house party and being grounded were a kid’s biggest worries. As the title track of his platinum album, “Aaron’s Party,” released when Carter was just 12, remains a charming and nostalgic Y2K anthem. — GAB GINSBERG
60. Enrique Iglesias, “Be With You” (No. 1, Hot 100)
Enrique Iglesias’ “Be With You” became his second No. 1 hit on the Hot 100. This timeless ballad, about longing to reunite with a lost love, is a classic example of Iglesias’ bilingual appeal. Featured on his self-titled 1999 album, “Be With You” won hearts across mainstream America with its soaring chorus and heartfelt emotion. — GRISELDA FLORES
59. At the Drive-In, “One Armed Scissor” (No. 26, Alternative Songs)
“One Armed Scissor” by At the Drive-In is a dissonant and dynamic track. Cedric Bixler-Zavala’s vocals clash with Jim Ward’s chorus, and jarring time signature changes add to its chaotic energy. The song’s complexity, perhaps foreshadowed At the Drive-In’s later demise, is part of its enduring appeal. — K.R.
58. No Doubt, “Simple Kind of Life” (No. 38, Hot 100)
After the confident “Just a Girl,” No Doubt’s “Simple Kind of Life” revealed Gwen Stefani’s introspection. Wondering if fame and success were truly fulfilling, Stefani contemplates a simpler existence. “Simple Kind of Life” is a heartbreak song not about a bad relationship, but about the anxieties of a successful career, hoping for a life change. “You seem like you’d be a good dad” never sounded so poignant. — A.U.
57. Ja Rule feat. Lil Mo & Vita, “Put It on Me” (No. 8, Hot 100)
While Ja Rule and Vita contributed to the album version of “Put It on Me,” it was Lil Mo’s soaring vocals on the remix that propelled it to mainstream success. “Put It on Me” (Remix) became a quintessential ride-or-die anthem, solidifying Ja Rule’s hitmaking status in the 2000s. — C.L.
56. Mya, “Case of the Ex (Whatcha Gonna Do)” (No. 2, Hot 100)
Mya was known for masking sharp lyrics in sweet melodies, but “Case of the Ex” showcased her at her most assertive. Fed up with her man’s communication with a past love, Mya delivers sharp-tongued lyrics over Tricky Stewart’s edgy production. “Case of the Ex” resonated with women, becoming a No. 2 hit on the Hot 100. — B.G.
55. Common, “The Light” (No. 44, Hot 100)
In the often-macho hip-hop landscape of the early 2000s, Common’s “The Light” shone brightly. Taken from Like Water For Chocolate, “The Light” feels like a throwback to ‘90s conscious rap, with chivalrous rhymes inspired by Erykah Badu. Produced by J Dilla and influenced by the neo-soul movement, “The Light” offered a brighter perspective on the rap scene. — B. Kress
54. SoulDecision feat. Thrust, “Faded” (No. 22, Hot 100)
Amidst the boy band craze, Canadian group SoulDecision snuck in a disco-pop hit with “Faded.” Frontman Trevor Guthrie’s Brad Pitt-esque looks and frosted tips fit perfectly into the TRL era. While somewhat forgotten, “Faded,” with its funky bass line and cheeky lyrics, deserves rediscovery. — K.A.
53. Creed, “With Arms Wide Open” (No. 1, Hot 100)
Creed perfected the post-grunge power ballad, and “With Arms Wide Open” is a prime example. Scott Stapp’s heartfelt lyrics about becoming a father resonate deeply. “With Arms Wide Open,” featured on Human Clay, is a testament to Creed’s ability to create emotionally resonant anthems. — K.R.
52. Dream, “He Loves U Not” (No. 2, Hot 100)
Dream, signed to Bad Boy Records, delivered slick pop R&B with “He Loves U Not.” This sassy tell-off track features confident lyrics and a funky beat. The music video, with its finger-wagging and desert dune buggy scenes, perfectly captured the song’s attitude. — CHRISTINE WERTHMAN
51. Green Day, “Minority” (No. 1, Alternative Songs)
“Minority,” the lead single from Green Day’s Warning, is a rebellious call to individuality. Opening with acoustic guitar, it quickly transitions into a rollicking anthem with harmonica and accordion accents. While not Green Day’s most politically charged song, “Minority” remains a powerful and resistible anthem of defiance. — J.G.
