The “rock is dead” discourse that happened throughout the 2010s is a very tiring one that we don’t plan to relitigate too much. However, it’s hard to find any fault in why someone would come to the conclusion that rock is dead when you look at the songs that hit #1 on Billboards Alternative Songs chart. The cash cow of butt rock had died sometime in 2009 and by 2012, the music industry had found its successor: a new brand of “alternative” music that had ripe potential for commercialization, as nobody had to even actually like these songs for them to be hits and make money, all they had to do was sound good in a commercial and bam: easy money.
While not every song that hit #1 in this era was bad or even car commercial music, much like the butt rock era it is clear what the dominant force was, this time for the worse. Now that myself, Gavin, and Alex have plowed through nearly all of these #1 songs, it’s time for us to rank our favorites — and least favorites — for you all to read.
But before we continue with this list, let me inform you all about our upcoming livestream to celebrate the end of the Car Commercial Number Ones. This Friday, March 19th, at 8 PM EST on our YouTube channel, myself, Gavin, Alex, AJ, and special guest Barely March will be put through the gauntlet of weird YouTube videos as we celebrate the culture of the Car Commercial Music. Various Indieheads Podcast members will be stopping by to watch these videos with us along with special guests like Reanna, Shamir, and Chris and Molly from And Introducing who’ll be popping up throughout the stream. So, keep your tab open on the Indieheads Podcast YouTube channel this Friday as we once again celebrate the culture of alternative music, this time throughout the 2010s.
Let’s get into the list as we recall the worst, and the best, of the Car Commercial Number Ones starting off with…
THE WORST
10. WALK THE MOON - “One Foot”
You know, I love “Anna Sun.” It’s a sweet little song made by a scrappy All American Rejects style emo theater kid who put a flash mob in his music video. Not only do I feel like the narrator of “Anna Sun” is a real person, but I feel like I know him, on some level. Things soured a little with “Shut Up And Dance”, but it’s still like, an OK song if you ignore what’s being said. Something about “One Foot” is just pure poison. It’s hard to fully convey just what went wrong here, but here’s the best I’ve got:
This SHOULD be a good song. If you cherry pick some details of what it is—“One Foot” is a song about taking things one step at a time with your partner in the face of a strange and turbulent world, and was written by Mr. Walk The Moon while reeling in the wake of the election of Donald Trump. Some compelling sounding ideas here, and certainly widely relatable ones. Now, take the song I’ve described, and imagine that you’re playing it on your phone speaker inside of a club absolutely blasting the most grating EDM you have ever heard in your entire life. That’s what this song is. —Alex
9. Dirty Heads - “Lay Me Down”
If you listened to the series, you know we have thrown many insults at these songs but one insult that I couldn’t throw towards many of the songs was amateurish. I will throw it at this song but that’s the least of this song’s problems as I just cannot stand these dumbass white boys and their dumbass song that rips off Travie McCoy and Bruno Mars of all people. How are you going to have less swag than those two? Your cousin Tanner who owns multiple direct to DVD Steven Seagal movies could make a better song than this. —Matty
8. Capital Cities - “Safe and Sound”
I think a lot about the Nickelback song “Rockstar.” A sarcastic critique of butt rock culture that didn’t land because Chad Kroger, at the time anyways, was just one of many nameless gravel voices in an over saturated landscape of Cobain-wannabes. The worst crime I could find him committing is a DWI.
