To say Australian hip-hop has had a complicated history would be an understatement.
A relatively young genre in Australia, hip-hop truly gained momentum in 1995 with the birth of the now defunct Obese Records, which arguably pioneered the early “Australian hip-hop” movement. Aussie accents and supporting home grown hip-hop was their gospel.
With this came authenticity, which is core to hip-hop values. Without an Aussie accent, it was deemed inauthentic and artists like FiggKidd – who maintained an American accent in their music – were heavily criticised and left as outsiders in the scene.
Even recently, Australian rapper Iggy Azalea, who gained a lot of success in the U.S., has received enormous criticism for rapping with a Southern American accent.
Check out Logic talking about Iggy Azalea’s accent and the importance of authenticity:
The intentions of the early “Support Australian Hip-Hop” movement for authenticity were good and important for the growth of the genre. It was on the back of this movement Obese Records signed a stable of the first commercially successful artists in the genre like the Hilltop Hoods, Bliss n Eso, Drapht, and more.
Parallel to this, Elefant Traks were having their own break out success in Sydney with The Herd and Urthboy.
Support Australian Hip Hop logo
Love Hip Hop?
Get the latest Hip Hop news, features, updates and giveaways straight to your inbox Learn more
However, what started as a revolutionary-inspiring movement which shaped a genre and the imagination of young Australians everywhere, quickly perverted into fans subconsciously making “Australian hip-hop” synonymous with white “true blue Aussie” hip-hop.
This made it extremely difficult for Australian immigrants who looked and sounded different to the artists having commercial success in the early 2000’s to really find a place and an audience.
This is perfectly articulated in Sampa The Great’s track ‘Any Day’: “8 straight years hip-hop / Didn’t look like me.” A sentiment which has also been echoed by Briggs – one half of AB Original.
“If you haven’t noticed, all of Australia’s dominated by white guys,” Briggs laughs. “I grew up on Ice Cube and Public Enemy, Snoop Dogg and Wu-Tang, Big Pun, Biggie, whatever… I never caught Aussie hip-hop till much later. A lot of that felt weird to me.
“I didn’t feel it so much from the artists as I did from the punters,” he says. “To me, when they were saying stuff like, ‘I like Aussie hip-hop, not American hip-hop’, that was just a veiled way of saying, ‘I like white people, I don’t like black people.'”
Luckily, and because of this, the shift moved on from “Support Australian Hip-Hop”. The mantra had served its purpose: it did its job by breaking the genre, but, quite frankly, hip-hop in Australia had outgrown it, and by the early 2010s artists were distancing themselves from what it had begun to represent.
Seth Marton, a Melbourne-based MC who performs under the name of Seth Sentry, also recalls the late-2000s stagnation in local hip-hop. “I think for a while there, people in Australian hip-hop were stuck just solely listening to one another,” he said in an interview with The Brag. “It was that whole ‘Support Australian Hip-Hop’ movement, with the stickers and stuff… There was a period there where things were quite stagnant.”
So, over the course of the 2010s, hip-hop in Australia went from being a carved-in niche to a national phenomenon, getting more diverse in sound and representation with every year that passed.
With this history as the backdrop, we’ve tapped hip-hop experts from all over the country to help sort out a definitive listing of 50 of the greatest Australian hip-hop songs of all time.
This list has been put together by Tone Deaf in consultation with artists, record labels, managers, and key figures in the Australian hip-hop scene spanning the last three decades.
50. ‘So Bad’ by Class A:
Produced by M-Phazes, ‘So Bad’ by Class A came as the first single from her first album Me, Me, Me & Him: The Secret Life of a Receptionist. Accompanied by a music video with many scenes shot at just the right angle in front of a bright red Chevrolet, this track drops you right back into the days of ’80s and ’90s hip-hop.
49. ‘Head High’ by Koolism:
Featured as part of the Australian Hip-Hop Supports Canteen compilation album, Koolism’s track ‘Head High’ shouts as an anthem to the cancer-afflicted teens this album supports. With lyrics like “Breath In / Breathe Out / 540 ways to live / I choose one” the song infuses life into listener, encouraging them to take life as it comes, and make the most of it.
48. ‘Crystal Balling’ by Jackie Onassis:
Released in 2012, ‘Crystal Balling’ shines the way with hip-hop duo Jackie Onassis at the helm. Thought provoking lyrics enlightening the listener on how to dream big while not worrying about what’s currently going on because “We’ll work it out in the morning.”
