2013 was a year where the music scene felt like a thrilling rollercoaster, a chaotic yet exhilarating ride through uncharted territories. Genre boundaries blurred, and innovation was the name of the game. From French robots infusing radio waves with silky smooth Seventies disco vibes to a prodigious 16-year-old voice echoing the raw realities of New Zealand streets, and from hip-hop titans fearlessly confronting corporate racism to Canadian rock saviors crafting epic art-disco anthems, the musical landscape of 2013 was anything but predictable. The year delivered a potent mix of sounds from established giants like HAIM, Drake, Miley Cyrus, and Justin Timberlake, alongside a surge of fresh energy from the EDM and indie-rock underground. Picking just 100 of the best songs from this vibrant musical melting pot was a challenging task, but undeniably a fun one.
The Killers, “Shot at the Night”
The Killers performing live, Brandon Flowers in focus, stage lights illuminating the band
Produced by Anthony Gonzalez of M83, known for their dreamlike rock soundscapes, “Shot at the Night” is a grandiose power ballad that sees The Killers fully embrace their stadium-sized ambitions. Brandon Flowers’ powerful vocals, singing “Gimme a shot at the night,” evoke a sense of cinematic drama, almost as if it were the theme song to a forgotten Rocky sequel, filled with anthemic yearning and soaring melodies.
Lee Ranaldo and the Dust, “Lecce, Leaving”
Lee Ranaldo playing electric guitar with The Dust, stage setting, audience in background
In the wake of Sonic Youth’s disbandment, Lee Ranaldo’s solo work emerged as a surprising and welcome development. “Lecce, Leaving” is a comforting, classic rock-infused jam reminiscent of The Who, showcasing Ranaldo’s often-understated classic rock sensibilities that always balanced Thurston Moore and Kim Gordon’s more experimental inclinations within Sonic Youth. It’s a reminder of his foundational rock influences.
MGMT, “Your Life is a Lie”
MGMT band members Ben Goldwasser and Andrew VanWyngarden performing on stage, psychedelic visuals in background
“Your Life is a Lie” by MGMT is a concise, almost aggressively catchy pop gem. This two-minute track drills its central argument into your skull with such infectious energy that you might find yourself questioning your own reality. However, beneath the surface, it feels less like a harsh judgment and more like a shared, slightly cynical joke, amplified by its creatively stoner-esque and ADHD-fueled music video.
Darius Rucker, “Wagon Wheel”
Darius Rucker singing onstage with a microphone, country music performance
Darius Rucker, formerly of Hootie and the Blowfish, continued his successful transition into country music with “Wagon Wheel.” This track, featuring vocal harmonies from Lady Antebellum, is a cover of an Old Crow Medicine Show favorite, itself based on a Bob Dylan outtake from the Pat Garrett and Billy the Kid era. The result was an unexpected country Number One hit, proving Rucker’s crossover appeal and knack for choosing crowd-pleasing songs.
No Age, “C’mon, Stimmung”
No Age band performing live, Randy Randall and Dean Allen Spunt playing guitars
For Los Angeles noise-pop duo No Age, the sweet spot between abrasive noise and melodic beauty is their constant creative home. “C’mon, Stimmung” exemplifies this, drawing a direct line from Sonic Youth and The Velvet Underground’s raw energy (“Sister Ray” era). The song’s piercing feedback bursts and driving rhythm create a lasting sonic imprint, echoing long after the track concludes, whether you’re a first-time listener or a longtime fan revisiting their discography.
Paramore, “Still Into You”
Hayley Williams of Paramore performing at a concert, vibrant stage lighting
Following a public split with key band members, Hayley Williams revitalized Paramore with a fresh, radio-ready energy on their self-titled album. “Still Into You” became a standout track, transforming their emo-pop-punk sound into something crisper and more broadly appealing. Williams’ personal journey adds depth to this upbeat anthem of enduring love, giving it a poignant layer of resilience and sincerity.