50. Bloodhound Gang, “The Bad Touch” (No. 52, Hot 100)
“The Bad Touch” was one of the strangest, horniest, and catchiest radio hits of 2000. This track by Bloodhound Gang blends spoken-word lyrics, NSFW themes, funk guitar, and club production into a crossover hit. Packed with pop culture references and playful double entendres, “The Bad Touch”’s unexpected success was further amplified by Eminem’s reference in “The Real Slim Shady.” — K.B.
49. Son by Four, “A Puro Dolor” (No. 26, Hot 100)
Son By Four’s “A Puro Dolor” is a Latin pop classic about unconditional love and heartbreak. Its heartfelt lyrics and emotional delivery resonated deeply with audiences. “A Puro Dolor” topped the Hot Latin Songs chart for a record-breaking 20 weeks and also reached the Hot 100 top 40, solidifying its timeless appeal. The song’s success led to English and Salsa versions, further expanding its reach. — J.R.
48. Third Eye Blind, “Never Let You Go” (No. 14, Hot 100)
Third Eye Blind was a dominant pop-rock act between 1997 and 2000. “Never Let You Go,” from their album Blue, surpassed their previous hits in pop culture longevity. With its recognizable opening riff and anthemic chorus, “Never Let You Go” captures the angst of a doomed relationship. Its enduring legacy is evident in recent covers, highlighting its continued relevance. — X.Z.
47. Lonestar, “Amazed” (No. 1, Hot 100)
Lonestar’s “Amazed” is one of modern country’s greatest love songs. Written by Aimee Mayo, Chris Lindsey, and Marv Green, it became a No. 1 hit on both the Hot Country Songs and Hot 100 charts. “Amazed” is a timeless wedding song, its heartfelt lyrics about lifelong love continuing to resonate with couples worldwide. The song also sparked a real-life love story, as Mayo and Lindsey later married. — D.D.
46. Red Hot Chili Peppers, “Otherside” (No. 14, Hot 100)
Red Hot Chili Peppers’ “Otherside” showcases the vocal chemistry between Anthony Kiedis and John Frusciante. Their harmonies on the chorus enhance the song’s gravity, a tribute to fallen guitarist Hillel Slovak and their own struggles with addiction. Flea’s melodic bassline further contributes to this powerful and memorable track. — K.R.
45. Vitamin C, “Graduation (Friends Forever)” (No. 38, Hot 100)
Vitamin C’s “Graduation (Friends Forever)” has become the unofficial graduation anthem for middle and high schools over the past two decades. Interpolating Pachelbel’s “Canon In D,” it blends classical elements with pop lyrics about post-graduation uncertainty and friendships. “Graduation” captures the bittersweet emotions of commencement with a fresh and nostalgic twist. — RANIA ANIFTOS
44. Radiohead, “Optimistic” (No. 10, Alternative Songs)
Radiohead’s “Optimistic,” from the landmark Kid A album, is a dystopian anti-capitalist anthem. The seemingly sweet sentiment of “the best you can is good enough” carries a darker, sarcastic undertone. “Optimistic,” the album’s only radio hit, trades positivity for unnerving realism, leaving listeners with a haunting sense of disillusionment. — E.F.
43. LeAnn Rimes, “Can’t Fight the Moonlight” (No. 11, Hot 100)
“Can’t Fight the Moonlight,” the theme song from Coyote Ugly, is a sing-along anthem courtesy of Diane Warren and Trevor Horn. LeAnn Rimes’ versatile vocals, ranging from husky lows to sugary highs, elevate this track beyond a typical movie theme song. “Can’t Fight the Moonlight” is a karaoke crowd-pleaser with enduring appeal. — J. Lynch
42. The Avalanches, “Since I Left You” (Did not chart)
The Avalanches’ “Since I Left You” is a whimsical and experimental track from their album of the same name. This psychedelic collage of pop sounds, with samples ranging from soul to jazz guitar, creates a celebratory yet bittersweet atmosphere. “Since I Left You” masks heartbreak with humor and hope, offering a dizzying and optimistic sonic landscape. — W.G.
41. Vertical Horizon, “Everything You Want” (No. 1, Hot 100)
Vertical Horizon’s “Everything You Want,” an understated alternative rock single, surprisingly topped the Hot 100. Its emotional depth, with Matt Scannell’s lyrics exploring unrequited love from both perspectives, resonated deeply. The song’s bobbing guitar line and powerful chorus contributed to its unexpected chart-topping success. — J. Lipshutz
40. Christina Aguilera, “Come on Over Baby (All I Want Is You)” (No. 1, Hot 100)
Christina Aguilera’s “Come On Over Baby (All I Want Is You)” solidified her reign in teen pop. This upbeat, Radio Disney-friendly track became her third consecutive Hot 100 No. 1 hit. “Come On Over Baby” is a danceable and addictive bop that fueled the Christina vs. Britney debate and defined Y2K pop. — M.N.
