Consequence Staff
May 20, 2024 | 11:25am ET
Consequence’s Post-Grunge Week kicks off with a list of the 50 Best Post-Grunge Songs. Keep checking back throughout the week for lists, artist-driven content, and more.
Post-grunge came in two waves. First, in the immediate months and years after of the tragic death of Kurt Cobain, when bands like Live, Bush, and Collective Soul burst onto the scene. These acts offered up a sound that was influenced by the grunge movement, but featured a more polished sheen.
Then, a second wave hit in the late ’90s and early aughts, when acts like Creed, Nickelback, Shinedown, Staind, and others began to dominate rock radio. The influence of singers like Eddie Vedder and Layne Staley were apparent, but delivered with a little less pain and a little more more testosterone. The distorted guitars were also there, but smoothed out with a more radio-friendly endgame.
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Critics and naysayers would dismiss this second wave of post-grunge as “butt rock,” but 20-plus years later most of these acts are still going strong and still dominating the mainstream rock scene. In fact, a whole new generation of fans are embracing this music, thanks in large part to the everlasting nature of the scene’s many hits.
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In compiling the greatest post-grunge songs, we zeroed in on a certain sound that clearly shows the grunge influence. While bands like Linkin Park, Limp Bizkit, Disturbed, and Evanescence are contemporaries of the bands included, we didn’t add their songs, as they dip more into nu-metal or heavy metal or gothic rock. And even though Dave Grohl was in the biggest grunge band, you won’t see Foo Fighters on our list, as their music falls more in the alt-rock realm.
While some may still call it “butt rock,” the tunes below seriously kick butt. So, set aside your pretentiousness for a moment, and rock out to our picks for the 50 greatest post-grunge songs.
— Spencer Kaufman
Heavy Consequence Managing Editor
50
We're here to celebrate muscular music, sure, but [raspy post-grunge voice] the heart is also a muscle. Fuel's "Shimmer" could share a playlist with The Lumineers and Plain White Tees, but it's almost shocking on Sunburn, where it lands as one of the few mellow moments. Songwriter Carl Bell penned the tune after a real phone call with an ex, and the complexity of the emotions helps "Shimmer" tiptoe away from schmaltz. But best of all is the melody -- good luck getting it out of your head. -- Wren Graves
49
For a debut single from a debut album, Three Days Grace sure do sound confident on "I Hate Everything About You." The explosive chorus is anthemic and angsty -- the perfect mix -- and it's lived on as one of the band's most enduring, popular tracks. "I still don't miss you yet/ Only when I stop to think about it," grumbles Adam Gontier, the band's original lead vocalist. -- Mary Siroky
48
As the third single from Creed's diamond-certified album Human Clay, "With Arms Wide Open" not only topped the rock charts, but also hit No. 1 on the overall Billboard Hot 100 tally. Furthermore, it won the Grammy for Best Rock Song. The song's staying power lies in its beautiful message from parent to child, as Scott Stapp wrote this tune upon learning that he was going to be a father for the first time. -- Spencer Kaufman
47
The post-grunge movement infiltrated American Idol's fifth season when Chris Daughtry placed fourth. He may not have won the singing competition, but he soon put together an eponymous band and scored a massive hit with "It's Not Over." The anthemic tune showcases his powerhouse vocals as he sings about starting over in a relationship that's on the rocks. The song was a crossover hit, landing in the Top 5 of both the rock and pop charts. -- S. Kaufman
46
One of Chevelle's most beloved songs, "Send the Pain Below" is appropriately tamer than what was typical for post-grunge bands at the time. Like its title suggests, there's teeming rage in the song, but it's attacked with a layer of grungy distance. Perhaps its the song's snowboarding-themed music video that gives "Send the Pain Below" an icy hue, but even on its own, Pete Loeffler's light croons turn supercharged when the band reaches the song's prophetic chorus. -- Paolo Ragusa
45
The deep vocal croon was one of the signatures of post-grunge, and The Calling frontman Alex Band had it down pat — to the point where he sounds like he’s almost over-exaggerating the affectation. Still, the group’s biggest hit “Wherever You Will Go” is a melodic gem that showcases Band’s impressive range and vocal command. Say what you will, but singing like this takes major talent and practice, even if it’s a bit out of vogue nowadays. -- Jon Hadusek