Patty Griffin, “Ohio”
Patty Griffin singing and playing acoustic guitar on stage, intimate performance setting
“Ohio” by Patty Griffin, featuring harmonies with Robert Plant, is a mesmerizing alt-country ballad. With lyrics like “Meet me in the evening when the river is low,” the song unfolds with acoustic guitars and hand drums creating a swirling, atmospheric texture. It evokes a sound reminiscent of Led Zeppelin’s folkier side, particularly “The Battle Of Evermore,” imagining a path where Plant might have further explored those mystical, folk-infused directions.
Atoms for Peace, “Ingenue”
Thom Yorke of Atoms for Peace performing live, stage lights and electronic instruments visible
Atoms for Peace, Thom Yorke’s project outside of Radiohead, presented a different facet of his artistry. “Ingenue,” from their debut album, is a chilled-out, groovy track suggesting a newfound lightness in Yorke’s musical persona. His falsetto vocals glide over zero-gravity synths, creating a future-funk jam that’s both danceable and introspective, hinting at a playful side previously less explored in his work.
Deafheaven, “Dream House”
Deafheaven band performing intense, heavy music on stage, black and white image
Deafheaven’s “Dream House” is a nine-minute epic of art-metal magnificence. Building on layers of intricate blast-beat drumming, blackened post-rock guitar textures, and George Clarke’s visceral screams, the song is both abstract and intensely powerful. It strips heavy metal down to its raw emotional core, delivering a cathartic and overwhelming experience that transcends typical genre boundaries.
Nine Inch Nails, “Everything”
Trent Reznor of Nine Inch Nails performing intensely with microphone, industrial music concert
Trent Reznor, in his late forties, revisited his alt-rock roots with “Everything,” a surprisingly anthemic track for Nine Inch Nails. Singing “I am home, I am free,” Reznor channels inner turmoil into a powerful declaration of finding clarity through struggle. Layered with gothic new wave guitar riffs, Krautrock drones, and industrial noise elements, it represents his vision of a powerful, almost pop-infused heaven.
Courtney Barnett, “Avant-Gardner”
Courtney Barnett singing and playing guitar in concert, casual and engaging performance
Courtney Barnett’s “Avant-Gardner” is a deceptively catchy song centered around a slacker character experiencing an anaphylactic panic attack while gardening. References to bong smoking and Uma Thurman in Pulp Fiction add to its quirky charm. Barnett’s storytelling prowess, delivered in a matter-of-fact, conversational style, makes even mundane anxieties sound compelling and relatable, establishing her as a unique voice in songwriting.
Eric Church, “The Outsiders”
Eric Church performing with electric guitar and band, country rock concert atmosphere
Eric Church, known for his classic rock influences within country music, delivered “The Outsiders,” possibly the heaviest “country” song in recent memory. This radio hit blends elements of Def Leppard, Black Sabbath, and “Born to Be Wild,” creating a stadium-ready anthem. Despite the bombastic sound and arena-sized “whoa-oh-oh”s, Church manages to deliver tongue-in-cheek rhymes with swagger, making it a memorable and genre-bending track.
Eleanor Friedberger, “Stare at the Sun”
Eleanor Friedberger performing on stage, indie rock concert setting
Eleanor Friedberger’s “Stare at the Sun” opens with the line, “In the back of the taxi you turned off the TV/And read me a book on your phone,” immediately setting a tone of modern, fleeting romance. The lyrics explore themes of impermanent love in a transient world, while the music itself is vibrant and energetic, reminiscent of vintage Modern Lovers or Richard Hell, showcasing timeless indie rock energy.
Waxahatchee, “Brother Bryan”
Katie Crutchfield of Waxahatchee performing with guitar, intimate stage performance
Waxahatchee’s “Brother Bryan,” from their acclaimed second album, is a raw and emotionally direct track built on a simple bass and drum foundation. Katie Crutchfield’s songwriting delves into themes of self-doubt and sisterhood, channeling the vulnerable spirit of Cat Power and Liz Phair. It’s a prime example of sticky, brittle indie-rock that resonates with its honesty and understated intensity.
