Top 50 Indie Rock Songs of the 2010s

The 2010s were an incredible decade for indie rock. The sound expanded its horizons, mashing up approaches from folk and electronica to synth-pop, and several indie bands even cracked mainstream success. To assemble this list, we considered tracks across the indie spectrum — from breakout singles that launched newfound artists to deeper tracks that became fan favorites.

Some tracks captured the era and sat at the top of playlists, while others were cult classics that left their mark. The tracks are ranked in reverse countdown from 50 through 1, combining favorite veteran groups and newer artists, each selection worthy of its spot.

Narrowing down so much excellent fare was no small feat, but each of these 50 felt particularly memorable. If you’re here to look back, perhaps discovering one fantastic ear-catcher that escaped your radar, gain some perspective with this look through a decade of indie greats.

Back Baby by Jessica Pratt

Jessica Pratt’s Back Baby is a sorrowful indie folk ballad that exudes longing and subtle regret. Issued in 2015, it demonstrates Pratt’s ethereal, fragile voice over subtle acoustic guitar. The rainy-day melancholic atmosphere of the song resonated with indie fans and familiarized most listeners with Pratt’s classic, intimate songwriting style.

Out Getting Ribs by King Krule

King Krule’s Out Getting Ribs stands out for its raw, gritty emotion and unique style. Over a slinky jazz-infused guitar riff, the young British artist Archy Marshall delivers deep, resonant vocals that feel far beyond his years. The song’s lo-fi atmosphere and heartfelt angst made it an underground favorite in 2010, introducing King Krule’s one-of-a-kind sound to the indie world.

Pa’lante by Hurray for the Riff Raff

Hurray for the Riff Raff’s Pa’lante is a powerful folk-rock anthem that became an unintentional rallying cry. (The title means “forward” in Spanish.) Alynda Segarra pours her soul into the vocals, drawing from her Puerto Rican heritage and struggles after Hurricane Maria. Starting softly and building to a stirring crescendo, Pa’lante urges perseverance and hope, and its message of resilience resonated deeply with listeners.

Ode to Viceroy by Mac DeMarco

Mac DeMarco’s Ode to Viceroy is a chill paean to the lead singer’s beloved bargain cigarettes. An ambling guitar riff and Mac’s deadpan, tongue-in-cheek vocals infuse the 2012 song with the atmosphere of slow summer afternoons. Its cheeky but earnest appeal put DeMarco on the radar, epitomizing his slacker-rock style just so.

Xanman by Pond

Australia’s Pond unleashed Xanman, psychedelic rock frenzy that proved they could shake off the long shadow of Tame Impala. Swirling with buzzing guitars, falsetto croons, and frantic energy, Xanman is akin to one fevered ride through 70s-influenced psych-pop. This 2013 release proved Pond’s potential of composing just such an electrifying indie anthem themselves.

Drunk Drivers/Killer Whales by Car Seat Headrest

Car Seat Headrest’s Drunk Drivers/Killer Whales (2016) captures the moment Will Toledo’s indie project evolved from lo-fi to a fuller rock sound. The track starts pensive and builds into a cathartic sing-along chorus, reflecting on breaking out of destructive habits. Its raw honesty and anthemic rise made it a standout that pushed Car Seat Headrest further into the indie spotlight.

Undertow by Warpaint

Warpaint’s Undertow is a somber indie rock gem with the pulsating bassline and wispy vocal harmonies. As their first single released in 2010, the haunting piece sets up a dark, enveloping ambiance. Its sedate rhythm and otherworldly melodies left a big impact and demonstrated that the all-female membership of Warpaint possessed a compelling sound from the earliest moment.

County Line by Cass McCombs

Cass McCombs’ County Line is one slow-burning, soulful detour from the typical folk-rock sound of McCombs. Commencing with softly played electric piano and smooth bass groove, it lays out the laid-back atmosphere with McCombs crooning longingly about coming home and feeling unseen. The smooth, jazzy feel of the song, coupled with vulnerable lyrics, hit home, and one of McCombs’ most favorite songs, County Line, was born.