That’s more “uncle lifestyle” than “rockstar lifestyle” so I would say “Rockstar” holds up well for a piece of satire. Hindsight is the greatest ally of “Rockstar”, especially now that the general perception of Nickelback seems to have shifted from the endless roasting they received throughout the 2010’s towards “they didn’t deserve the hate.” The same cannot be said for “Safe And Sound,” the one hit from a shitty band comprised of two commercial jingle writers who formed after meeting on Craigslist and started a label “cutely” named Lazy Hooks. If I am to assume, using the entire “self-aware” Deadpool origin story background that this band possesses, that “Safe and Sound” is a parody of sanitized, soulless, pee pee poo poo indie pop that dominated the alternative charts in the 2010’s, the point becomes null and void when you license your parody of commercial pop to be in commercials for Coca-Cola, Mazda and State Farm. There’s no satire here. This is two shithead jingle writers shitting up the alternative music charts with a shitty song for commercials. The musical equivalent of a direct-to-Shudder meta horror comedy that’s only joke is “playing with tropes.” I hate you Capital Cities. Eat my ass. —Gavin
7. Judah & the Lion - “Take It All Back 2.0”
“Take It All Back 2.0” is a song that has tortured me for years now since its release. It was a huge hit on my college radio station that I was opposed to adding since it got brought into a music meeting. This song is so vile in so many ways, from the disgusting and frankly disrespectful genre combinations (both folk music and hip-hop), Judah’s (I don’t care what his actual name is) post-2009 Eminem impersonation, and the fucking incessent mandolin playing. At the end of the day, “Take It All Back 2.0” sounds like a song that has been so focus grouped that it sounds like one of those songs where they feed an AI a snippet or two and let them fill in the rest. But also you fed that AI episodes of Sister Wives, for some reason. —Matty
6. Panic! At The Disco - “High Hopes”
This song was already insanely annoying and bad before the Mayor Pete dance became a thing, but… my god, it really did just lay bare how soulless this song feels. This is the soundtrack of our current neoliberal hell, as Brendon Urie just straight up sings about “manifest destiny” like it’s nothing. Like, Mr. Brendon Urie? Is that a thing you didn’t seem to think was bad or could come off the wrong way? Even despite your inflated ego, I know you have to have a massive team behind you that would at least check you on that? Right? Whatever the case, I’ll just leave you with two last words: Brendon Urine. —Matty
5. Modest Mouse - “Lampshades on Fire”
I actually like Modest Mouse. The Moon and Antarctica is one of my favorite albums of all time (truly; I have loved this record since I was pretty young) and I have dabbled in the rest of their discography. My second favorite record of theirs is the 1999 compilation Building Nothing Out Of Something. I’m saying this to illustrate that yes, I think that this band has made better songs in the past, and, if they choose to put out more songs at all, will make better ones in the future. All that aside, this song just is that stinky. It isn’t that “Lampshades On Fire” doesn’t present any good ideas—I would argue that it recycles some of Brock’s most interesting ones, like the pitch bent harmonic notes from “Dramamine” in the chorus—but the qualities here that were good on previous songs are performed without the passion and sense of purpose that once made them so compelling. The result is a messy, rotted heap of ideas paired with some of Brock’s most uninspired and condescending lyrics. It baffles me how this song went #1; it certainly isn’t very fun or emotionally compelling, and it’s hard to imagine that people enjoyed being talked down to like this, or that the song really presented anything enjoyable to anyone beyond the most hardcore fans of “Float On.” It’s easy to wonder why a song like this was even written.
It serves only as a facsimile of “what Modest Mouse sounds like,” and even at that level it feels insulting to compare this to songs like “Custom Concern” or “Gravity Rides Everything.” This song just sucks to listen to. It’s just dumb guy misanthropic edginess that isn’t cute or funny because we know that Isaac Brock is not a dumb guy. To quote a friend, “this is the exact opposite of Himbo Music.” —Alex
4. Panic! At The Disco - “Say Amen (Saturday Night)”
-LIST OF GRIEVANCES:
This song is the loudest bullshit I have ever heard.
Brendon Urie has been wealthy since I was a child. “Saturday night” means nothing to this man.
The high note he hits in the climax irks me so bad. This guy thinks he is Mariah Carey. It doesn’t even sound good when he hits it, either. Just dick swinging of the worst kind. Why did you need to sing “Saturday” like that? What the fuck?
Matty talked about this in his “High Hopes” blurb but it bears repeating that this motherfucker invoked the term “Manifest Destiny” to talk about how he was born to be rich. What the fuck dude.
This song alleges that it is currently Saturday and yet can be listened to on any day of the week. Do you like being lied to? I don’t.