Fall Out Boy “My Songs Know What You Did In The Dark (Light Em Up)”
Fall Out Boy’s return after a brief hiatus was marked by “My Songs Know What You Did In The Dark (Light Em Up),” a powerful comeback anthem. The song taps into 2000s nostalgia while sounding distinctly contemporary, exploring themes of being haunted by past experiences and memories through music. Its stadium-sized sound and catchy hooks cemented their successful reunion.
Phoenix, “Trying to Be Cool”
Thomas Mars of Phoenix performing live, energetic stage presence
Phoenix’s “Trying to Be Cool” is almost ironic in its title, given their inherent coolness. Thomas Mars’s declaration, “I’m just tryin’ to be cool/It’s all because of you,” is delivered with effortless charm. The song itself is gleaming synth-pop perfection, building to a dance-party explosion in its outro, showcasing Phoenix’s mastery of infectious and sophisticated pop melodies.
Janelle Monáe feat. Erykah Badu, “Q.U.E.E.N.”
Janelle Monae and Erykah Badu performing together on stage, powerful female artists
Janelle Monáe and Erykah Badu’s collaboration on “Q.U.E.E.N.” is a potent anthem of self-determination. With Prince-esque synths and a funk-laden bassline, the song seamlessly transitions into soul-jazz, with Badu adding her signature perspective. Monáe’s transformation into a superhero MC further solidifies the track’s empowering message of defying labels and embracing individuality.
Black Sabbath, “God is Dead?”
Ozzy Osbourne of Black Sabbath performing with microphone, heavy metal legend
Black Sabbath’s reunion album with Ozzy Osbourne after 35 years yielded “God is Dead?,” a quintessential heavy metal track. Ozzy’s lyrics, exploring themes of existentialism with classic metal imagery, are matched by Tony Iommi’s signature crushing riffs. The song embodies the core of heavy metal – grappling with darkness and mortality through powerful, riff-driven music.
Franz Ferdinand, “Treason! Animals.”
Alex Kapranos of Franz Ferdinand performing on stage, stylish indie rock band
Franz Ferdinand’s “Treason! Animals.” blends modern love song themes with glam rock and vintage disco influences. Alex Kapranos’s witty lyrics explore the complexities of attraction and relationships, delivered with the band’s signature stylish and danceable indie rock sound. The song’s organ-drenched sound and catchy hooks make it a standout in their discography.
2 Chainz feat. Pharrell, “Feds Watching”
2 Chainz rapping on stage, hip hop artist with gold chains
2 Chainz’s “Feds Watching,” featuring Pharrell, is a clever commentary on government surveillance wrapped in a celebratory anthem of style and confidence. Over a tropical-tinged Pharrell beat, 2 Chainz raps about his extravagant wardrobe, subverting the idea of surveillance into an opportunity to showcase his “freshness,” creating a unique and humorous take on the theme.
Mystikal, “Hit Me”
Mystikal’s “Hit Me” marked a powerful return for the New Orleans rap veteran. The track is a breakneck funk jam with socially conscious undertones, culminating in the chant “Say it proud/I’m black and I’m loud.” It’s a high-energy statement that reasserted Mystikal’s place in hip-hop, drawing comparisons to James Brown and showcasing his dynamic performance style.
Empire of the Sun, “Alive”
Empire of the Sun’s “Alive” is pure, unadulterated dance-pop euphoria. This anthemic track is built for sing-alongs and ecstatic dancing, with its sunny melodies and uplifting lyrics like “Swimming through the smoke/Wrapped in velvet gold.” It’s a burst of joy and escapism, perfectly capturing the duo’s vibrant and theatrical aesthetic.
Charles Bradley, “Victim of Love”
Charles Bradley performing soul music on stage, emotional and powerful singer
Charles Bradley, who had spent years as a James Brown impersonator, found his own voice with “Victim of Love.” This soul-folk track, blending elements of Otis Redding and James Brown but distinctly Bradley, showcases his raw emotion and powerful vocals. It’s a sweet, doo-wop-tinged song that highlighted his unique talent and earned him widespread recognition.
