\n\tThis is an era when rock can\u2019t be contained \u2014 it travels everywhere. In our Top 10 alone, we\u2019ve got the blues, we\u2019ve got dance-floor glam, we\u2019ve got gritty punk and psychedelic jams and high-tech dystopia and acoustic storytellers, along with loads of air-guitar riffs. We\u2019ve got metal warriors from Black Sabbath to Mastodon. We\u2019ve got pop-punk and emo. We\u2019ve got sex and drugs and black leather jackets. We\u2019ve got riot grrrls, rock en espa\u00f1ol, indie upstarts, rootsy twang, African desert grooves, virtuoso guitar heroes, garage bands, electro experiments, grunge, deep soul. We\u2019ve got Nineties legends from Fiona Apple to Sonic Youth. We\u2019ve got the grizzled veterans who learned new tricks instead of going quietly: David Bowie, Prince, even Neil \u201cTime Fades Away\u201d Young himself.\u00a0<\/p>\n
\n\tWe\u2019ve got country rebels. We\u2019ve got hip-hop headbanger anthems from OutKast and Jay-Z. (You know, the guy who called himself \u201crap\u2019s Grateful Dead.\u201d) We\u2019ve got ambitious pop rockers from Olivia Rodrigo to Harry Styles to Taylor Swift, who\u2019ve kept their unabashedly rock moves at the top of the charts. We\u2019ve got the skinny-tie postpunk club commandos of the Meet Me in the Bathroom era. We ramble from the U.S.A. to Colombia, Tokyo, Versailles, Niger, Dublin, CDMX, and YYZ. Some of these songs are innovative and complex; others are three-chord bangers to make you jump up and down. Their only thing in common is that they rock. You can listen to it all here.<\/a><\/p>\n \n\tIt\u2019s a list of songs, not artists, so we mostly avoid repeating songs by the same artist. But a handful of legends simply had too many classics to deny. (How could you pick just one Radiohead song from this century?) The toughest part was cutting it down to a mere 200, with so many more worthy artists than we could cram into one list. But it\u2019s a tribute to the vitality, diversity, and energy of rock in our modern age. There will always be folks asking why it can\u2019t stay like the old days, but that question has been around since Buddy Holly\u2019s plane went down, and the answer is the same as it ever was \u2014 rock keeps growing because rock keeps changing. The only way to deny the music\u2019s irrepressible health is to stop listening, and what fun would that be? Keep reading for 200 excellent reasons to pump up the volume and let it blast.<\/p>\n \tYellowcard, \u2018Ocean Avenue'(2003)<\/p>\n \t\t\t \n\tYellowcard managed to capture the ephemera of teenage summers of yore \u2014 and the angsty yearning for those days \u2014 in this violin-driven pop-punk classic. It wasn\u2019t an easy feat. As the band finalized recording its debut, Ocean Avenue, lead singer Ryan Key couldn\u2019t find a melody for the title track\u2019s chorus. \u201cOne day I walked in, exhausted and almost defeated \u2026 and I sang, \u2018if I could find you now, things will get better,\u2019\u201d Key told Rolling Stone for Ocean Avenue\u2019s 20th anniversary. It was just what producer and pop-punk architect Neal Avron was looking for. \u201cI tracked it on the spot, and our lives were changed forever.\u201d \u2014Maya Georgi<\/p>\n \tNoah Kahan, \u2018American Cars\u2019 (2026)<\/p>\n \t\t\t \n\tOn his 2026 album, The Great Divide, Vermont songwriter Noah Kahan broadened his palette beyond the indie-folk magic of \u201cStick Season.\u201d On \u201cAmerican Cars,\u201d he dug deep into heartland rock, channeling Bruce Springsteen, John Mellencamp, and the War on Drugs. He likens drinking to a profession (\u201cIf drinkin\u2019 was a day job\/I\u2019d be askin\u2019 for more money\u201d), while begging his sister to come fix the latest kerfuffle in the family. \u201cThe song was basically like, \u2018You\u2019ve got to get your ass home, we really need you this time,\u2019\u201d Kahan told us <\/a>in his Rolling Stone cover story<\/a>. It\u2019s a propulsive stunner unlike anything in Kahan\u2019s catalog \u2014 and proves he\u2019s a genuine rock star<\/a>. \u2014Angie Martoccio<\/p>\n \tSpeedy Ortiz, \u2018The Graduates\u2019 (2015)<\/p>\n \t\t\t \n\tSadie Dupuis\u2019 pen was never sharper than on this 2015 song, which spins an alt-rock anthem out of a complaint about feeling overlooked: \u201cI was the best at being second place, but now I\u2019m just the silver you dread.