The only reason this song is higher on the list than “High Hopes,” an objectively more evil song, is that when Gavin and I hear “High Hopes” we think about all those folks Dancin’ For Pete and we do a lil “tee hee,” which is far more joy than any of the other songs in our respective bottom tens have given us. —Alex
3. KONGOS - “Come With Me Now”
These are the most important things a person with a time machine could accomplish:
Killing all of history’s ruthless dictators. (Number one with a bullet, gotta do this one)
Taping an iPhone with the beloved “find my phone” app to The Storm On The Sea of Galilee.
Forcing a young John Kongos to get a vasectomy. (Number two with a bullet, gotta do this one)
Giving Owen Hart a better harness at Over the Edge 1999.
Imagine writing a chart topping pop song that prominently features an accordion and having it be so shitty that Weird Al didn’t even touch it. Imagine being a one hit wonder pop rock band who spends all day on twitter whining about the state of modern alternative music, ignoring the fact that you’re responsible for one of the worst alternative hits of the past 20 years. Fuck you Kongos. Sorry COVID caused you to lose all the state fair gigs you depend on. Get a job. —Gavin
2. lovelytheband - “broken”
Good evening. We here at the Indieheads Podcast have created a simulation of what it is like to listen to the song “broken” by lovelytheband, without the pain of ACTUALLY listening to “broken” by lovelytheband. Click the links below for an estimation of what the song provides musically while you leisurely scroll through Joker/Harley Quinn memes from Ed Zitron’s twitter to simulate the songs lyrical content.
https://rave.dj/Ew_8x5ys4U4i1w
—Gavin
1. X Ambassadors - “Renegades”
Whether it knew it or not, “Renegades” ended up becoming the thesis for alternative music this decade. While I won’t go and claim that the butt rock era was free from commercialism, it at the very least felt like the music industry trying to work around and contain a beast they did not originally create. But that beast eventually fell, and with music industry earnings dropping year after year due to the rise of piracy, the music industry had to attach itself like a parasite to other industries in order to save both of their skins as the financial crisis looked to wipe out capitalism as we knew it all together.
While music had been used in commercials forever, it felt more like the music industry and artists directing the advertising industry more than the other way around. That changed in the new decade it seems, as it felt like more and more like artists weren’t in control. The ultimate culmination of this in American popular music is that of “Renegades,” a song that was literally made for a car commercial and nothing else, nothing more. Listening to this song is like being tortured at a CIA blacksite, as I literally would believe they would blast this song to torture you. I’m listening to it right now as I write this and I feel like I’m going to throw up some disgusting black vial that looks like it came from another world. I’m not even going to link the song in this post because you should avoid it at all costs.
“Renegades” represents everything bad about this time period for music, and while I can’t say that the streaming economy has fully shifted the tides in favor of the artists, it sure as hell wouldn’t let a song like this become a hit again, and thank fucking God for that. —Matty
And with the worst out of the way, let’s move onto…
THE BEST
10. The Neighbourhood - “Sweater Weather”
Let’s establish some things off the bat with this song. Is it too horny for its own good? Yes, definitely. Do I generally not want to hear guys who look and sound like this to sing about how horny they are? For the most part, yes. But look folks at the end of the day: this song is just airtight in every aspect. Jesse Rutherford is just laying down some fantastic vocal melodies, especially in the song’s moody bridge/outro that slowly reincorporates the song’s first verses and choruses into a slower tempo. Whereas a lot of songs in this series felt like bands just going through the motions, it’s just nice to hear a relatively new (at the time) band who’ve realized they’ve written a genuine hit and are able to fully execute it to the best possible song it can be, and what a God damn song it is. —Matty
9. Bleachers - “I Wanna Get Better”
I do not like Jack Antonoff. I find him to be a weak producer/writer who generally encourages an artist’s worst tendencies (with exceptions like Lana Del Rey on Norman Fucking Rockwell) by simply being a yes man. However, a broken clock is right twice a day and “I Wanna Get Better” is one of those times. While most artists this decade opted to create songs that sounded like they were focus grouped by moms in their 30’s, “I Wanna Get Better” genuinely does not sound like anything else that hit #1 for its jarring production and sampling techniques that actually play to the song’s subject matter insanely well! Also that fuzzed out guitar solo is so goddamn sick man, God fucking damn it. You win this time, Jack. —Matty
8. twenty one pilots - “The Hype”
Some of the worst bands in this series, like KONGOS, have either been too detached or too “““cool””” to ever be earnest, but twenty one pilots (at their best) are too earnest to be cool. “The Hype” is a song about facing social difficulties and mental health issues with the help of your support network and, more plainly, loving and being loved by your friends. One of my favorite moments in this song is the line “you might need some friends and a warmer shirt,” which has the most insane mom energy I have ever heard in a hit song. No other band on this list could have written, included, and pulled off that line, which to me contains, like, Studio Ghibli levels of deep comfort when I hear it sung.