Jay Z, “Tom Ford”
Jay Z performing in concert, iconic hip hop mogul
Jay Z’s “Tom Ford” is a lavish and confident anthem, typical of his later career persona. Over a Timbaland beat, Jay Z celebrates his success and status, delivering boastful lines with his characteristic swagger. It’s a quintessential playa anthem that reflects his evolution from street corners to runways, while still maintaining his lyrical prowess.
Major Lazer feat. Bruno Mars, Tyga and Mystic, “Bubble Butt”
Major Lazer performing energetic electronic music set, Diplo in focus
Major Lazer’s “Bubble Butt,” featuring Bruno Mars, Tyga, and Mystic, is a wildly fun and overtly physical track. Built around a twerk-inducing beat, the song is as jiggly and energetic as its subject matter. The featured artists add to the playful raunchiness, making it a standout track for its sheer exuberance and body-positive vibes.
Mikal Cronin, “Shout it Out”
Mikal Cronin playing guitar and singing, garage rock musician
Mikal Cronin, known in the Bay Area garage rock scene, broke through with “Shout It Out” from his album MCII. This track is a piece of searching power-pop, melodic and crunchy, showcasing Cronin’s songwriting talent. It’s a sound of potential fully realized, offering a blend of catchy hooks and introspective lyrics.
Chance the Rapper feat. Nate Fox and Lili K, “Pusha Man”
Chance the Rapper performing on stage with microphone, Chicago hip hop artist
Chance the Rapper’s “Pusha Man,” featuring Nate Fox and Lili K, from his mixtape Acid Rap, is a highlight of his early work. The song is split into two parts: a Day-Glo drug-hop section with hazy 70s soul vibes, and a darker, trap-rap panic attack segment unofficially titled “Paranoid.” This contrast showcases Chance’s range and his ability to blend genres and moods effectively.
Blood Orange, “Chamakay”
Dev Hynes of Blood Orange performing with guitar, stylish and soulful musician
Blood Orange’s “Chamakay,” featuring Caroline Polachek of Chairlift, is a sumptuously smooth R&B jam. With dub influences, percolating rhythms, and saxophone, the song is both sophisticated and sensual. Hynes and Polachek’s harmonies are tightly interwoven, creating a track that defies easy categorization, blending R&B and indie rock into something uniquely “sexy.”
Pearl Jam, “Sirens”
Pearl Jam’s “Sirens” is a departure from their typical grunge sound, showcasing a more mature and subtle balladry. Eddie Vedder’s vocals express a fading love with grace and nuance, reminiscent of U2 or Bruce Springsteen. Mike McCready’s soaring guitar solo adds emotional depth, proving Pearl Jam’s evolution beyond their initial genre labels.
Twin Shadow, “Old Love / New Love”
Twin Shadow performing with keyboard and microphone, synth-pop artist
Twin Shadow’s “Old Love / New Love” captures the pulsing energy of 80s hi-NRG house music, similar to how Daft Punk’s “Get Lucky” evoked 70s disco. However, Twin Shadow, aka George Lewis Jr., infuses it with his signature moody, synth-pop sensibilities. The result is a pumping anthem with a melancholic soul, bridging past and present electronic music styles.
Neko Case, “Man”
Neko Case singing powerfully into microphone, alt-country singer-songwriter
Neko Case’s “Man” is a stomping, gender-bending track with a strong feminist message. Riding on M. Ward’s unusually aggressive electric guitar, Case challenges traditional gender roles with lyrics like “I am the man in the fucking moon.” The song is both musically powerful and lyrically assertive, making a bold statement with both sound and words.
Migos feat. Drake, “Versace (Remix)”
Migos performing hip hop music on stage, Atlanta rap trio
Migos’ “Versace (Remix),” featuring Drake, became a cultural phenomenon with its infectious hook built around the repetition of “Versace.” The trio’s hypnotic flow and the luxury brand name created an earworm that transcended typical consumerism, reaching a state of almost mantra-like repetition. Drake’s remix further amplified the song’s reach and influence, solidifying Migos’ place in mainstream hip-hop.