47. ‘destiny’s’ by Arno Faraji:
“This track is a masterclass in sounding effortlessly cool: sharp and swaggering lyrics over a simple repeating drum loop that Faraji manages to constantly re-contextualise with his seamless flow switches.” –Sam Bowmer, Creative Manager for The Brag Media
46. ‘Wish You Well Pt 2 (It’s A Vibe)’ by ChillinIt:
“ChillinIt is undoubtedly one of the most charismatic figures in the Australian rap scene. While he rose to prominence via a host of ruthless freestyles, it was this track which brought him to the mainstream.
“With the iconic test match music video featuring a slew of rappers including Huskii, Wombat, and Triple One, this one caused waves everywhere and best represents the sonics and elements of fun and mateship that Aussie hip-hop was built on. But with a current fay flavour.” –Matthew Craig, Editor / Managing Director AUD’$
45. ‘WUTD’ by Genesis Owusu:
“The word ‘groovy’ is thrown around a lot (perhaps too much) by daggy white people like me these days, but as I bounce to this track I can’t think of a better description. This song is groovy in all the best ways, taking all the best elements from 20th century funk and R&B and blending it with modern Aussie hip-hop to create a song that’s guaranteed to get you moving.” –Sam Bowmer, Creative Manager for The Brag Media
44. ‘Bad Habits’ by Kerser:
Featured in Kerser’s 2016 album Bad Habits, the title track stands as an anthem for anyone who’s set foot into anything that is considered to be on the unsavoury side. From falling into crushing addictions with drugs, having to be escorted to hospital due to near overdoses, and getting fed up with other rappers spitting lyrics about drugs being “cool”, ‘Bad Habits’ gives listeners a brief insight to what struggling with addiction is like.
43. ‘Let Her Go’ by The Kid LAROI:
“A teenage Koori kid from Redfern is the hottest property in US hip-hop right now. That’s a fact. The Kid LAROI burst onto the local scene at only 14 years of age and quickly captured the attention of US label head and rap mogul Lil Bibby. A Lyrical Lemonade [directed] video later, some iconic Michael Jackson references, and this is a moment that will never be forgotten.” –Matthew Craig, Editor / Managing Director AUD’$
42. ‘Karma’ by 1200 Techniques:
“While the Hilltop Hoods might have brought Aussie hip-hop to prominence with ‘The Nosebleed Section’, real OGs will remember when just one year earlier, 1200 Techniques were bringing it to the mainstream with the infectious hit that is ‘Karma’.
“Its chart performance might have left something to be desired, but when you mix a classic hook with those inimitable rhymes and vibes, you’ve got the recipe for one killer track that still holds up.” –Tyler Jenke, Editor of Rolling Stone Australia
41. ‘For Good (feat. Sampa The Great)’ by REMI:
Combining the brilliance of Melbourne hip-hop artist REMI and Zambian singer-songwriter Sampa The Great, ‘For Good’ emits pure beats that can’t stop the listener from grooving. Bringing a unique mix of both solo verses for each artist, plus a combined chorus, the 2016 track has seen over four million spins on Spotify.
40. ‘Real Life (feat. K.I.K.I)’ by Mind Over Matter:
In an upbeat mix, Mind Over Matter’s ‘Real Life’ drags us through the mundane cycle that a week offers: waking up to blaring alarms, working a drab desk job, and having a bleak outlook on life. The chorus says it all with, “I know what real life feels like / But I just wanna feel like hoooowoowoooo.”
39. ‘Misunderstood’ by Youngn Lipz:
“Not many locally have risen as quickly as Youngn Lipz. The Polynesian talent from Sydney’s West dropped his playfully romantic debut ‘Misunderstood’ in October of 2019 and quickly catapulted to the upper echelon of Aus urban acts.
“In a sharp turn from the drill sounds which dominate the region, Lipz showed a whole new dynamic that stories from the street can be told using harmonies and acoustic guitars.” –Matthew Craig, Editor / Managing Director AUD’$
38. ‘The Lostralian’ by Delta:
Born from the mid-2000s, Delta’s ‘The Lostralian’ forces the listener to understand how to push past stagnation and not get stuck in the day-to-day drama that the world holds. From entering the song talking about the daily grind, to ending with pushing past the “chaos in the street,” the 2006 track stands as a song to get you motivated and take yourself out of the mundane cycles.
37. ‘The Signal’ by Urthboy:
Featured as the title track from Urthboy’s 2007 album, ‘The Signal’ serves as a track the listener can’t not get behind, as hip-hop artist Tim Levinson welcomes us with “Ladies and gentlemen” offering for us to “check it out.” To keep with the Aussie roots he sews, the song also weaves in references to the South Sydney Rabbitohs NRL.