I should mention, now, the phenomenal production and engineering on this (and all post-Vessel twenty one pilots songs). Every piece of this song sounds great and feels well placed and written. The percussion and flutes that open the track set a wistful, cinematic tone that provides a shockingly good jumping off point for the song’s many evolutions (from Pokemon The Movie 2000 vibes in the beginning to B-52s Cosmic Thing level summer jam to acoustic “Wonderwall” singalong). The band pulls off these ideas so effortlessly that it’s easy to miss just how disparate they are, but the fact that “The Hype” manages to remain so cohesive and natural amazes me more each listen. —Alex
7. twenty one pilots - “Jumpsuit”
twenty one pilots have always played with industrial elements throughout their discography, but “Jumpsuit” is the most they’ve embraced them thus far, helping produce one of their best songs overall and our collective best to hit #1. The bass tones Tyler Joseph is able to get off here are just so pummelling, with Josh Dun’s percussion work here being absolutely spectacular as despite the song moving all over the place, he’s able to keep this chugging train of a song on the tracks. Also hearing Joseph pull off a Chester Bennington scream at the end of the track? Oh baby that’s the stuff. —Matty
6. Gotye - “Somebody That I Used To Know” (feat. Kimbra)
The rise of Gotye and his self-chosen fall into obscurity is one of the most tragic events for music in the 2010s, as while it was his choice to walk away from the spotlight and focus on other projects, it just depresses me that we have still not gotten a proper follow-up to this song. But part of its appeal over the years is the fact that nothing in mainstream pop has tried sounding like it, as nobody else by Gotye could recreate its magic. The Luiz Bonfá sample that serves as the backbone of the song just sounds so amazing, as its able to hit such a warm tone that pretty much no other songs we talked about on the series are able to achieve, all wrapped up in some incredible lyrical work from Gotye, and a goddamn gut punch of a guest appearance by Kimbra, who turns an already vibrant canvas into something almost transcendent. —Matty
5. Coldplay - “Adventure Of A Lifetime”
“The Monkey Mindset” is a term that was jokingly coined by members of the Indieheads Podcast to describe the fantastic, whimsical energy of Coldplay lead singer and noted goop king Chris Martin, comparing his performance style and powerful vocal whooping to the anarchic spirit of the common Chimpanzee. But soon, it became clear that “Monkey-core” was not just a fun bit, but was actually a perfect genre descriptor for a growing musical movement within the larger 2015 pop-rock and car commerical-core scene. While initially describing a very specific frontman, the Monkey Mindset has grown into something much larger, becoming a catch-all term for any member of Coldplay that finds a Beats Pill under a pile of leaves in the jungle. —Gavin
4. Thirty Seconds To Mars - “Kings and Queens”
-STEPHEN A: Skip I want to ADDRESS this issue.
[BAYLESS nods]
You KNOW I am sensitive to the issue of unhinged cult leaders
BAYLESS: Absolutely
STEPHEN A: BUT!