Round and Round by Ariel Pink’s Haunted Graffiti

Round and Round, by Ariel Pink, is strangely catchy lo-fi pop that captured indie’s off-center personality in 2010. It’sgot swooning retro synths and earworm chorus, and it sounds like some distorted 80s radio hit. Its surreal lyrics are just part of its appeal. Round and Round was critically acclaimed and demonstrated that it’s possible that one’s song could be senseless and yet fantastic.

Breezeblocks by Alt-J

Alt-J’s Breezeblocks brought the band’s off-kilter art-rock sound into play in 2012. Joe Newman’s whispery vocals glide across tilted drums and a whimsical xylophone refrain. The song’s “please don’t go” becomes strangely catchy of a chorus. Eccentric and foreboding but catchy, Breezeblocks charted and placed Alt-J on the musical radar.

Inside Out by Spoon

Spoon’s Inside Out trades the band’s usual guitar rock for a dreamy, electronic vibe. A looping beat and shimmering harp arpeggios back Britt Daniel’s reflective lyrics about love and not getting bogged down. This sleek, mellow 2014 track became a fan favorite, proving Spoon could reinvent their sound and still strike gold.

Stylo by Gorillaz feat. Mos Def & Bobby Womack

Gorillaz’s Stylo is a throbbing, smooth song that features Mos Def and soul legend Bobby Womack. Laid out beneath funky electronic bass, it is like a late night car chase in musical incarnation. The chorus vocals by Womack infuse passion, ratcheting the energy up another notch. Stylo’s cool, genre-transgressing style made it one of 2010’s best tracks and one of the most enduring of Gorillaz’s mid-tempo grooves.

Busy Earnin’ by Jungle

Busy Earnin’ brought indie world the funk swagger of Jungle in 2014. The song is fueled by falsetto chorus, brassy hooks, and a groove that requires movement. It alludes to the hustle of contemporary life (“too busy earnin’.”) but packages it up so optimistically that it’s more celebration than allusion. Busy Earnin’ established Jungle as bearers of the modern indie funk.

Kill for Love by Chromatics

Neon-drenched synth-pop fantasy, Chromatics’ Kill for Love was released in 2012. The pulsating synths and drum machine pulse create a moody atmosphere, which the cool, detached vocals of Ruth Radelet provide. Melancholic but infectious, it’s ideal late-night car-driving material. Kill for Love became a kind of cult classic, sealing Chromatics’ reputation as masters of cinematic indie electronic soundscaping.

Everything Is Embarrassing by Sky Ferreira

Sky Ferreira’s Everything Is Embarrassing is a bittersweet pop gem that became a 2013 cult favorite. Written by Dev Hynes, among others, the song superimposes Sky’s longing vocals with a slim 80s-influenced groove. Romantic frustration, which she expresses lyrically, sounds like diary entries. Not a massive chart success, but its harsh honesty and catchy sorrow made it an indie pop anthem.

Bags by Clairo

Bags is the sweet indie pop charmer that marked Clairo’s growth from bedroomact to completed songwriter. The 2019 single cruises along on a lazy guitar riff and familiar groove, and Clairo’s sweet voice expresses the graceless enthusiasm of having a crush. The cozy, old-fashioned sound of it resonated big with fans. Bags proved Clairo was capable of composing a tenderly understated but deeply felt indie anthem.

Miki Dora by Amen Dunes

Amen Dunes’ Miki Dora is a catchy indie ballad that uses the life of a surf legend as allegory. Narrated over a chill groove, Damon McMahon sings of an aging legend watching younger men imitating his moves, obliquely alluding to fading away. The bright, nostalgic mood of the song and reflected language commingle to make Miki Dora a quietly persuasive treatise on legacy and metamorphosis.