36. ‘Dun Proppa’ by Def Wish Cast:
The 2011 hit ‘Dun Proppa’ shows Western Sydney veterans Def Wish Cast spitting lyrics faster than anyone can keep up. Interspersed with plenty of record scratches, and lyrics that almost serve as a seperate track of beats overlaid, singing along to this track is a daring feat.
35. ‘Engineers’ by HP Boyz:
“HP Boyz are a different breed. The trio of rappers of Polynesian background burst onto the scene in 2019 as Australia’s answer to Migos and have continued from strength to strength. Engineers tells the story of life in Melbourne’s South-East ends utilising a mix of rap and latin influences. It led to sold out international tours and a host of imitators in less than 12 months.” –Matthew Craig, Editor / Managing Director AUD’$
34. ‘What’s Your Malfunction’ by The Funkoars:
“Trailblazers of the South Aussie hip-hop scene, the Funkoars proved that local hip-hop doesn’t need to be serious, especially when you can back it up with mad skills like this.
“Featuring brilliant beats and ferocious vocal delivery, there’s no denying the status of the Funkoars as icons of the scene, with this track deserving to be in an Aussie hip-hop museum.” –Tyler Jenke, Editor of Rolling Stone Australia
33. ’17 Again’ by Adrian Eagle:
Only out since 2019, Adrian Eagle’s track ’17 Again’ is a breezy track that combines the best of a smooth back beat combined with vocals that are unparalleled. The song takes the listener through a journey of what the narrator’s life was like at the tender age of 17, and all the trials and tribulations that come with it.
32. ‘Spaceship’ by Phrase:
“Spaceship had live drums and guitars, with chain-gang vocals, things that didn’t really happen in hip-hop at the time. Phrase’s rap has so much pent up energy and subdued common-man anger, it’s the song that got Phrase into triple j and lifted him up to be a name in AU hip-hop.” –Michael Taylor, Managing Director Universal Music Australia
31. ‘Work’ by Iggy Azalea:
“I think this was probably the first song I heard by Iggy a few years ago and I still love it. It’s just a fun, bad bitch king of song. Let’s also never forget that bizarre TikTok ‘”Walk a mile in these Louboutins” challenge’ it later inspired that had people using everything from oven mitts, to dust bins, to cakes as shoes.” – Jessie Lynch, Writer for The Brag Media
30. ‘77%’ by The Herd:
“Hip-hop has always been a voice for the political, though it was arguably The Herd that showed just how the Aussie hip-hops scene is bringing important matters to the forefront via their rhymes.
“With a chorus such as this, it was never set to be a mainstream hit, but its vital lyrics referring to the 2001 Tampa affair helped turn heads as the group used statistics to boldly state that ‘77% of Aussies are racist’. It might have been a hard pill to swallow for some, but for others, it ignited a conversation we needed to have.” –Tyler Jenke, Editor of Rolling Stone Australia
29. ‘No Effect’ by Hooligan Hefs:
Only released in 2019, ‘No Effect’ by Sydney’s Hooligan Hefs is laid against a pumping beat that keeps knees bouncing, heads bobbing, and listeners grooving. With a repetitive chorus and beat, the track serves as the perfect song for having a bit of a dance to.
28. ‘I Was Only 19’ by The Herd:
Originally by Redgum and serving as an anti-Vietnam War song in 1975, The Herd transforms ‘I Was Only 19’ into a killer hip-hop track, giving the tune new, modern life. By keeping the tune of the chorus in line with the original track, the song brings listeners to reminisce on the classic song while diving into the new version.
27. ‘No Time’ by Kwame:
Formed in 2018, the track ‘No Time’ from Kwame’s second EP sees the New Zealand born hip-hop artist sing about the ins and outs of a relationship when you’re wanting one with an individual, but then so many incidents block the way. It also spins brilliant lines like, “Chappy lips I think you need some pawpaw.”
26. ‘Marryuna (feat. Yirrmal)’ by Baker Boy:
“‘Marryuna’ serves as being an absolute force of nature that demands you to dance. Not only does Baker Boy deliver exactly what he intends to with this track, he also serves as a completely humble artist who deserves every single play his songs receive.” – Brittany Jenke, News Editor for The Brag Media
25. ‘M.O.B’ by Tkay Maidza:
Originally from Zimbabwe, but calling Adelaide home, Tkay Maidza slays on ‘M.O.B.’, spitting lyrics like nobody’s business. The track featured at #66 in triple j’s Hottest 100 countdown of 2015, with many arguing that it deserved a much higher ranking.