This song is probably bad. I don’t care. We listened to 115 songs and 15 of them were good. Comedy points ABSOLUTELY apply here and this is the funniest song on the list. It begins with an eagle roaring and then like, 45 seconds of silence. Jared Leto is throwing everything in his playbook at the wall and none of it is sticking, but the mess he’s creating on the floor is beautiful. There is a point in this song where he yells “the age of man is over, darkness comes at dawn.” Jared Leto is a disgusting monster who should probably be suspended in a cage above a bottomless pit for the rest of his life, but he didn’t bore me like the rest of these songs, so congrats you absolute freak. —Gavin
3. Coldplay - “Orphans”
I told myself I was going to really go in deep on Coldplay in this blurb and “own” everyone I know who hates this band, but I just can’t do it. Why should I? Coldplay have been killing it for 20 years, putting out one massive hit after another and building one of the strongest and most consistent discographies in pop music. Literally millions of people love this band, and millions more know and like their work. There are adults who fell in love with this band in their formative years and are now raising their kids on it. Defending Coldplay just feels… unnecessary. They are so big that it doesn’t matter. Coldplay as a cultural entity will outlive both parties in this argument.
Yet, who knew the band that made “Yellow” would come this far, outlasting almost all of their contemporaries and multiple huge shifts in the landscape of music? It really is something to marvel at. If I somehow didn’t know about this band and you played me “Yellow” and “Somewhere Only We Know” and told me that one of these bands was to be nothing short of an institution in the landscape of pop music to come, I really would have been hard pressed to tell you which one it would be, and there’s a chance I would have even said it was Keane.
“Orphans” is a quality late career entry made incredibly compelling by the COVID-19 pandemic. Coldplay have pulled off a lot of different things, but many of their best songs since Viva La Vida or Death and All His Friends (like “Adventure of a Lifetime”) have conveyed a simple, unburdened kind of fun. The kind you can have when you let go of everything else and just lose yourself in the moment. These songs rule, but “Orphans” captures this energy and turns it on its head. Now it’s about pining for this kind of fun. Missing your friends and your home, or at least when your home felt like home. Wanting to feel safe. It’s special, and necessary, and more prescient than most songs I’ve heard that actually were written during and about the pandemic. And it bangs. You can dance to it with your partner or your teddy bear or your pillow and, for a moment, remember what it was like to feel something else. —Alex
2. fun. - “We Are Young” feat. Janelle Monáe
I’ve always liked this song since before this series began. But when prepping for the podcast this song features on, I fully realized how much I genuinely love it. The intro perfectly sets the stage of the song by painting a complex portrait of a generation recovering from a life altering recession and reeling from a presidential campaign that quickly betrayed its most progressive followers and turned once engrossed citizens passive and unengaged with the system for over a decade or longer. As Nate Ruess desperately sings that “Tonight, we are young / So let's set the world on fire / We can burn brighter than the sun” on the hook, you just know he is trying to hold on to the past that’s become a false memory. And when he just comes through with the line “I guess that I, I just thought / Maybe we could find new ways to fall apart” it just devastates me each time. Similar to “Somebody That I Used To Know”, fun. captured lightning in a bottle that no band could even attempt to recreate, not even themselves. —Matty
1. AWOLNATION - “Hollow Moon (Bad Wolf)”
The Year is 2054.
Elon Musk, in his fourth term as President of the United States, has destroyed the last remaining polar ice cap with a drone strike so he can bottle its water. The brand’s mascot is based on a late 2020s meme called “grunch dick.”
So many things are left in the past. There’s not enough people left alive for political parties to exist. The internet feels like a distant memory, and after the turn of events, not many people can say that their faith is unshaken.
The States are fully submerged. One refuge remains as a monument to the ways of the past. A Mecca of civilization. The one true refuge.
Ohio.
Cleveland, Ohio. The Rock and Roll Hall of Fame, in spite of all things, continues to grow. After the fallout, three civilians took it upon themselves to keep the lights on and the spirit of rock and roll alive. What once stood as a tribute to Anthony Kiedis has been toppled like the statue of a fallen dictator, replaced by a stack of Chocolate Starfish and the Hot Dog Flavored Water discs. Jimi Hendrix’s first guitar has been crudely painted over with the phrase “HINDER RULEZ.” The inductions are done on a handheld camcorder, broadcast onto public access stations for those lucky enough to still be alive and able to view them.
This is the story of the most recent induction.