\u201d Her witty, literate lyrics and her twist-and-turn chords somersault over one another until she hits the bridge and flies even higher. (\u201cSomeone tweeted that I looked bored onstage,\u201d she told RS<\/a>. \u201cI\u2019m like, \u2018I\u2019m just focusing so I don\u2019t fuck up this guitar part!\u2019\u201d) It\u2019s a gem from a moment when indie rock was heating up again, and it seemed like all you needed was a distinct perspective and a distortion pedal to get the world\u2019s attention. \u2014Simon Vozick-Levinson<\/p>\n \tMogwai, \u20182 Rights Make 1 Wrong\u2019 (2001)<\/p>\n \t\t\t \n\tThirty years in the noise game, and the Scottish punk lads in Mogwai have yet to go stale. They rose up in Glasgow, after getting their minds blown by My Bloody Valentine and Slint, blasting their own massively emotional \u2014 yet ear-bleedingly loud \u2014 style of worshipful feedback devotionals on their 1997 debut, Young Team. \u201c2 Rights Make 1 Wrong\u201d is their apex, from the 2001 gem Rock Action, around the time Stephen Malkmus was declaring them \u201cthe best band of the 21st century.\u201d It\u2019s a swirl of banjos, a vintage 1970s Vocoder, heavy guitar fuzz, distorted strings and horns, barking dogs \u2014 a psychedelic hymn, building for nearly 10 cathartic minutes. \u2014Rob Sheffield<\/p>\n \tIncubus, \u2018Circles\u2019 (2001)<\/p>\n \t\t\t \n\tIncubus broke through in the final breath of the 20th century with Make Yourself in the fall of 1999 \u2014 a cosmic rock odyssey that featured their meditative acoustic hit \u201cDrive.\u201d They carried that momentum into the 2000s with Morning View, an ultra-chill California masterpiece that glistened with rockers like \u201cWish You Were Here\u201d and \u201cMexico.\u201d The album\u2019s hardest-rocking moment was the head-banging kiss-off \u201cCircles,\u201d complete with guitarist Mike Einziger\u2019s fiery riffs. When they rerecorded Morning View <\/a>in 2024, the songs were less an exact replica of the originals and more a reflection of how they\u2019d evolved in live settings over the years. Unsurprisingly, \u201cCircles\u201d sounded more ferocious than ever. \u2014Angie Martoccio<\/p>\n \tThe Mountain Goats, \u2018This Year\u2019 (2005)<\/p>\n \t\t\t \n\tSinger, songwriter, and guitarist\u00a0John Darnielle\u2019s look back at \u201cplaying video games in a drunken haze\u201d when he was \u201c17 years young\u201d and acting out against an abusive stepfather brims with the sort of warts-and-all autobiography that feels uncomfortably intimate. And then you get to the chorus, in which the Mountain Goats founder vows that \u201cI am going to make it through this year\/if it kills me.\u201d This track from the Goats\u2019 stellar The Sunset Tree has long been a fan favorite before becoming an unexpected viral hit in 2020, when the notion vowing to make it through a shit time became unexpectedly resonant. \u2014David Fear<\/p>\n \tOld 97\u2019s, \u2018Rollerskate Skinny\u2019 (2001)<\/p>\n \t\t\t \n\tDallas\u2019 Old 97\u2019s were initially lumped in with the alt-country scene, but by 2001\u2019s\u00a0Satellite Rides, they had turned into something else: an ace pop-rock band. Inspired by a brief romance with Winona Ryder, \u201cRollerskate Skinny\u201d finds frontman Rhett Miller piling up lines both boyishly endearing (\u201cYou\u2019re pretty as a penny\u201d) and caustic (\u201cWouldn\u2019t be here if the Athenia hadn\u2019t sunk\u201d). It\u2019s joyfully buoyant, but with an ache at its center, summed up by its final line, which Miller stretches out till it sounds almost like an affirmation: \u201cI believe in love, but it don\u2019t believe in me.