24. ‘OG Luv Kush P.2’ by Kaiit:
“This song put Aussie soul on the map in a worldwide way. Without a doubt the greatest voice and flow. Lyrics and storytelling, unique to her own. She is as smooth as she is powerful and as tender as she is strong. Gaining the notoriety from soul legends, this song will go down as an important one for truth and self love anthems.” –Adrian Eagle
23. ‘Young And Dumb (feat. Bertie Blackman)’ by Chance Waters:
Beginning with twinkly, star-like sounds, Chance Waters’ ‘Young And Dumb’ embarks on a journey of wanting true love, but still being a bit young and not experienced enough to go through it. From the opening line, it can only be imagined what his love life is like: “She bit my hand so hard that it drew blood / I think that was the moment I knew true love.”
22. ‘No Rides Left’ by Horrorshow:
Horrorshow’s 2008 track ‘No Rides Left’ begins as a slow piano-laden tune, before transforming itself into a beat overlay laced with lyrics that induce a ‘carry on’ mentality. With the repetitive chorus of “We ride till there’s no rides left,” the tune resounds as an anthem of working your way through the tough times.
21. ‘You Always Know The DJ’ by Allday:
“I remember hearing Allday’s early song ‘So Good’ on triple j and being blown away, his melodic flow and accent morphing was a much needed breath of fresh air in a scene that was ripe for change. It showed he’d studied the greats but wasn’t interested in maintaining the status quo.
“His Gold selling single, ‘You Always Know The DJ’, to me, was a clear sign that he’d really arrived and was only going up. With legends One Above and Cam Bluff providing a world class beat that I wish I made, Allday’s clever, melodic hook and trademark “reserved yet totally in the pocket” flow it was always going to be a big song.
“He’s my pick to be the first Aus hip hop artist to break into the overseas market in a big way.” –Stephen Mowat (aka Matik)
20. ‘Sally (feat. Mataya)’ by Thundamentals:
“Thundas’ ‘Sally’ has such an infectious beat, vibe, and melody – it’s like if CHIC got too stoned and had to play slower but never lost their groove. The storytelling is brilliant; insightful while funny. It also has become one of the bigger songs and highest Hottest 100 songs for Thundas.” –Michael Taylor, Managing Director Universal Music Australia
19. ‘What Would Happen?’ by Pegz:
Embodying that true hip-hop sound, ‘What Would Happen?’ by Melbourne-based artist Pegz begs the simple question of “what would happen” if you were to go through a series of different scenarios. If you’re keen to make a bucket list, this song is a good place to source your life goals.
18. ‘Hell Boy’ by Seth Sentry:
“‘Hell Boy’ makes the list for me for multiple reasons. First off, the way Seth’s performance and Styalz’ production work together is brilliant – from the change ups in the beat to mimic Seth’s flow, to the way the dark, tongue-in-cheek lyricism is mirrored by the instrumental choices.
“Secondly, it never gets boring; as someone who needs to be kept engaged, the song is constantly evolving, moving between boom bap and trap, effortlessly interweaving diverse sonic elements such as a dusty double bass with a staccato choir, all within 3 minutes and 24 seconds. What a tune.” –Jon Reichardt
17. ‘Energy (feat. Nadeem Din-Gabisi)’ by Sampa The Great:
“Ahhh Sampa – I could write a thesis on how much I love her and everything she stands for and represents in music today. She is the epitome of strength, grace, honesty and fearlessness, everything as a fellow woman I want to feel and connect with when I listen to music.
“Her visuals are sublime, her lyrics are witty and smart, and her track ‘Energy’ runs the emotional gamut of femininity – intuition, family, strength, empathy, shame, love, and the quest to find balance. Sampa is an amazing representative of Australian music whose impact is being felt across the world.” –Petrina Convey, Sony
16. ‘January 26’ by A.B. Original:
Serving as one of the boldest hip-hop tracks to date, A.B. Original’s ‘January 26’ gives blatant evidence of why the modern holiday of Australian Day serves as a slap in the face for the Indigenous of Australia.
With lyrics like, “How you wanna raise a flag with a rifle / To make us want to celebrate anything but survival? / Nah, you watchin’ telly for The Bachelor / But wouldn’t read a book about a fuckload of massacres?” this tune will really make you think twice about gladly saying “Happy Australia Day.”