ALEX: I remember when I first met Aaron Bruno. It was 1993 in Pasadena and I was sitting on the block in between the skate shop and the Hard Rock Cafe. You know, the place across from that old concrete building that sold snow cones in the front and was an adult video store out back.
GAVIN: Wait, which one?
ALEX: You know, like, the one that was always going out of business?
GAVIN: Hmm.
ALEX: Had the big dick that said “choice meats” on it spray painted out front
GAVIN: OHHHH. Yeah. That one.
ALEX: So, I’m sitting there--
MATTY: Hang on a sec, just want to make sure I got this straight--was it Ronaldo’s Skate Shop or the one near the mall?
GAVIN: Ronaldo’s, I think.
ALEX: Yeah. So, I’m sitting there, eating my snow cone, and this guy shows up, about 43 years of age, tall, skinny, jaunty face. Says he’s running from something. Now, I had no idea what he was talking about, yammering on about a “bad wolf” and “the hollow moon.” So I figure this guy is lost in the sauce and could probably use some food. I took him into the Hard Rock Cafe and ordered us some chicken. Then I just sort of black out. Like, I don’t know. There’s just a hole in my memory. It stops cold.
MATTY: Yeah.
ALEX: Anyway, I wouldn’t see him again until it was 2004 in Quahog, Rhode Island at the final show of his post-grunge band Home Town Hero. I couldn’t believe my eyes. There he was, in the flesh. I pushed my way to the front, and the moment he saw me, he abruptly left the stage and I was forcibly removed from the venue. We passed like two ships in the night, me and him.
MATTY: Truly, Aaron Bruno has been running from “it” all his lifetime. But what is “it”? “It” is whatever you, the listener, want “it” to be. And that has been the magic that runs throughout the discography of our latest Hall of Fame entree, Aaron Bruno, who you all know as AWOLNATION. Whether you’ve been “Sail”-ing across the AWOLNATION since he broke through in the early 2010s, or you became a fan of his in 2034 with his smash hit “Half Italian 2.5,” Mr. Bruno has been one of the most forward thinking and incredible rock musicians to have ever graced the stage.
GAVIN: Everyone remembers where they were when they heard “Sail” for the first time. In the early 2010’s young men bowed before the sacred artifact known as “Minecraft,” and adopted the sounds of AWOLNATION’s “Sail” as an unofficial anthem for their time of worship. Make no mistake, “Sail” is a wonderful song that deserved the god status it achieved, (before President Musk declared all music made by artists other than Girlboss Supreme Grimes illegal, anyway) but Aaron’s magnum opus had yet to come. When AWOLNATION released “Hollow Moon (Bad Wolf)” in 2015, a very clear message was revealed to the universe: Aaron Bruno is in danger. Aaron screams about being bitten by wolves, hiding in locations that are impossible to locate, and merely taking up space as opposed to living. People laughed at “Hollow Moon (Bad Wolf)”, including ourselves. It’s hard not to laugh at the song, given its many musical twists and turns that don’t entirely flow together. A wise elder once commented that this song sounds like three songs melted together into a confusing Red Riding Hood tale, but what is life if not multiple confusing experiences melted into a barely comprehensible wolf allegory? Aaron Bruno disappeared shortly before the great flood of 2037, most believe he elected to walk directly into the water. We know the truth. He’s watching us from the center of the Hollow Moon. Thank you Aaron. Welcome to the 2054 Class of the Rock and Roll Hall Of Fame.
—Gavin, Alex, & Matty
While this list was put together only via myself, Gavin, and Alex’s top and worst 10 ballots, we also want to include various cast members’ lists that while not included in the tally, are important to highlight to give you an idea of what our brains are like after this series.