39. U2, “Beautiful Day” (No. 21, Hot 100)
U2’s “Beautiful Day” became ubiquitous in early 2000s pop culture, despite surprisingly not cracking the Hot 100 top 20. This uplifting anthem from All That You Can’t Leave Behind has stood the test of time as a song of hope and inspiration. Its pulsing rhythm and soaring melody invite listeners to embrace the world with optimism. — J.G.
38. Jay-Z, “I Just Wanna Love U (Give It 2 Me)” (No. 11, Hot 100)
Jay-Z’s “I Just Wanna Love U (Give It 2 Me)” marked his first No. 1 on the Hot R&B/Hip-Hop Songs chart and reached No. 11 on the Hot 100. Produced by The Neptunes, with Pharrell Williams’ uncredited vocals, the song’s infectious beat and playful verses made it a major hit. “I Just Wanna Love U” also boosted The Neptunes’ rising prominence in hip-hop and pop. — T.C.
37. Bon Jovi, “It’s My Life” (No. 33, Hot 100)
Bon Jovi, with their 2000 album Crush, embraced self-reference. “It’s My Life,” their comeback anthem, name-checks Tommy and Gina from “Livin’ on a Prayer.” Over a decade later, “It’s My Life” celebrated their enduring spirit and introduced a new generation to Bon Jovi’s fist-pumping rock anthems. — K.B.
36. Mystikal, “Shake Ya Ass” (No. 13, Hot 100)
Mystikal’s “Shake Ya Ass” marked his crossover breakthrough. With an irresistible Neptunes beat and two knockout choruses, the song is a high-energy party anthem. Mystikal’s raw energy and commanding presence, combined with the infectious production, made “Shake Ya Ass” a defining track of the early 2000s. — A.U.
35. Santana feat. The Product G&B, “Maria Maria” (No. 1, Hot 100)
“Maria Maria” by Santana featuring The Product G&B, inspired by Wu-Tang Clan, became a summer anthem. Wyclef Jean transformed a menacing riff into a Latin-infused track anchored by Santana’s guitar and The Product G&B’s smooth vocals. “Maria Maria” topped the Hot 100 for 10 weeks and earned a Grammy, later sampled by DJ Khaled for “Wild Thoughts,” but the original remains iconic. — B.G.
34. Nine Days, “Absolutely (Story of a Girl)” (No. 6, Hot 100)
Nine Days’ “Absolutely (Story of a Girl)” is a power pop hit known for its sing-along chorus. The story of the girl who “cried a river,” the song peaked at No. 6 on the Hot 100. “Absolutely” remains a Y2K pop-rock favorite, finding new life on TikTok and continuing to resonate with its relatable story of heartbreak. — G.G.
33. Backstreet Boys, “Shape of My Heart” (No. 9, Hot 100)
Backstreet Boys’ “Shape of My Heart” is a near-perfect boy band ballad. From the opening guitar strum to the climactic chorus, the song evokes strong emotions. “Shape of My Heart,” the lead single from Black & Blue, is a charmingly cheesy BSB classic, with a clearer message than their mega-hit “I Want It That Way.” — T.W.
32. Alice Deejay, “Better Off Alone” (No. 27, Hot 100)
Alice Deejay’s “Better Off Alone” is defined by its iconic synth hook, a turn-of-the-millennium electro-pop anthem. This riff, comparable to “(I Can’t Get No) Satisfaction” for its era, is instantly recognizable and endlessly danceable. Judith Pronk’s vocals add an unexpected layer of vulnerability to this club classic. — A.U.
31. Britney Spears, “Lucky” (No. 23, Hot 100)
Britney Spears’ “Lucky,” while not the most immediate hit from Oops!…I Did It Again, is one of her most insightful songs. “Lucky” uses a pop melody to comment on the isolating effects of fame. Both heartbreaking and campy, “Lucky” showcases Britney’s self-awareness, even within a seemingly simple pop narrative. — S.D.