15. ‘Maybe Tomorrow’ by Chance Waters:
“Chance was so unique – maybe the first of the laid-back AU rappers, he drew melody into his songs, and used smart lyrics to get his messages across, which were often important political and social commentary – but the whole time you felt good listening to his music.
“Luke G (of The Brag Media) was super early discovering and managing Chance, and I loved working with them both when Chance was on Island AU.” –Michael Taylor, Managing Director Universal Music Australia
14. ‘Heaps Good’ by Muph N Plutonic:
“Muph N Plutonic emit pure Aussie confidence through their ‘Heaps Good’ track, proving that they’re still ‘heaps’ relevant, as “they’ll never fade like ya jeans would” – and, let me tell you, this tune has far outlasted any of the pairs of jeans I’ve ever owned.” –Brittany Jenke, News Editor for The Brag Media
13. ‘Fuego (feat. Anfa Rose)’ by Manu Crooks:
Smooth talking, easy beats, with interspersed interludes, ‘Fuego’ by Manu Crooks talks about the fire that a certain girl brings to Ghanan-Australian rapper Emmanuel Adu’s mind.
With lyrics like “But I’m already taken got a girl now / And she so, Fuego / I don’t need to leave I’ll stay home / And we gon’ lay low,” you can’t help but roll around in your bed and wish that you had someone to also sing with such passion about.
12. ‘The Waitress Song’ by Seth Sentry:
“‘The Waitress Song’ was the first time I made a beat without sampling. I didn’t really know anything about music theory. I was just messing around on piano and stumbled on some chords that sounded really nice and I think when I did the drums I was kinda ripping off early 2000s Kanye production with a really busy kick pattern, I was stoked on it.
“The way the song is written really shows how ridiculously clever Seth is. To be able to be so technical with his rhyming whilst simultaneously giving the listener such a melodic flow along with a storyline that Larry David and Jerry Seinfeld would be proud of, is a huge reason why there is no way this song could be overlooked.” –Stephen Mowat (aka Matik)
11. ‘Papercuts (feat. Vera Blue)’ by Illy:
Bringing together the brilliance of both Melbourne’s Illy with singer-songwriter Vera Blue, ‘Papercuts’ brings complete magic to the table with a groovy song that inflicts no pain like its title depicts. Instead, the listener is met with a song filled with soaring vocals, kicking beats, and an attitude that’s unparalleled.
10. ‘Final Form’ by Sampa The Great:
“The title track off an ARIA Award-winning album and cultural phenomenon. Sampa took Australia and the world by storm with this release in 2019 in a powerful statement empowering black women which scored the endorsements of everyone from Ebro to Earthgang.” –Matthew Craig, Editor / Managing Director AUD’$
9. ‘I Love It (feat. Sia)’ by Hilltop Hoods:
“Simply put, this song changed my life. In 2011, the Hoods approached me to work on their next project. I was a bedroom producer working a part time job, so it’s an understatement to say this offer was a dream come true.
“What started as a simple beat idea, led to an incredible collaboration with the Hoods, Sia, and the Bacchanalia String Quartet. Even better, it led to me quitting my job and heading out on tour with them. As an inexperienced, self-taught writer/producer this was an unbelievable turn of events.
“Looking back, I count this as the moment I gained confidence in my abilities and started believing in my music, which is something I’ll forever be grateful to them for.” – Andrew Burford
8. ‘Jimmy Recard’ by Drapht:
“Unquestionably, ‘Jimmy Recard’ is Drapht’s biggest moment with the single going gold, paving the way for his countless festival appearances, and placing #10 in the triple j Hottest 100 in 2008. ‘I was thinking of successful names so I jumped on the net and actually googled successful names and came up with James and Recard,’ Drapht explained to triple j on how he created the song.
“‘So I changed James to Jimmy and used Recard as the last name. I think a name does a lot for a character and where you go in life. And it was a positive track on the record because a lot of my stuff kind of feeds from negative ideas.’
“In fact, the popularity of the song even resulted in a highly-publicised ‘killing off’ of Jimmy Recard, with the release of 2011’s The Life Of Riley featuring a track titled ‘R.I.P J.R’, and even saw the hip-hop icon selling shirts that proclaimed ‘Jimmy Recard Is Dead’.
