Hottest 100 of Australian songs has celebrities shouting out their favourites
Prime Minister Anthony Albanese didn't waste much time getting his votes in, opting for a very classic list of Aussie favourites from the past.
The CSIRO had a go at lodging votes (the corella must have just missed out), and the Australian Sporting Commission confirmed that "Bradman" was a better Paul Kelly song than "Shane Warne" in their votes.
We've spoken to a heap of beloved Australians to get a sneaky listen to the songs they're voting for as well. Below you'll see a handful of choices from musicians, footy players and entertainers, hopefully giving you a little inspiration to get those votes completed today.
You can hear plenty more on The Hottest Seat, and once you're inspired, make sure to get your votes in. No time to muck around — voting closes on Thursday!
Powderfinger — Whatever Makes You Happy
Powderfinger have so many brilliant songs that I don't think Whatever Makes You Happy is going to even touch the first 1,000 songs. But that one is special to me.
When Hamish and I first finished our radio show, we'd done a show at the Sidney Myer Music Bowl. U2 had come and performed, we got knighted by Bono, then John Farnham had come out of retirement to sing the final songs.
Hamish and I went straight to Vegas after that. We bought two suits, one each, and that's all we wore. As we got there, Hame said, "I just wanna show you something," and pulled out a DVD — that's how old we are — and he played a compilation of photos from this ride of our lives: meeting at university, mucking around, having a TV show that got axed, and then suddenly being on the radio
Whatever Makes You Happy by Powderfinger was the song he put it to. So that one certainly would be almost #1 for me as Australian songs of all time, probably cause it's sentimental. But, sorry Bernie and the gang, I doubt it's gonna make the top 1,000 for Australians.
Sia — Chandelier
Sia is a fellow South Australian. When we were younger, we used to go see her play with a band called Crisp, which was an acid jazz band. Later on in our lives we'd do a song with her called I Love It.
We picked this song because Sia is a bloody Australian legend and icon. We're huge fans, and this is probably the perfect pop song.
If you were writing a pop song and you walked out of the room after writing this, you'd be like, "10 out of 10. I did it. I wrote the perfect pop song".
Flume — Holdin' On
I remember this song from house parties and by the time I was going out [to clubs] it was still around. It is such a great track that brought back so many memories.
I listened to it for the first time in a little while the other day, and it's still such a good song. Flume's done some amazing tracks, but this one's my favourite by him.
BZ — Jackie {ft. Joanne}
This is a very late-90s kind of song, and it just reminds me of my mum. I think this was her favourite song when I was a kid because I remember it being blasted everywhere.
When I was looking on the triple j website at all the songs you could pick, I saw this song and it made me giggle. I was like, "Oh my God, I remember that song!" I haven't listened to it in years, but I just have fond memories of mum blasting it in the car on the way to primary school, so I had to include it.
Silverchair — Miss You Love
I could pick every song, I'm such a massive Silverchair fan. But Miss You Love was [released] at a time where I was in and out of young love.
I remember this time my friend was talking about that song, she's like, "I'm going to get married to that song". But I was such a Silverchair fan that I knew that Daniel had said the song is about not being in love, not believing in love and not caring about it.
Looking back on it now: it is a love song and it's the best love song ever.
Violent Soho — Covered In Chrome
Lots of memories of listening to these guys when I was first listening to triple j on a worksite as a labourer for an electrician.
At Falls Festival back in mid to late 2000s, Violent Soho brought in the New Year and I distinctly remember being at the bottom of a triple [speaker] stacker, my mate Liam on my shoulders, someone else on his. A recollection of joy and happiness. This song is easy to get lost in when that chorus hits, particularly at a live gig.
Divinyls — Back To The Wall
Chrissy Amphlett was a bit of a hero of mine growing up. I just thought she was so bad-arse, and it was so cool to see a really strong woman out the front of a rock band being such an individual, and being so engaging as a performer.
I was so inspired. Not that I've turned out anything like that, but it was really cool to see that you could be anything you wanted as a female performer.
Angie McMahon — Letting Go
There's something about Angie's songs that have this tension and release that I absolutely love. I get massive goosebumps when it goes to this outro, she lets go and her voice just goes into the stratosphere.
It's exactly what you want from music, what you want from art. You want to be moved, you want goosebumps, you want the hairs to stick up on the back of your neck. Angie's music does that. What an inspiring song, especially at this time and the way the world is at the moment, it's very difficult to let go of all the tension that's around.