True Love Waits by Radiohead

True Love Waits, long fan favorite concert song, finally saw its studio release in 2016. This simple ballad — naught but Thom Yorke’s trembling voice and one solo piano — has enormous emotional mass. The song implores “don’t leave” with despairing minimalism. Ending A Moon Shaped Pool, it’s one of those heartwrenchingly lovely moments that proves Radiohead’s skill at naked-bones best.

One More Time, Please by Jay Som

One More Time, Please by Jay Som is a sunny indie rock song that captures the anxious hope of having a crush. The song starts with subtle piano but blossoms into a cozy, guitar-driven groove. Melina Duterte’s wishing-another-person-might-feel-the-same lyrics are sweet and familiar. One More Time, Please’s lo-fi glow and soaring chorus made it an understated favorite, introducing Jay Som as one of the emerging voices of the indie scene.

Hollywood Forever Cemetery Sings by Father John Misty

Father John Misty’s Hollywood Forever Cemetery Sings revealed Josh Tillman’s darker, sarky facet in 2012. Shedding the folk sentimentalism of Fleet Foxes, he serves up a sloppily fuzzy, heavy complaint with thundering drums and caustic words about hollow debauchery. Catchy in a distorted sense, the song marked Father John Misty as one of indie rock’s most intriguing new voices.

Under the Pressure by The War on Drugs

War on Drugs’ Under the Pressure is a sprawling, hypnotic rock song that gradually consumes you. It sits atop a constant beat with duelling swirls of shimmering synths and guitars gradually building and falling back. Adam Granduciel’s vocals, delivered from afar, about feeling heavy, blur into the ethereal soundfield. Under the Pressure’s immersive groove made the song one of 2014’s standouts, demonstrating the band’s ability at expansive heartland rock.

Do I Wanna Know? by Arctic Monkeys

The Arctic Monkeys’ Do I Wanna Know? is a smoky slow-burning number with an immediately recognizable guitar riff at its heart. Released in 2013, it incorporated a bluesy, heavy groove and late night, longingly swaggering lyrics from Alex Turner. The heavy pulse and groaning riff attracted massive audiences way beyond the indie world. Do I Wanna Know? reached alternative charts and was the Arctic Monkeys’ biggest crossover hit, which turned them into arena headliners.

Funeral by Phoebe Bridgers

Phoebe Bridgers’ Funeral is a gut-wrenchingly candid folk ballad. On this 2017 song, Bridgers croons softly about the pain of having to sing at the funeral of someone her own age and the ensuing depression. The production is simple — subtle guitar and delicate strings — but allows her delicate voice and honest lyrics to do the cutting. Funeral’s vulnerability ran deep and announced Bridgers as a powerful new voice in indie folk.

I Follow Rivers by Lykke Li

Lykke Li’s I Follow Rivers is a darkly catchy indie pop tune that became her breakthrough in 2011. It’s driven by pounding drums and an unforgettable melodic hook, with Lykke Li’s vocals exuding both longing and confidence. The song’s moody, love-obsessed energy made it stand out, and a popular remix later turned it into a European club hit. I Follow Rivers remains one of Lykke Li’s signature tracks.

Mary by Big Thief

Big Thief’s Mary is a sweet ballad that best illustrates Adrianne Lenker’s songwriting style. Accompanied by minimalist piano and understated organ, this ballad of 2017 is reminiscent of one’s personal memoir of memories addressed to one’s cherished friend. The ethereal voice of Lenker and poetic lyrics create a sentimental, dreamy atmosphere. Mary was one of the fan favorites because of its naked genuineness and fragile loveliness.

Dreams Tonite by Alvvays

Alvvays’ Dreams Tonite is a nostalgia-drenched indie pop ballad. The 2017 song bathes Molly Rankin’s nostalgic vocals in retro synths and slow-dance rhythms. The lyrics conjure up a past-life love, infusing the song with romantic, bittersweet radiance. Dreams Tonite immediately won hearts with its ageless, sob-story appeal, making Alvvays princes of sad pop.