“Think about it, how many artists can make you mourn a fictional creation popularised through a song? Drapht, that’s who.” – Luke Girgis, CEO of The Brag Media
7. ‘House Of Dreams’ by Bliss N Eso:
“If there is one song that defines Bliss N Eso it’s ‘House Of Dreams’. It perfectly sums up their lyrical style, hit writing, and absolute uplifting instrumentals.” – Luke Girgis, CEO of The Brag Media
6. ‘The Festival Song (feat. 360 and Hailey Cramer)’ by PEZ:
“In theory, ‘The Festival Song’ was the perfect formula for success: Spit relatable rhymes about the blissful times spent at a summer festival, add 360 and Hailey Cramer, and back it up with a Gladys Knight sample, and you’ve got a hit on your hands.
“Never has there been a more perfect song about the Aussie festival season (except maybe for The Incredible Strand’s ‘You Broke My Heart At The Big Day Out’), and never have local listeners revelled in the nostalgic relatability of a cut like this.” –Tyler Jenke, Editor of Rolling Stone Australia
5. ‘Spot The Difference’ by ONEFOUR:
“Australian rap has not seen a force as dominant as the current drill wave. And a lot of that is owed to the collective of rappers from Mt Druitt. ONEFOUR’s vicious raps, relentless drums, and intimidating presence has inspired rappers all across the country and scored them acclaim in all corners of the globe.” –Matthew Craig, Editor / Managing Director AUD’$
4. ‘Fifty In Five’ by Hilltop Hoods:
“We were setting up the State Of The Art album for release – and we knew it was a special album that was going to take the Hoods up another big level; it just had those big songs like ‘Chase That Feeling’ and ‘Still Standing’. But the song that really blew people away from that album was the closer ‘Fifty In Five’.
“One time, I got to see Suffa do the rap start to finish, fully a cappella – no backing music or beat; only his rap, and with no lyric sheets around – for small group in the studio.
“When he was done, no one could say anything for like five minutes, jaws were on the floor, it was just so freaking impactful and important and you knew you just witnessed something so special that probably wouldn’t ever be performed like that again. The Hoods are the top of the game for a reason…and to me, this song is a part of it!” –Michael Taylor, Managing Director Universal Music Australia
3. ‘Boys Like You (feat. Gossling) by 360:
“360 was already a force to be reckoned with on the Aussie hip-hop scene prior to this track, but with the release of 2011’s Falling & Flying, he saw his biggest success to date.
“Pairing up with Gossling for this now-iconic tune, he proved that Aussie hip-hop still had the mainstream appeal it long chased on the charts. Sure, some people might have found that this one wore out its welcome somewhat quickly, but there’s no denying its importance on the charts almost a decade ago.” –Tyler Jenke, Editor of Rolling Stone Australia
2. ‘Addicted’ by Bliss N Eso:
“‘Addicted’ served as my intro to the Aussie hip-hop scene. As an American, the genre was widely unknown to me, but as soon as I heard this track by Bliss N Eso, I essentially became addicted to ‘Addicted’. The reason this song is a bit special to me is that it combines the brilliance of both an Aussie hip-hop artist and an American at the helm.
“With my husband being Australian, and I calling America my home, and this song being the first Aussie hip-hop song I’ve ever heard, this track almost wraps up our relationship into a concise bundle, and holds a special place in my heart.
“Besides the sentiment, this track emits a fiery string of lyrics that get you motivated, and make you want to fight the people who are there to bring you down. It makes you question the things you are taught, whether they’re right or not, and gives you the power “to say ‘I do give a fuck’.” –Brittany Jenke, Editor of The Brag Media
1. ‘The Nosebleed Section’ by Hilltop Hoods:
“It’s kind of amazing to think that one of the most defining songs of an entire genre was never actually released as a single. In fact, maybe that’s why ‘The Nosebleed Section’ managed to slowly grow in popularity, eventually becoming an anthem for an entire generation.
Built around a sample of a Melanie Safka cut, ‘The Nosebleed Section’ showcases the Hilltop Hoods at their very best; mixing killer production, smart lyrics, and a world class delivery to create this masterpiece of Aussie hip-hop.
For many folks out there, their notion of Australian hip-hop can be defined by pre and post ‘Nosebleed Section’. After all, this was arguably the song that helped break the genre into the mainstream, albeit months after it was first released on The Calling.
A lot of Aussies out there will label classic tracks by Peter Allen, Slim Dusty, or even Midnight Oil as the song that makes them proud to call this country home. But for countless hip-hop fans (and South Australians, such as yours truly), this is the song that hits them the hardest; with a classic anthem designed to be sung loud and proud in amongst all my people in the front, in the nosebleed section.” –Tyler Jenke, Editor of Rolling Stone Australia