John Farnham — You're The Voice
As Aussies, he's the eighth wonder of the world. We always used to try and sing like John. We went to his concerts when we were very young and we became obsessed with him. We saw him in Jesus Christ Superstar and we thought he might actually be Jesus.
Warumpi Band — My Island Home
Growing up on a little island in Northern Territory, this song takes me back to my country, to my place. It brings back memories of sitting in the Troopy with my family and going fishing and sitting on the beach.
This song is such a statement and a true representation of that nostalgic feeling. When you're so far away from home, this song calls you back.
Flight Facilities — Claire De Lune
This is a really special song. It's so spacious, the time that it takes from start to finish is something I find endearing and nice to listen to. It's a really beautiful headphone listen.
I don't know if it's the strings or the glockenspiel or the naked vocal … it's just a really beautiful electronic track. The kick is so subdued and dialled back and quiet, it's just to keep your attention as opposed to needing to be something that's making you dance or making you move.
When you see the song live, it's absolute euphoria from the crowd. They are still dancing, even though the kick is subdued. There's enough within it to make you wanna dance and smile.
Tina Arena — Sorrento Moon
I heard someone say once that you are either a Chains person or a Sorrento Moon person, and I have always been a Sorrento Moon girly.
I just love the melody, the harmonics, the emotion and feel of the track. I just don't think we can talk about the best songs in Australian music without mentioning the queen, Tina Arena.
The Hottest 100 of Australian songs happens on triple j, Double J and triple j Unearthed on Saturday 26 July. Voting is open until 5pm AEST this Thursday afternoon.
Listen to Hottest Seat on the ABC listen app.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
News.com.au
41 minutes ago
- News.com.au
Fresh twist in Nathan Cleary and Mary Fowler ‘break-up' speculation as couple's beautiful act comes to light
Nathan Cleary and Mary Fowler have seemingly put an end to speculation that their relationship may be on the rocks, as a heartwarming picture of the couple was shared online. Rumours have been rife that their relationship isn't all sunshine and rainbows after Fowler jetted back home to Australia to spend some time with her friends and family. FOX LEAGUE, available on Kayo Sports, is the only place to watch every game of every round in the 2025 NRL Telstra Premiership, LIVE with no ad-breaks during play. New to Kayo? Join now and get your first month for just $1. But as she touched down, Cleary – who routinely meets her at the airport – was nowhere to be seen. The pair have also stopped sharing pictures of one another, adding fuel to the fire that they may have quietly ended things. Cleary has also not liked any of Fowler's posts since June 6. However, Fowler – who continues her rehab for an ACL injury she picked up earlier this year – has since spent several days with Cleary, easing fears of any relationship unrest. And now all break-up rumours have been seemingly put to bed after a picture of them and a Panthers fan emerged online. The image shared on the Ability Hub Services Instagram account showed the couple smiling as they posed for a picture with the fan, donning a Panthers kit. The pair have also been spotted out taking coastal walks. During her time Down Under, Fowler also headed up north, where she spent some time with her family, which she shared on her Instagram account. While Cleary has been absent from the Matildas superstar's social media, the Manchester City star has kept fans up to date on her knee rehabilitation, posting pictures and short videos of herself in the gym and of the scar on her knee. The 22-year-old is expected to return to action at the start of 2026, but is racing the clock to prove her fitness before the Asian Cup next year. However, in May, she spoke about the rehabilitation progress going well, as she revealed it hadn't upset her as much as she expected. 'Obviously, I enjoy playing football, but I wouldn't say it's my passion,' Fowler said on the Keegan and Company podcast. 'I play it because there are a lot of things I enjoy about it – I really enjoy travelling, being with my teammates, the people that I've met through football, but if I finished it tomorrow, I probably wouldn't have any regrets. 'I think there are other things outside of football I am more passionate about. Getting injured … in my head I pull myself up at times like 'am I supposed to feel more s**t about this, about what's happened'.