Bloodbuzz Ohio by The National

National’s Bloodbuzz Ohio is a somber indie ballad that revolves around propulsive drums and deep, baritone voice of Matt Berninger. The song was written by the band in the past year, and the 2010 piece is a combination of snarky, nostalgic lyrics and stuttering, bass-and-piano undertows that create frantic, sorrowful urgency. Bloodbuzz Ohio was one of the band’s standard songs, capturing their knack of making quotidian boredom rousing and grand.

Every Time the Sun Comes Up by Sharon Van Etten

Every Time the Sun Comes Up, by Sharon Van Etten, is a late night, satiric song that blends sorrow with comedy. Built out of a slow, bluesy groove, it finds Sharon’s smooth voice delivering sardonic lyrics to the morning after one large night (“Every time the sun comes up, I’m in trouble”). The candid, cheeky feel of the piece, along with the murky 3 A.M. surroundings, lends the piece something of an intimate presence, which makes it an effective closer on her 2014 disc.

Can’t Do Without You by Caribou

Caribou’s Can’t Do Without You is an electronic indie triumph that builds from a whisper to a roar. Released in 2014, it begins with a simple loop of the title refrain over a soft beat, intimate and hypnotic. Layer by layer, the song adds thumping bass and swelling synths until it blossoms into a joyous, full-bodied anthem. This slow-burn track became a festival favorite, uniting indie and dance fans with its euphoric payoff.

BTSTU by Jai Paul

BTSTU by Jai Paul was released in 2011 like some otherworldly broadcast from the future. The demo that was leaked incorporated ethereal R&B falsettos with futuristically glitchy beats that sounded revolutionary. Jai Paul’s subtle falsetto and surprise drops of the track made it irresistible. Though never formally released, BTSTU caused huge buzz and inspired countless artists, cementing Jai Paul’s place among underground trailblazers.

Desire Lines by Deerhunter

Deerhunter’s Desire Lines is an entrancing piece of indie rock that’s famous for its long instrumental exploration. Lockett Pundt’s gentle vocals and breezy melody open the 2010 song, which maintains a laid-back atmosphere. The vocals drop out at the midpoint, replaced by deep, immersive jam of mutually supportive guitars and consistent beat. That entrancing second half of Desire Lines made it one of the band’s fan favorites, highlighting Deerhunter’s gift at writing atmosphere that’s capable of entrancing.

Good Intentions Paving Co. by Joanna Newsom

Good Intentions Paving Co. by Joanna Newsom is an exuberant indie folk song that is joyful and nostalgic. With jaunty piano and Newsom’s sing-songy vocals, the 2010 song begins with the free-spirited spirit of a road trip. But, throughout, touches of sorrow seep into the lyric and melody. The seven-and-a-quarter-minute piece is an immersive ride. The fan favorite status of the song rested with its cozy, rambling personality and simple narrative.

Seasons (Waiting On You) by Future Islands

Future Islands’ Seasons (Waiting On You) is a synth pop classic that’s filled with raw emotion. Samuel T. Herring’s rapturous, growling vocals about love that “changes like the seasons” add heart to the song. Breeched along by demanding bassline and bright synths, the song is both sad and triumphant. When one of the band’s TV spots of this song went viral (thanks, of course, to Herring’s manic dancing), Future Islands surged out of underground staples and into indie legends. Seasons sat atop many 2014 year-end lists and remains a triumphant, sentimental indie pop standard.

Dance Yrself Clean by LCD Soundsystem

LCD Soundsystem’s Dance Yrself Clean is a slow-burning dance-punk epic that was late-night anthem gold. The 2010 song is barely whisper-quiet through the first three minutes, just a minimalist beat and James Murphy’s muttered vocals. But then, just as abruptly, it erupts into a blaring splendor of synths and hammering drums that brings crowds to their frenzy. That amateur-death-rock climactic shift, from whisper quiet to all-throttle, makes the song indelible. Dance Yrself Clean was no radio hit, but it’s one of LCD’s most devoted fan songs and core live staples.