AJ’s Best:
AWOLNATION - “Hollow Moon (Bad Wolf)”
Cage the Elephant - “Cigarette Daydreams”
Muse - “Resistance”
Thirty Seconds to Mars - “This Is War”
Gotye- “Somebody That I Used To Know” feat. Kimbra
Death Cab for Cutie - “You Are A Tourist”
Muse - “Madness”
Foo Fighters - “Rope”
Cage the Elephant - “Shake Me Down”
The Neighbourhood - “Sweater Weather”
AJ’s Worst:
X Ambassadors - “Renegades”
lovelytheband - “lonely”
WALK THE MOON - “Shut Up and Dance”
Marshmello & Bastille - “Happier”
The Strumbellas - “Spirits”
Panic! At The Disco - “Say Amen (Saturday Night)”
WALK THE MOON - “One Foot”
Panic! At The Disco - “High Hopes”
Elle King - “Ex’s and Oh’s”
KONGOS - “Come With Me Now”
Zach’s Best:
Lorde - “Royals”
Billie Eilish - “bad guy”
Gotye - “Somebody That I Used to Know” feat. Kimbra
Billie Eilish - “bury a friend”
Phoenix - “1901”
twenty one pilots - “Ride”
fun. - “Some Nights”
twenty one pilots - “The Hype”
AWOLNATION - “Hollow Moon (Bad Wolf)”
Imagine Dragons - “Thunder”
Zach’s Worst:
Panic! At The Disco - “High Hopes”
Vance Joy - “Riptide”
KONGOS - “Come With Me Now”
Matt Maeson - “Cringe”
Judah & the Lion - “Take It All Back 2.0”
lovelytheband - “broken”
X Ambassadors - “Renegades”
Modest Mouse - “Lampshades on Fire”
WALK THE MOON - “One Foot”
The Black Keys - “Fever”
Rose’s Best:
Imagine Dragons - “Thunder”
Linkin Park - “Waiting for the End”
Billie Eilish - “bad guy”
Coldplay - “Orphans”
Bleachers - “I Wanna Get Better”
Phoenix - “1901”
WALK THE MOON - “Shut Up & Dance”
Red Hot Chili Peppers - “Dark Necessities”
twenty one pilots - “Ride”
Imagine Dragons - “Natural”
Rose’s Worst:
Panic! At The Disco - “High Hopes”
Alice Merton - “No Roots”
AJR - “Sober Up” feat. Rivers Cuomo
Black Keys - “Lonely Boy”
X Ambassadors - “Renegades”
fun. - “Some Nights”
Milky Chance - “Stolen Dance”
lovelytheband - “broken”
twenty one pilots - “Stressed Out”
The Lumineers - “Ho Hey”
Jake’s Best:
Foo Fighters - “Rope”
Cage the Elephant - “Shake Me Down”
Imagine Dragons - “Radioactive”
Of Monsters and Men - “Little Talks”
Judah & the Lion - “Take it All Back 2.0”
The Lumineers - “Ophelia”
The Black Keys - “Tighten Up”
AWOLNATION - “Hollow Moon (Bad Wolf)”
Twenty One Pilots - “Ride”
Vance Joy - “Riptide”
Jake’s Worst:
Panic! At The Disco - “High Hopes”
KONGOS - “Come with Me Now”
WALK THE MOON - “One Foot”
KALEO - “Way Down We Go”
Matt Maeson - “Cringe”
Bleachers - “I Wanna Get Better”
Capital Cities - “Safe and Sound”
WALK THE MOON - “Shut Up and Dance”
Marshmello & Bastille - “Happier”
Portugal. The Man - “Live in the Moment”
Natalie’s Best:
Bastille - “Pompeii”
Gotye - “Somebody That I Used to Know” feat. Kimbra
Billie Eilish - “bury a friend”
Phoenix - “1901”
Billie Eilish - “bad guy”
Cage the Elephant - “Come A Little Closer”
Foster the People - “Pumped Up Kicks”
twenty one pilots - “Jumpsuit”
Bleachers - “I Wanna Get Better”
twenty one pilots - “Stressed Out”
Natalie’s Worst:
Judah & the Lion - “Take It All Back 2.0”
Matt Maeson - “Cringe”
Imagine Dragons - “Believer”
The Strumbellas - “Spirits”
AWOLNATION - “Hollow Moon (Bad Wolf)”
Dirty Heads ft. Rome - “Lay Me Down”
Imagine Dragons - “Thunder”
Panic! At The Disco - “High Hopes”
Vance Joy - “Riptide”
Muse - “Madness”