News.com.au
2 hours ago
- News.com.au
Royal face set to begin studies at University of Sydney
Princess Ingrid Alexandra of Norway has touched down in Australia to begin a three-year undergraduate degree at the University of Sydney. The 21-year-old future queen of Norway shared her excitement about becoming a student, posting on Instagram that she is 'looking forward to starting my studies'. Her decision to study in Australia comes during a challenging year for the Norwegian royal family, following charges of rape and sexual assault against her half-brother, Marius Borg Høiby, which he has denied. Despite the family turmoil, the Princess appeared cheerful as she visited the university campus and shared a smiling photo on social media. Ranked second in line to Norway's throne behind her father, Crown Prince Haakon, the Princess also appeared in a photo posing next to the Sydney Opera House. Along with other new photos around the university grounds, the Norwegian royal family's full statement from the young royal read: 'I'm looking forward to starting my studies at the University of Sydney. 'It will be exciting to become a student, and I'm looking forward to gaining new perspectives on both European and international politics. 'I'm sure that I will learn a lot.' The royal will undertake a Bachelor of Arts degree starting in August. She will live at the university's campus in Camperdown, 4km southwest of the CBD. The Gen Z royal looked chic in a classy yet casual fit, which included baggy blue jeans, a navy jumper and white sneakers. She paired the look with a black cross-body bag, her hair down and dainty gold hoop earrings. Born in 2004, Princess Ingrid has mostly stayed out of the spotlight, attending local schools in Oslo and finishing her upper secondary education in 2023. She is the granddaughter of Norway's current monarch, 88-year-old King Harald V. She made history as the first female heir to the Norwegian throne. The Princess plans to step back from official appearances while continuing her studies in Australia. The royal isn't the first to study down under. Recently, Danish Count Nikolai of Monpezat attended the University of Technology, Sydney. King Charles, at age 17, famously spent two terms at Geelong Grammar in Victoria. Marius Borg Høiby, Princess Ingrid's older half-brother, 28, is currently facing multiple charges, including rape, sexual assault and bodily harm. The charges came after months of investigation into a case police say involves a 'double-digit' number of alleged victims. The charges included one case of rape involving intercourse, two cases of rape without intercourse, four cases of sexual assault, and two cases of bodily harm.
SBS Australia
2 hours ago
- SBS Australia
Are cost-of-living pressures and streaming platform algorithms killing Australian music?
Triple J's Saturday debut of its Hottest 100 of Australian songs has prompted many to reflect on the state of the local music industry — and the sobering reality that perhaps the biggest hurdle is cost. An April report from Creative Australia found 62 per cent of Australians say music is really important to them — but cost is the main barrier to attending live shows. While 66 per cent said they want to hear more local music, many still prioritise saving up their dollars to see international acts — simply because they're rarer. FBi Radio's Tyson Koh says people tightening their hip pockets are having a direct flow-on effect on the industry, especially community radio, which has long been considered a cornerstone of the Australian music scene. FBi Radio — where Koh is managing director — has been an institution in the inner-Sydney suburb of Redfern since 2003, bolstered mostly by community memberships. But in June, it had to cut half its permanent staff after entering a period of "extreme financial distress". It still isn't out of the woods. "We found that in this brave new world of digital streaming and social media, a few people had taken our service for granted," Koh said. "They were still listening to the station — but because they already had several other subscription-based services to keep up with, we'd gotten lost in the mix." Tyson Koh says the cost of living crisis and growth of algorithmic music streaming is affecting community radio stations such as FBi, which could close its doors if not enough funding is secured. Source: Supplied / John Feder As cost-of-living pressures linger, Koh says discretionary spending — such as going to live gigs or subscribing to community radio stations — is becoming harder to justify. "We really need our listeners to show up for us if we are to survive." "I think we have to decide as a society whether music is important … if we can agree on that, then the question comes down to support and participation." Less disposable income, fewer ticket sales Joe Draffen, bassist for Melbourne band Floodlights, says the rising cost of living is also affecting artists. "The current economic climate has made it harder to sell tickets, as many people just don't have as much disposable income right now due to the rising cost of living," Draffen said. "On top of that, our own expenses have gone up, which meant ticket prices had to increase too." Melbourne-based band Floodlights say the cost of living crisis has put pressure on musicians, leading to slower ticket sales and higher touring costs. Source: Supplied / Matt Shaw "Touring's gotten a lot more expensive — flights, accommodation, gear hire, crew — it all adds up." The band has also been impacted by the closure of several music festivals across the country, which would typically bring more exposure and broaden their fan base. More than 25 music festivals across Australia have been cancelled since 2022, according to data from the Australian Festival Association. Community-led efforts still not enough Caitlin Welsh and Joe Hardy run a manually curated gig guide born from the loss of local music press and the lingering effects of Sydney's lockout laws. The guide briefly shut down in June due to a lack of funds, before a flurry of one-off donations and sponsorships allowed Welsh and Hardy to keep going — for now. "People hugely underestimate the amount of time and human labour it takes to manually research and compile the gig guide, as well as put together playlists and post daily lists