30. Lee Ann Womack, “I Hope You Dance” (No. 14, Hot 100)
Lee Ann Womack’s “I Hope You Dance” is an award-winning country ballad that avoids excessive sentimentality. Often interpreted as a parent’s wish for their child, the song’s message of hope and resilience is universally moving. Gladys Knight covered it in 2013, but Womack’s version remains definitive, a touching and timeless classic. — PAUL GREIN
29. Wheatus, “Teenage Dirtbag” (No. 7, Alternative Songs)
Wheatus’ “Teenage Dirtbag” offered a self-effacing alternative to cocky pop-punk bands of the TRL era. Brendan B. Brown’s unique vocals and the song’s relatable story of teenage outsiderdom resonated with listeners. Featured on the Dawson’s Creek soundtrack, “Teenage Dirtbag” is a loser anthem with enduring charm, even referencing Iron Maiden. — C.W.
28. Faith Hill, “The Way You Love Me” (No. 6, Hot 100)
Faith Hill’s “The Way You Love Me” was a prominent female voice on country radio in 2000. Blending country, pop, and dance elements, the song captures the euphoria of love with colorful lyrics and Hill’s exuberant vocals. “The Way You Love Me” is a celebratory and infectious expression of romantic joy. — G.M.
27. 3 Doors Down, “Kryptonite” (No. 3, Hot 100)
3 Doors Down’s “Kryptonite” became an omnipresent post-grunge anthem. Brad Arnold’s everyman lyrics about superhuman strength and vulnerability resonated widely. “Kryptonite” dominated rock and pop radio, solidifying 3 Doors Down’s place in the rock mainstream. — C.P.
26. Dr. Dre feat. Eminem, “Forgot About Dre” (No. 25, Hot 100)
Dr. Dre’s “Forgot About Dre,” featuring Eminem, is a powerful reminder of Dre’s enduring influence. After a hiatus, Dre returned with this Grammy-winning hit from 2001, asserting his OG status and legacy. Eminem’s Slim Shady persona adds to the track’s aggressive energy, defending Dre’s contributions to hip-hop. — A.C.
25. Ludacris feat. Shawnna, “What’s Your Fantasy” (No. 21, Hot 100)
Ludacris’ “What’s Your Fantasy,” featuring Shawnna, is a breakthrough hit defined by its salacious and attention-grabbing lyrics. Ludacris’s verbal dexterity and creative punchlines made this track a standout, launching his career as a leading MC of the 21st century. — A.U.
24. Destiny’s Child, “Jumpin’ Jumpin’” (No. 3, Hot 100)
Destiny’s Child’s “Jumpin’ Jumpin’” is the ultimate girls’ night out anthem. Beyoncé co-produced this upbeat track, the final single from The Writing’s on the Wall, laying the foundation for her solo sound and empowering persona. “Jumpin’ Jumpin’” remains a timeless soundtrack for female empowerment and celebration. — T.C.
23. Moby, “Porcelain” (No. 18, Hot 100)
Moby’s “Porcelain,” from his electronica masterpiece Play, perfectly predicted the sound of the new millennium. With its reversed strings, piano melody, and ethereal vocals, “Porcelain” created a genre-bending experience. While Moby’s celebrity status later became complicated, “Porcelain” endures as a profoundly influential track. — B. Kress
22. Blink-182, “Adam’s Song” (No. 2, Alternative Songs)
Blink-182’s “Adam’s Song” directly addressed mental health, a topic increasingly discussed in today’s music landscape. While not the first song to tackle such themes, “Adam’s Song” offered a raw and honest portrayal of depression and suicidal thoughts. A sonic and thematic departure from Blink-182’s usual fare, “Adam’s Song” remains one of their most poignant and impactful tracks. — J.G.
21. Sisqo, “The Thong Song” (No. 3, Hot 100)
Sisqo’s “The Thong Song” defied convention. Singing passionately about thongs, repeating verses, and incorporating cheesy lines, the song became a massive hit. Despite its unconventional nature, “The Thong Song”’s booty-shaking energy propelled it to No. 3 on the Hot 100, a testament to its infectiousness. — C.L.
20. Eminem, “The Real Slim Shady” (No. 4, Hot 100)
Eminem’s “The Real Slim Shady” is a masterfully manic lead single from The Marshall Mathers LP. Taking aim at pop culture figures, Eminem’s sharp wit and provocative lyrics cemented his place in the pop universe. The song and its VMAs-dominating video propelled him to the Hot 100 top five for the first time. — K.A.