\u201d\u00a0\u2014Jon Dolan<\/p>\n \tMomma, \u2018Speeding 72\u2019 (2022)<\/p>\n \t\t\t \n\tThe Brooklyn-by-way-of-Los-Angeles band Momma was born out of the tight-knit friendship between childhood pals Etta Friedman and Allegra Weingarten, who met in grade school. Their longtime connection is all over the group\u2019s wistful melodies, often hidden in under blankets of distortion, as no song might be as reflective of what they\u2019re good at than \u201cSpeeding 72,\u201d off their 2022 album, Household Name. It\u2019s a dreamy, riff-heavy joy ride that brings in more and more overlapping guitars, swelling into a bit of chaos that sounds like the whole band moving around each other without ever stepping on each other\u2019s toes. \u2014Julyssa Lopez<\/p>\n \tJuanes, \u2018Es Por Ti\u2019 (2002)<\/p>\n \t\t\t \n\tBack in the late 1990s, Medell\u00edn, Colombia\u00a0native Juanes left Ekhymosis, his heavy metal band, and decamped in Los Angeles in search of pop-rock stardom. He found it almost immediately thanks to a superlative ear for comforting hooks, and the guidance of producer Gustavo Santaolalla, By the time his second album,\u00a0Un D\u00eda Normal,\u00a0dropped in 2002, Juanes was a Latin Grammy winner and concert favorite. \u201cEs Por Ti\u201d sums up the Zen beauty of his spiraling, guitar-based melodies, the supple comfort of his guy-next-door vocals, and a sunny cosmovision of disarming sincerity.\u00a0\u2014Ernesto Lechner<\/p>\n \tWolf Parade, \u2018I\u2019ll Believe in Anything\u2019 (2005)<\/p>\n \t\t\t \n\tSpencer Krug\u2019s baroque and surprisingly hopeful rock anthem has had a few lives now, the most recent being the endlessly charming needle drop from HBO\u2019s Heated Rivalry. Krug actually wrote the first version of the song, a low-fi take on an upright piano, for his side project Sunset Rubdown back in 2005, calling it a \u201ckooky\u201d experiment. \u201cFor me, it was a scrappy little love song about two people willing to take a chance on their young relationship,\u201d Krug said. He eventually rerecorded it into the billowing version that\u2019s become the enduring Wolf Parade classic that saw a 2,650 percent steaming jump and peaked at Number Seven on the Billboard U.S. rock chart 20 years later. \u2014J.L.<\/p>\n \tAlex G, \u2018After Ur Gone\u2019 (2014)<\/p>\n \t\t\t \n\tAlex Giannascoli was a college kid<\/a> making music in between term papers when he wrote, recorded, and produced this two-and-a-half-minute stunner. Released as the first track on his breakthrough album, DSU, it has all the qualities that would make him a star \u2014 the haunting falsetto, the piercing guitar lead, the cryptic words alluding to an unnamed loss. \u201cI guess some kids do model cars or skateboarding,\u201d Giannascoli told Rolling Stone at the time, describing how he developed his DIY methods. \u201cI\u2019d go to the basement after everyone was asleep and record all fuckin\u2019 night.\u201d Many years later, he\u2019s still doing more or less the same thing<\/a>, for an audience so huge you can hardly call it a cult anymore. It all starts here. \u2014S.V.L.<\/p>\n \tBaroness, \u2018Isak\u2019 (2007)<\/p>\n \t\t\t \n\tA surface read of the lyrics to \u201cIsak\u201d makes this song seem to be about living an unfulfilling existence on a farm. But singer-guitarist John Baizley hollers couplets like, \u201cIsak, tender the swine, carry the hare and barrow home,\u201d in a way that suggests there\u2019s something deeper going on. Ultimately, it\u2019s the overall feel of this Red Album standout that made \u201cIsak\u201d an instant classic. Baizley and Brian Blickle play swinging blues-metal riffs, each guitarist dutifully stacking his part over the other\u2019s, with two great solo breaks \u2014 the first echoing Pink Floyd space rock, the second summoning Tony Iommi\u2013like metal miasmas. And drummer Allen Blickle somehow holds them together with unusual, jazzy rhythms.