Sam Baker, “Ditch”
Sam Baker playing acoustic guitar and singing, Americana singer-songwriter
Sam Baker’s “Ditch” is a raw and honest portrayal of everyday struggles. With lyrics detailing personal and professional hardships, Baker’s songwriting is both bleak and surprisingly uplifting. The song also includes a notable, and perhaps unexpected, reference to Taylor Swift, adding a touch of contemporary pop culture to its Americana narrative.
Speedy Ortiz, “Tiger Tank”
Sadie Dupuis of Speedy Ortiz performing with guitar, indie rock band
Speedy Ortiz’s “Tiger Tank,” from their debut album Major Arcana, showcases their wry and insightful indie rock. Sadie Dupuis’s lyrics dissect twenty-something romantic anxieties with sharp wit and self-awareness, delivered with a guitar-driven sound that is both melodic and edgy. The song’s introspective and relatable themes resonated with indie music fans.
Albert Hammond Jr., “St. Justice”
Albert Hammond Jr. playing guitar and singing, The Strokes guitarist solo project
Albert Hammond Jr.’s “St. Justice,” from his EP AHJ, is a standout track that arguably outshone The Strokes’ own output that year. Recalling The Strokes’ signature sound at their most effortless, “St. Justice” is a bedroom-rock gem with a catchy bassline, warm synths, and lyrics hinting at personal growth and clarity.
Kanye West, “I Am a God”
Kanye West performing in concert, controversial and influential hip hop artist
Kanye West’s “I Am a God” is arguably the most audacious and controversial track of 2013. Featuring the now-iconic line, “In a French-ass restaurant/Hurry up with my damn croissants/I am a God,” the song is a blend of humor, ego, and raw intensity. It’s a hate-rap screed delivered with theatrical flair and self-aware absurdity, solidifying Kanye’s position as a provocateur and innovator.
Yeah Yeah Yeahs, “Sacrilege”
Karen O of Yeah Yeah Yeahs performing with microphone, iconic indie rock singer
Yeah Yeah Yeahs’ “Sacrilege” is a dramatic and genre-bending track. Karen O’s conflicted vocals are set against Nick Zinner’s glam-guitar riffs and Brian Chase’s punk-funk drumming. The unexpected addition of a gospel choir elevates the song, adding a layer of soulful redemption and transforming it into a powerful and unique musical experience.
Disclosure feat. AlunaGeorge, “White Noise”
Disclosure performing electronic music set, UK electronic music duo
Disclosure’s “White Noise,” featuring AlunaGeorge, is a standout house track that contrasted the dubstep dominance of the time. The UK brothers collaborated with AlunaGeorge for a rubbery, freestyle invitation to “let’s play rough,” showcasing their signature sound. Aluna Francis’s vocal performance and the track’s infectious groove made it a club hit and a highlight of the year in electronic music.
TV on the Radio, “Mercy”
Tunde Adebimpe of TV on the Radio performing with microphone, art rock band
TV on the Radio’s “Mercy” is an explosive and apocalyptic dance-rock track. Tunde Adebimpe’s lyrics paint a picture of a chaotic world, while the music itself is ferocious and high-energy. It’s a sonic bomb in the hipster disco, showcasing TV on the Radio at their most intense and danceable.
Lorde, “White Teeth Teens”
Lorde performing with microphone, young pop star from New Zealand
Lorde’s “White Teeth Teens” captures the ennui and subtle rebellion of suburban teenage life. Her songs feel like dispatches from the fringes, exploring the space between desire and detachment. Set to a muted girl-group rhythm, Lorde’s lyrics create a sense of place and belonging in the mundane, making the ordinary feel significant and poignant.
Sleigh Bells, “Young Legends”
Alexis Krauss of Sleigh Bells performing with microphone, noise pop duo
Sleigh Bells’ “Young Legends” continues their tradition of subverting rock conventions. The Brooklyn duo blends acoustic guitar with synth feedback, creating a unique sonic landscape. Alexis Krauss’s chant-like vocals deliver a stark warning with a pop sensibility, while Derek Miller’s production makes the music both abrasive and catchy.