19. Madonna, “Music” (No. 1, Hot 100)
Madonna’s “Music” is a cross-generational dancefloor anthem. Collaborating with Mirwais, she created a track with electroclash elements for club kids, a techno beat for ravers, and old-school electro-funk for longtime fans. “Music” topped the Hot 100 for four weeks, proving Madonna’s enduring ability to unite audiences across generations. — J. Lynch
18. *NSYNC, “It’s Gonna Be Me” (No. 1, Hot 100)
*NSYNC’s “It’s Gonna Be Me” marked a new era of attitude for the group. Co-written by Max Martin and produced by Rami Yacoub, the track encourages self-worth and resilience. A pop culture phenomenon, “It’s Gonna Be Me” is synonymous with Justin Timberlake’s “It’s gonna be MAY” meme. Beyond memes, it was *NSYNC’s only Hot 100 No. 1 hit. — B. Kaminsky
17. Papa Roach, “Last Resort” (No. 57, Hot 100)
Papa Roach’s “Last Resort” is a pummeling pop-metal track addressing suicide with raw anguish. From its opening lines to Jacoby Shaddix’s breakdown, “Last Resort” captures the urgency of a mental health crisis. Its honesty and intensity have made it a cathartic anthem and arguably the finest single of the nu-metal era. — J. Lipshutz
16. Christina Aguilera, “What a Girl Wants” (No. 1, Hot 100)
Christina Aguilera’s “What a Girl Wants” became her second consecutive Hot 100 chart-topper. Originally recorded by Ophélie Winter, Aguilera transformed this R&B-tinged pop single into a showcase of her rising global superstardom. “What a Girl Wants” remains a nostalgic Y2K anthem, evoking memories of late ‘90s fashion and pop culture. — T.M.
15. Dixie Chicks, “Goodbye Earl” (No. 19, Hot 100)
Dixie Chicks’ “Goodbye Earl” is a bold and audacious track. Following the ballad “Cowboy Take Me Away,” “Goodbye Earl” graphically narrates an abusive marriage and its violent conclusion. With its black-comedy lyrics and Natalie Maines’ fiery delivery, “Goodbye Earl” is arguably the Dixie Chicks’ most fearless statement, and a karaoke favorite. — T.W.
14. Aaliyah, “Try Again” (No. 1, Hot 100)
Aaliyah’s “Try Again” is a slinky, Timbaland-produced jam from the Romeo Must Die soundtrack. Its message of perseverance in love is paired with Timbaland’s signature “wiki-wiki” sounds. “Try Again” became Aaliyah and Timbaland’s first Hot 100 No. 1, a partnership cut short by Aaliyah’s tragic passing. — K.A.
13. Red Hot Chili Peppers, “Californication” (No. 69, Hot 100)
Red Hot Chili Peppers’ “Californication” is ironically one of their biggest commercial successes, despite its meditation on Hollywood’s dark side. The title track is filled with cryptic lyrics and cultural references, sung over John Frusciante’s ominous guitar. “Californication,” with its iconic video, solidified RHCP’s continued relevance in the 2000s. — T.C.
12. Dr. Dre feat. Snoop Dogg, “The Next Episode” (No. 23, Hot 100)
Dr. Dre and Snoop Dogg’s “The Next Episode” is a sequel to “Nuthin’ but a ‘G’ Thang” for a new era. Sampling David Axelrod’s “The Edge,” Dre and Snoop updated their West Coast sound, looking to the future while honoring their roots. “The Next Episode” is a timeless track, a testament to their enduring collaboration. — W.G.
11. Jay-Z feat. UGK, “Big Pimpin’” (No. 18, Hot 100)
Jay-Z’s “Big Pimpin’,” featuring UGK, encapsulates his brash Brooklyn playboy persona. Boasting about wealth and romantic conquests, Jay-Z’s lyrics are paired with a Timbaland beat and verses from Bun B and Pimp C. “Big Pimpin’” is a quintessential MTV Jam of the Week, celebrating excess and confidence. — C.L.
10. Nelly, “Hot (S***) Country Grammar” (No. 7, Hot 100)
Nelly’s “Hot (S***) Country Grammar” introduced the Midwest hip-hop sound to the mainstream. The title track from his debut album is an anthem about rising from humble beginnings. With a hypnotic beat by Jay E, “(Hot S**t) Country Grammar” became a song of the summer, reaching the Hot 100 top 10 and defining the St. Louis sound. — K.B.