to socials," Welsh told SBS News. "It's made by a small team of humans — including musicians and creatives who work with us as researchers — who need to be compensated for the amount of labour we're all doing in order to continue living in one of the most expensive cities in the world." Caitlin Welsh and Joe Hardy founded gig guide after frustrations with the diminishing Sydney music scene. But the cost of living is making it difficult for them to continue operating. Source: Supplied / Caitlin Welsh But live music spaces are becoming increasingly rare as venues face even more pressure to keep the doors open. India Wallis is a Brisbane-based musician and head of youth-focused record label Starving Kids, which runs a dedicated 150-capacity all-ages venue in Brisbane, serving musicians who are often booking their first show. "The gap between local acts and established acts seems to be getting wider," she told SBS News. "Brisbane is home to some great large-scale venues, but with more and more small venues closing, there are noticeably less opportunities for artists to cut their teeth." More than 1,300 live music venues and stages across Australia have been lost since the COVID-19 pandemic, according to a 2023 report from music rights management organisation APRA AMCOS. Welsh added: "Venues are being bled by insurance premiums and rent and the alcohol excise, and they can't afford to run all-ages shows because they rely on bar sales to support putting on music at all, and punters can't afford to buy as many drinks as they used to because their rent is too damn high." "The narrowing of music participation to people who can afford to treat it as a hobby, or who are forced to accept poverty to keep doing it, is just as creatively flattening as the algorithm." Algorithms placing pressure on industry At the same time, streaming platforms such as Spotify are continuing to grow, with over nine million users in Australia. Date from market research firm Roy Morgan found Spotify had doubled its Australian user base between 2017 and 2020. Since 2017, the platform has moved towards algorithmically creating personalised music recommendations, informed by a user's listening history and preferences. Koh says this means that people are more likely to value platforms like these instead of community radio, which was traditionally a hub for music discoverability. "People lead such busy lives, so the amount of time that people can devote to going on their own musical journey and discovering new artists is getting more and more limited," he said. Koh says this convenience is creating a "giant homogenous culture". "One thing that social media and algorithms can't replace is the experience and joy of seeing a band. That's often where artists find their audiences and the people who they can take on the journey with them throughout their careers." Despite coming off their largest Australian tour so far, Floodlights say it's become harder to be discovered organically — even in the midst of a breakout moment. "There's so much music coming out every day, and unless you're backed by major playlists or algorithms, it's easy to get lost in the noise," Draffen said. Should Triple J be doing more? In the face of so many obstacles, musicians such as Ben Lee — who is expected to chart in Saturday's countdown for his hits Cigarettes Will Kill You and Catch My Disease — have called for the ABC's Triple J to do more to support Australian music, including restricting all Hottest 100 countdowns to only spotlight Australian songs. "At a time when there are so many platforms for international music discovery, I just don't see the logic in a taxpayer-funded station using their platform to promote international acts, many on major labels," Lee told SBS News. He said it was being run like a "commercial station that's constantly bending over backwards to increase listenership", primarily through bigger international artists. Lee added that it should move to play only Australian music across the board. "They could single-handedly lead the way to revitalising the Australian music industry if they wanted to. But it would mean stopping thinking of themselves as a commercial radio station, but rather as a mission-driven government utility," he said. The station has a mandated quota of 40 per cent for Australian music, but typically plays closer to the 50 per cent mark. Last week, Lee made similar remarks on both social media and to The Sydney Morning Herald. Head of Triple J Lachlan Macara told the Herald seeing local artists next to international names was what made the Hottest 100 " so special". He said the program "would love to see even more people and platforms supporting and prioritising Australian artists". Australian musician Ben Lee has called for Triple J to do more to support Australian music. Source: Getty / Martin Philbey But members of the industry are still conflicted over the best path forward. While Floodlights recently played their biggest headline shows across the country, Draffen said it's still difficult to cut through without support from Triple J. "We've really had to double down on staying connected with our audience and finding new ways to reach people but it's hard as Triple J doesn't really play us, which obviously makes it tougher to reach a wider audience in Australia," he said. Wallis said that while artists at her record label have seen "great support" from Triple J Unearthed, which features unsigned local acts, she wanted to see more. "I strongly believe Triple J should be focusing more on a diverse range of homegrown acts, rather than commercial, international acts that already have a platform." Welsh agrees the Hottest 100 should be all-Australian each year, but stopped short of supporting that across the board. "Nobody does more for Australian music than Triple J," she said. "The ones who are letting down Australian music are the commercial stations … There has been zero accountability for commercial radio formats to meet their local music quotas." Koh agreed: "We know that we're doing our bit, and I think Triple J does as well." FBi Radio also operates under a 50 per cent Australian music mandate, with half of that coming from Sydney. "I think it's important to see Australian music in a global context and that local artists just don't exist in a silo."