\u2014Kory Grow<\/p>\n \tThe Raconteurs, \u2018Steady, As She Goes\u2019 (2006)<\/p>\n \t\t\t \n\t\u201cSteady, As She Goes\u201d was the first song Jack White and Brendan Benson wrote together before forming the Raconteurs in 2005 with Patrick Keeler of the Afghan Whigs and Jack Lawrence of the Greenhornes. They had an alt-rock hit with \u201cSteady, As She Goes,\u201d a catchy garage-blues tune with a bassline that recalled Joe Jackson\u2019s 1979 hit \u201cIs She Really Going Out With Him?\u201d This song has two very different videos, each directed by notable filmmakers. The first was more traditional, directed by Jim Jarmusch, with the band playing in a barn, and another directed by the Malloys that featured Paul Reubens as a cartoonish villain. \u2014Alison Weinflash <\/p>\n \tSlipknot, \u2018People = Shit\u2019 (2001)<\/p>\n \t\t\t \n\t\u201cI\u2019m in this band because of everything that I hate about everything in the world,\u201d Slipknot drummer Joey Jordison told\u00a0Rolling Stone\u00a0in 2000. Actual children of the corn, the nine mutants of Slipknot came out of Iowa in the late Nineties with their scary masks and bone-breaking live shows, and made their eye-popping extremism the most explosive attraction on Ozzfest. They summed up their hate-everything worldview with succinct fury on the nu-metal maelstrom \u201cPeople = Shit,\u201d an undeniable statement of tribal misanthropy and outcast self-determination. \u2014J.D.<\/p>\n \tTame Impala, \u2018Elephant\u2019 (2012)<\/p>\n \t\t\t \n\tOn \u201cElephant,\u201d Tame Impala\u2019s Kevin Parker took some of rock\u2019s most\u00a0familiar pleasures \u2014 fuzzed-out Sabbath chug, high-heeled glam stomp,\u00a0mind-melting psychedelia \u2014 and fused them into a sonic funhouse of his own.\u00a0The lead single from his sophomore album,\u00a0Lonerism, builds a whole world around Parker\u2019s supersized riff. The song\u2019s wonderfully wiggy midsection \u2014 a fantastic voyage of proggy synths, heavily distorted guitar, and burbling electronics \u2014 blasts into the cosmos before snapping back into its big dumb riff, showing Parker\u2019s knack for indulging headphone listeners without losing the arena crowd. \u2014Jason Roth<\/p>\n \tVelvet Revolver, \u2018Slither\u2019 (2004)<\/p>\n \t\t\t \n\tUnlike so many other Frankenstein bands, the mashup of Stone Temple Pilots and Guns N\u2019 Roses known as Velvet Revolver wasn\u2019t a cringey lark. The group actually turned out kick-ass, relevant hard rock songs, and \u201cSlither\u201d is chief among them. Driven by the river-bottom bass of Duff McKagan, the song twists and turns like its serpentine title, with Scott Weiland\u2019s keening vocals cutting through the din. It climaxes with an eruptive Slash solo that ranks right up there with the guitarist\u2019s best. Even Axl Rose seems to like the song: It\u2019s become a staple of the reunited GNR\u2019s set list. \u2014Joseph Hudak<\/p>\n \tMudcrutch, \u2018Crystal River\u2019 (2008)<\/p>\n \t\t\t \n\tAfter an incredible run of in the 1990s, Tom Petty hit a creative rough patch in the 2000s, with underwhelming albums like\u00a0The Last DJ and Mojo. But he rediscovered something in 2008 when he made the unlikely decision to reform his pre-Heartbreakers band Mudcrutch and record a new album with them. Unlike Tom Petty and the Heartbreakers, this was a democratic unit where all members wrote songs and even sang lead. But their best song, \u201cCrystal River,\u201d was a Petty original that clocked in at nearly 10 minutes. (In concert, it stretched out to 15.) Though considerably longer than just about anything else in Petty\u2019s catalog, it\u2019s a mellow journey that never gets boring or