Miley Cyrus, “Wrecking Ball”
Miley Cyrus singing ballad with microphone, pop star in emotional performance
Miley Cyrus’s “Wrecking Ball” marked a significant moment in her transition from teen star to pop provocateur. The ballad showcased her powerful, country-tinged vocals, reaching Number One and solidifying her status as a major pop artist. The controversial music video further amplified the song’s impact, setting a new standard for visual spectacle and pushing boundaries.
Daft Punk feat. Julian Casablancas, “Instant Crush”
Daft Punk performing electronic music, iconic helmeted DJs
Daft Punk’s “Instant Crush,” featuring Julian Casablancas of The Strokes, is a softer, more melodic side of their album Random Access Memories. With a soft-focus disco groove and Casablancas’s vocoded vocals, the song evokes a sense of nostalgic longing. It’s a cyborg’s search for love, blending 70s and 80s sounds into a heartfelt pop gem.
Paul McCartney, “New”
Paul McCartney playing guitar and singing, legendary musician
Paul McCartney’s “New,” the title track from his album, is a classic McCartney pop confection. Produced by Mark Ronson, it’s a Beatlesque track with a retro-modern feel, featuring a bouncy melody, harpsichord-like sounds, and brass reminiscent of “Got to Get You into My Life.” It’s instantly catchy and showcases McCartney’s enduring songwriting talent.
Laura Marling, “Master Hunter”
Laura Marling’s “Master Hunter” is an existential anti-love song that opens her album Once I Was An Eagle. Quoting Bob Dylan, Marling establishes her own path in the folk tradition, connecting 60s singer-songwriter influences with a contemporary sensibility. The song is both timeless and current, showcasing her lyrical depth and musical maturity.
The National, “Sea of Love”
Matt Berninger of The National singing with microphone, indie rock band frontman
The National’s “Sea of Love” is a departure from their typically introspective sound, showcasing a more rocking and anthemic side. Matt Berninger’s lyrics still delve into emotional complexities, but the music builds to a cathartic shout-along finale. It’s proof that “dad-rock” can be powerful and engaging, showing a different facet of The National’s artistry.
Pusha T, “Numbers On the Boards”
Pusha T rapping with microphone, hip hop artist and former Clipse member
Pusha T’s “Numbers On the Boards” is a return to his raw and hard-hitting Clipse-era sound. Produced by Kanye West and DJ Don Cannon, the track is aggressive and boastful, with Pusha T asserting his dominance in the rap game. Lyrically sharp and sonically intense, it’s a standout track for its unapologetic confidence.
Kacey Musgraves, “Follow Your Arrow”
Kacey Musgraves singing with guitar, country music artist
Kacey Musgraves’ “Follow Your Arrow” is a groundbreaking country song with a message of self-acceptance and tolerance. Encouraging listeners to embrace individuality and love who they love, the song’s inclusive message was particularly notable in the mainstream country genre. Despite some censorship, its message resonated widely, making it a revolutionary track.
Sky Ferreira, “Heavy Metal Heart”
Sky Ferreira singing with microphone, pop and indie artist
Sky Ferreira’s “Heavy Metal Heart” is a powerful declaration of personal freedom. Drawing on her experiences in the pop industry, Ferreira’s lyrics express a sense of breaking free from past constraints. Her art-damaged vocals and the song’s driving energy create an anthem of self-reinvention and resilience.
Bruce Springsteen, “High Hopes”
Bruce Springsteen performing with electric guitar, The Boss rock legend
Bruce Springsteen’s “High Hopes” was an unexpected late-year release, a cover of a relatively unknown band, The Havalinas. Springsteen transformed the song into an E Street Band anthem, injecting it with his signature energy and passion. Featuring Tom Morello’s guitar work, it’s a powerful and surprising addition to Springsteen’s catalog, demonstrating his continued ability to innovate and surprise.