9. Macy Gray, “I Try” (No. 5, Hot 100)
Macy Gray’s “I Try” became a breakup anthem for the year 2000. Gray’s raspy vocals and the song’s cathartic chorus resonated deeply with listeners navigating heartbreak. “I Try” earned Grammy nominations and wins, spending 27 weeks on the Hot 100 and solidifying Gray’s place as a soulful voice of the era. — T.C.
8. DMX, “Party Up (Up in Here)” (No. 27, Hot 100)
DMX’s “Party Up (Up in Here)” is a high-energy anthem for letting loose. Over a Swizz Beatz production, DMX’s raw energy and aggressive delivery create a truly singular track. Despite its threats of violence, “Party Up” is a cathartic release of frustration and a defining DMX track. — A.U.
7. Jennifer Lopez, “Love Don’t Cost a Thing” (No. 3, Hot 100)
Jennifer Lopez’s “Love Don’t Cost a Thing” is a breakup anthem that became an instant classic. Featured in her Super Bowl Halftime Show, the song’s catchy beat and relatable lyrics about valuing genuine love over material possessions have stood the test of time. The music video’s memorable dance routine further contributed to its iconic status. — G.F.
6. D’Angelo, “Untitled (How Does It Feel)” (No. 25, Hot 100)
D’Angelo’s “Untitled (How Does It Feel)” is a game-changer in R&B. While the video garnered attention for D’Angelo’s physique, the song itself is a groundbreaking example of sensuous and innovative R&B. Its slow grind and suggestive lyrics elevated lovemaking music, giving women an equal voice in romantic propositions. “Untitled” earned a Grammy and solidified D’Angelo’s status as a neo-soul innovator. — G.M.
5. OutKast, “B.O.B. (Bombs Over Baghdad)” (No. 69, R&B/Hip-Hop Songs)
OutKast’s “B.O.B. (Bombs Over Baghdad)” is a massively influential and genre-bending track. Andre 3000 and Big Boi’s verses are just the starting point; the song blends gospel, glam rock, and hip-hop conventions into a manic five minutes. “B.O.B.” is a sonic explosion, reflecting OutKast’s unparalleled innovation and influence. — C.P.
4. Eminem feat. Dido, “Stan” (No. 51, Hot 100)
Eminem’s “Stan,” featuring Dido, is a complex and empathetic portrayal of celebrity obsession. Over Dido’s “Thank You” sample, Eminem tells the story of a jilted fan, Stan, highlighting the dark side of fame and fan culture. “Stan” is a horrorcore track with unexpected emotional depth, its tragic conclusion leaving a lasting impact. Its cultural influence is so profound that “Stan” has become internet slang for obsessive fans. — J. Lynch
3. Britney Spears, “Oops!…I Did It Again” (No. 9, Hot 100)
Britney Spears’ “Oops!…I Did It Again” is a perfect example of avoiding the sophomore slump. Reassembling her debut team and donning a red latex catsuit, Spears delivered another pop smash. “Oops!…I Did It Again,” about toying with emotions, is playful and iconic. Its spoken-word bridge and space-themed video further solidified its place in pop culture history. — C.W.
2. *NSYNC, “Bye Bye Bye” (No. 4, Hot 100)
*NSYNC’s “Bye Bye Bye” is a super-powered pop smash that ushered in a new era for the group. The lead single from No Strings Attached, it marked *NSYNC’s break from Lou Pearlman and their assertion of creative and financial control. While lyrically about a toxic relationship, “Bye Bye Bye”’s true power lies in its infectious chorus and iconic dance moves. The song’s music video dominated MTV, and No Strings Attached broke sales records, all starting with this undeniable lead single. — K.A.
1. Destiny’s Child, “Say My Name” (No. 1, Hot 100)
Destiny’s Child’s “Say My Name” is the quintessential heartbroken R&B anthem of the late ‘90s/early ‘00s. Instead of ballads or rain-soaked performances, Destiny’s Child channeled paranoia and suspicion into this groundbreaking track. “Say My Name”’s insistent demand captures the building irritation of relationship insecurity. Rodney Jerkins’ 808-heavy production and Beyoncé’s innovative flow elevate the song to another level. “Say My Name” won two Grammys, topped the Hot 100, and created an enduring legacy, influencing countless covers and interpolations, and remaining universally relatable two decades later. As long as there are untrustworthy partners, women will be ready to demand: “Say my name!” — B.G.