Avant Gardener by Courtney Barnett

Courtney Barnett’s Avant Gardener turned a quotidian Monday into a comical indie-rock narrative. On the 2013 recording, Barnett talk-sings of trying to garden, having a panic attack (and asthmatic fit) and ending up via ambulance ride, all with deadpan humor. Anchored over grungy guitar riff, she makes the daily embarrassment feel romantic. Avant Gardener’s slacker-rock vibe and smart lyrics mainstreamed Barnett’s observational narrative style.

Queen by Perfume Genius

Perfume Genius’s Queen is a bold art-pop victory that flips fear into power. Mike Hadreas sings over grinding synthesiser pulse and kick-propelling beat, counteracting homophobic paranoia with outrageous pride. “No family’s safe when I sashay,” he states, turning vitriol into triumph hook. Dramatic flourishes and bold lyrics made Queen an overnight symbol of power in 2014 and Perfume Genius’s turning point.

Shut Up Kiss Me by Angel Olsen

Angel Olsen’s Shut Up Kiss Me is a spirited garage-rock song with old pop sensibilities. Shedding her folk sound, Olsen sing-talks behind a propelling rhythm and hooky riffs, insisting her paramour cease the brawling and just return. Her vocals balance assuredness with a touch of woundedness, providing the song with nuance beneath its aggressive chorus. Boasting rough power and catchy hook, Shut Up Kiss Me became one of Olsen’s signature tracks and an indie rock moment of 2016.

Video Games by Lana Del Rey

Lana Del Rey’s Video Games is a cinematic ballad that introduced her melancholic Hollywood-pop style in 2011. The song’s lush strings, harp glimmers, and Lana’s sorrowful vocals create a vintage, dreamy atmosphere. The lyrics depict mundane love moments through a nostalgic lens, striking a chord with millions. Video Games went viral and blurred the line between indie and mainstream, making Lana Del Rey a star and paving the way for a decade of moody, atmospheric pop.

Spanish Sahara by Foals

Foals’ Spanish Sahara is a slow-burning epic that grows from near-silence to deafening sound. It opens with whispery vocals from Yannis Philippakis over minimal ambiance, gradually incorporating echoing guitars, synths, and drums. By the end, Foals release a storm of sound and feelings that is cathartic. Acclaimed by most critics (NME Track of the Year 2010), Spanish Sahara is one of the defining indie epics of the decade due to its beautiful build-up and explosive conclusion.

Movies by Weyes Blood

Weyes Blood’s Movies is a rich art-pop song that’s like entering a fantasy. Natalie Mering’s smooth voice glides across heavenly synths and soaring strings, creating cinematic soundscapes worthy of its name. The 2019 song is reflective of how movies colored her perceptions of life, with a sense of enchantment and disappointment. As the song ascends, multi-layered vocals and orchestration propel it into a spine-tingling conclusion. Movies was widely praised, validating Weyes Blood’s knack for combining timeless songwriting with contemporary, otherworldly soundscapes.

Helplessness Blues by Fleet Foxes

Helplessness Blues by Fleet Foxes is a rousing folk ballad that ponders purpose and identity. Robin Pecknold begins the 2011 release with soft strumming and reflects that while he was informed he’s one of a kind, he’d prefer to be “a functioning cog” within something larger. The song then erupts with the band’s signature harmonies and soaring arrangements. Its sincere, soul-seeking lyrics spoke to the soul of so many that Helplessness Blues became of its time indie folk benchmark.

Prince Johnny by St. Vincent

Johnny is a gentle, synth-besuccored ballad of yearning for acceptance. Annie Clark addressing herself/friend, whom she implores to become “made real” amid excess. The gentle electronic heartbeat behind her delicate, sympathetic vocals provides late-night intimacy. When the viewpoint shifts at the close of the song, it’s softly gut-punchy. Prince Johnny became fan favorite due to vulnerability and sweet storytelling, which reveals St. Vincent’s gentle side.