repetitive. \u2014Andy Greene <\/p>\n \tBombino, \u2018Amidinine\u2019 (2013)<\/p>\n \t\t\t \n\tA member of the nomadic Tuareg people, singer and guitarist\u00a0Omara \u201cBombino\u201d Moctar traveled from Niger to the Nashville studio run by Black Keys frontman Dan Auerbach and recorded the searing 2013 album\u00a0Nomad. It kicks off with the anthemic \u201cAmidinine,\u201d which bridges West African \u201cdesert blues\u201d and the pyrotechnics of Jimi Hendrix, whom Bombino discovered as a child living in exile with his family in Algeria. As he told Rolling Stone, \u201cThe freedom that Jimi expressed through his guitar sent me to another world, where I was also free.\u201d You can hear that freedom in every note he plays.\u2014J.D.<\/p>\n \tAvril Lavigne, \u2018My Happy Ending\u2019 (2004)<\/p>\n \t\t\t \n\tFollowing the spunky one-two punch of breakout hits \u201cComplicated\u201d and \u201cSk8ter Boi,\u201d Avril Lavigne had something to prove on her sophomore effort, 2004\u2019s Under My Skin. Though barely 20 years old, the Canadian pop-punk star had already seen her share of challenging relationships, channeling her disappointment into a singular line \u2014 \u201cSo much for my happy ending\u201d \u2014 at the top of the album\u2019s breakup ballad. She\u2019s a co-writer on the song, with producer Butch Walker, and Lavigne\u2019s lament is achingly felt in the bridge, \u201cIt\u2019s nice to know we had it all\/Thanks for watching as I fall\/And letting me know we were done.\u201d The success of \u201cMy Happy Ending\u201d confirmed the opposite, as Lavigne\u2019s star continued to rise.\u2014Shirley Halperin<\/p>\n \tYungblud, \u2018Hello Heaven, Hello\u2019 (2025)<\/p>\n \t\t\t \n\tWhile he hadn\u2019t yet turned 30 when his fourth album,\u00a0Idols, came out in 2025, British agit-rocker Yungblud had already blazed a singular career path by the time of its release, and he used its opening cut to reintroduce himself to the world. The nine-minute, three-part rock opera, he\u00a0told Rolling Stone<\/a>, was inspired by him realizing the parallels between stadium rock and concert-hall classical; Yungblud added a dollop of 21st-century angst to the mix, cementing the song as his own. \u201cHello Heaven, Hello\u201d veers from propulsive rock to swaggering post-glam to cavernous neo-power-balladry; it\u2019s audacious and triumphant, with Yungblud\u2019s tightly wound yawp sounding ready to conquer the world. \u2014Maura Johnston<\/p>\n \tDowntown Boys, \u2018Monstro\u2019 (2015)<\/p>\n \t\t\t \n\tProvidence, Rhode Island\u2019s Downtown Boys combined refreshingly confrontational left-wing politics and a refreshingly confrontational punk attack on their excellent second album, Full Communism. The album\u2019s peak cathartic moment was \u201cMonstro,\u201d a roaring critique of sexist, racist stereotypes and celebration of revolutionary power. With a blaring Lora Logic-style sax leading the charge, the song builds and builds until it combusts, as frontwoman Victoria Ruiz repeats the line \u201cShe\u2019s brown! She\u2019s smart!\u201d like a battle cry. It\u2019s political punk rock primed for the DSA era. \u2014J.D.<\/p>\n \tMoses Sumney, \u2018Virile\u2019 (2019)<\/p>\n \t\t\t \n\tMoses Sumney is no stranger to challenging our expectations, whether he\u2019s making your jaw drop with his ocean-deep, sky-high vocal range or creating spellbinding visual worlds to complement his otherworldly music. On \u201cVirile,\u201d a standout from his 2020 album, Gr\u00e6, Sumney raises his glass to masculinity and smashes it on the ground. Sumney does rock music his way, alchemizing cavernous drums with spritely harp, industrial rock with classical music, heaven with hell. \u201cDear son,\u201d he screeches to the stars, before slinking into his lower register, \u201cWe pick our own prisons.