Let It Happen by Tame Impala

Tame Impala’s Let It Happen is a stunning 7-minute journey through psychedelic pop. As released in 2015, it was the path that synth-dense, seat-your-dancing-body sound was headed by Kevin Parker. The track rests upon a steady groove that shifts with spinning synths, a playful skipping-of-the-record sound, and later, a burst of guitar. Floating vocals by Parker invite riding with the tide, which is precisely what the song is continually shifting into. On one hand, ambitious, but catchy, nonetheless, Let It Happen was festival gold and cemented the deal on Tame Impala as indie’s cross-over king.

Hannah Hunt by Vampire Weekend

Vampire Weekend’s Hannah Hunt is a lovely slow-burn that serves up an emotional gut-punch. Throughout most of this 2013 song, the arrangement is subtle — delicate piano, subtle drums — while Ezra Koenig croons of road-trip amours by a couple in hushed tones. Then, at the end of the final minute, the song erupts and Koenig’s voice breaks into a shout, unleashing heartache and mistrust. That moment of explosive release makes one of the most heartbreaking tracks by Vampire Weekend, and one that’s appreciated because of its subtlety and one moment of raw catharsis.

Midnight City by M83

Midnight City by M83 is a thrilling synth-pop anthem that captured the spirit of 2010s indie. It starts with a classic neon-bright synth hook, and the 2011 song constructs the atmosphere of nightlong adventure with its pulsating beat and ethereal vocals. It’s already a thrill — until some scorching sax solo at the end sends it into overdrive. Midnight City became a crossover hit, sending M83 into the mainstream and providing indie with one of its most unforgettable riffs.

Holocene by Bon Iver

Bon Iver’s Holocene is a mellow, reflective track that finds grace in modesty. The soft vocals and acoustic guitar of Justin Vernon are later augmented by subtle horns and percussion, creating an intimate but expansive soundfield. The repeated phrase “I was not magnificent” encapsules a quiet acceptance of one’s own small role in the world. Released in 2011, Holocene won critical praise (and Grammys) with its quiet, soul-stirring sound that encourages quiet reflection.

Your Best American Girl by Mitski

Mitski’s Your Best American Girl is an explosive indie rock anthem about staying true to yourself. Released in 2016, it addresses loving someone from a different background and realizing she can’t change who she is. The song starts softly then erupts into a wall of guitars in the chorus as Mitski proudly embraces her identity. That dynamic and raw sincerity turned Your Best American Girl into a rallying cry for outsiders and a defining song of Mitski’s career.

Oblivion by Grimes

Grimes’ Oblivion is a bright synth-pop track with an empowering undercurrent. At first listen, its bouncy beat and airy vocals make it sound like pure fun. But beneath the catchy exterior, Grimes is processing a traumatic experience through music — singing about fear while making you want to dance. This contrast gave Oblivion a special resonance. Topping many 2012 year-end lists, it showed that indie pop could be irresistibly catchy and deeply meaningful at the same time.

10 Mile Stereo by Beach House

Beach House’s 10 Mile Stereo is a slow-building, dreamy gem that is expansive but intimate. It begins with a repeating drum machine and chiming guitar loop beneath Victoria Legrand’s foggy vocals, creating the atmosphere of a hypnotic vibe. Synths and percussion gradually build throughout the song, contributing layers of emotion but not snapping the listener out of the trance. By the end, 10 Mile Stereo is massive and reverberating (as its name suggests) but nonetheless intimate. It’s a favorite among fans that encapsulates Beach House’s knack for creating sorrowful, immersive soundscapes.

Sprawl II (Mountains Beyond Mountains) by Arcade Fire

Arcade Fire’s Sprawl II (Mountains Beyond Mountains) is a sparkling indie-pop anthem of breaking free of suburban drudgery. Régine Chassagne leads off with sunny, optimistic vocals over propelling synth-pop rhythms, introducing light into the band’s typically serious rock sound. The chorus is all uplift, compelling one to move through the sprawl by dancing. Ending their 2010 album The Suburbs on a rousing note, Sprawl II became one of Arcade Fire’s most-loved songs — a anthem of deliverance with an undeniably catchy hook.