\u201d \u201cVirile\u201d is evidence that we\u2019re only confined to the boxes we lock ourselves into. \u2014Jaeden Pinder<\/p>\n \tSleigh Bells, \u2018Rill Rill\u2019 (2010)<\/p>\n \t\t\t \n\tA band birthed both in the belly of MySpace and peak-hipster Williamsburg, Sleigh Bells became a huge hit with blog-era tastemakers. This breakout track \u2014 off 2010\u2019s Treats \u2014 sounds like your heart beating its way out of your chest, a tidal wave of guitars, booming drums, and electro sleaze, all showcasing Alexis Krauss\u2019 almost too-sweet vocals. If you ever saw them perform live, you\u2019ll know the feeling of all those amps buzzing in your chest as the crowd pogoed along. The track just sounds like 2010: languid and hopeful, a party before the world burns. \u2014Brenna Ehrlich<\/p>\n \tAlejandro Escovedo, \u2018Castanets\u2019 (2001)<\/p>\n \t\t\t \n\tNo one is better at merging the worlds of country-roots and punk than Alejandro Escovedo, and no song of his embodies his New York Dolls meets Austin roadhouse sound than \u201cCastanets.\u201d Escovedo storms and stomps his way through his deceptively nuanced tale of \u201ca woman people don\u2019t understand,\u201d as he later explained. When George W. Bush was reported to have liked the song in 2005, Escovedo retired it from his set lists for several years, even though it was his most well-known tune. Then, more than two decades later, Escovedo deconstructed his cowpunk anthem with an entirely new arrangement and Spanglish lyrics on 2024\u2019s \u201cCasta\u00f1uelas.\u201d\u2014Jonathan Bernstein<\/p>\n \tKing Gizzard and the Lizard Wizard, \u2018Rattlesnake\u2019 (2017)<\/p>\n \t\t\t \n\tThe marvelously prolific Australian psych-punk shredders King Gizzard and the Lizard Wizard have released a slew of songs that could potentially be on this list, but the opening track from their 2017 exploration of alternate guitar tunings\u00a0Flying Microtonal Banana\u00a0has taken on a life of its own. Chugging guitars and huge gales \u2014 as well as a Vibraslap that echoes the titular serpent\u2019s warning sound \u2014 give \u201cRattlesnake\u201d an ominously windswept, while lead Gizzard Stu Mackenzie\u2019s constant repetition \u201crattlesnake\u201d (he says it\u00a054 times on the album version<\/a>, according to fans) and the microtonal tuning make it feel like a fever dream that won\u2019t \u2014 and shouldn\u2019t \u2014 end. \u2014M.J.<\/p>\n \tRed Clay Strays, \u2018Wondering Why\u2019 (2022)<\/p>\n \t\t\t \n\tThough ostensibly a country band from Alabama, the Red Clay Strays sure can rock: Songs like \u201cRamblin\u2019\u201d and \u201cDown South\u201d have all the punch of Lynyrd Skynyrd. In the case of their breakout song, \u201cWondering Why,\u201d however, they display more of a slow burn. There\u2019s no big riff, no bombastic intro \u2014 just Elvis-adjacent frontman Brandon Coleman\u2019s smoldering croon, which blazes near the song\u2019s end as drummer John Hall plays an understated beat with a few choice cymbal hits. For the really ferocious version of \u201cWondering Why,\u201d check out the band\u2019s Live at the Ryman album.\u2014Joseph Hudak<\/p>\n \tFuture Islands, \u2018Seasons (Waiting on You)\u2019 (2014)<\/p>\n \t\t\t \n\tThe idiosyncratic Baltimore indie band had a surprise hit with the high-drama synth-pop of \u201cSeasons (Waiting on You),\u201d a song about how time may pass but some people remain frustratingly the same. Singer Samuel T. Herring delivered his heartbroken lyrics with an uncanny emotional force, going from a forlorn croon to an overwrought rasp that was hard to shake once you heard it. His ungainly dance moves were unforgettable too; when the band performed on The Late Show\u00a0With David Letterman, the host\u2019s floored reaction helped seed the song\u2019s viral success. \u2014J.D.<\/p>\n \tBlondshell, \u2018Salad\u2019 (2023)<\/p>\n \t\t\t![\"Yellowcard,](\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\")
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