44
Tantric was formed by three ex-members of Days of the New, who recruited singer Hugo Ferreira for their new project. “Breakdown” has an alluring psychedelic flair, especially the intro, that owes a bit to the progressive leanings of Tool. From there, the band steer things into a more commercial verse-chorus-verse structure with surging guitars and a full-on rap-metal hook. -- J. Hadusek
43
Smile Empty Soul would peak with their debut single “Bottom of a Bottle,” a slamming Deftones-meets-Incubus treatment that was very much rooted in the sound of the California rock scene at the time. Dark lyrics about substance abuse vs. heavy groove-metal riffs: It was a thing back then, and helped the band score their only Top 10 hit on Mainstream Rock radio. -- J. Hadusek
42
"Paralyzer" might be one of the tracks on this list most likely to fill a dance floor, thanks to the driving rhythm of Rich Beddoe's drum work. The irony, of course, is that the song is about how much the members of Finger Eleven hate such places, with lyrics like "This club will hopefully be closed in three weeks." What it captures so well, though, is that awkward feeling of wanting to connect with someone you might spot in a dance club — and knowing that a dance club is the worst possible place to make that happen. -- Liz Shannon Miller
41
Leave it to Hinder to write an anthem for cheaters everywhere. Admittedly, with its loud-quiet dynamics and memorable lyrics, even the most faithful among us get swept up in its tale of being hung up on an ex-lover. What really pushes "Lips of an Angel" over the edge, though, is just how patently earnest it is. No winks or nudges, just big, distorted guitar chords and a hushed, forbidden phone conversation. -- Jonah Krueger
40
The way Live's "I Alone" roars into your eardrums makes it impossible to forget. The guitar-driven anthem's lyrics work as either a love story or a Biblical narrative — which makes sense, because frontman Ed Kowalczyk has said an ambiguous reading is appropriate. (If nothing else, he wasn't in a relationship when he wrote it.) -- L.S. Miller
39
Set in the smoldering ruins of a relationship, "Awake" is roar of defiance. "I'm alive and still kicking," Sully Erna snarls, asserting not just his independence, but his vitality -- his right to a life worth living. In Erna's frequent moments of silence, Godsmack's pummeling rhythm section takes center stage, with highlights including a bruising breakdown to end the intro and an exhilarating bridge. Even if you can't relate to the bitter lyrics, "Awake" is a jolt of energy. -- W. Graves
38
Lifehouse isn't technically a one-hit wonder, but even if "Hanging by a Moment" was their only major contribution to the world of music, it'd still be a solid legacy for the Los Angeles band. This one's just such a delight to sing along with, in that "I definitely know the first line of the chorus, but maybe the rest of it gets a little wobbly after a few lines" way. -- L.S. Miller
37
Incubus’ “Drive” may be the softest post-grunge song on this list, but it was nonetheless a part of the era. The case in point would be the watery, aching tone on Mike Einziger’s guitar solo in the bridge. Incubus’ Brandon Boyd has garnered many comparisons to Faith No More’s Mike Patton, who bore his own influence on the post-grunge scene – but on “Drive,” the band combined their smartest impulses to form their signature hit, with a sound only Incubus could boast. --P. Ragusa
36
If you can get past the male-gaze of the lyrics and music video, Crossfade’s “Cold” kinda goes hard. These guys were of the same mold as Nickelback and 3 Doors Down, but singer Ed Sloan has more dynamics and range than say, Chad Kroeger, and he really pushes his voice to the limit on the soaring chorus. Meanwhile, the pseudo rapped cadence in the verses (despite some inherent cheesiness) adds a nice push-and-pull effect against the smooth melodies of the chorus. -- J. Hadusek
35
While most people know Hoobastank for their 2004 crossover smash hit “The Reason," they began with a much heavier origin story. “Crawling in the Dark,” the crown jewel of their 2001 self-titled major label debut, is a perfect example of the California band’s post-grunge predilections. It’s still a banger, but it also serves as a bigger time capsule to the era than any of their other songs (remember the skating game Aggressive Inline, anyone?) --P. Ragusa
34
Nearly eight minutes long, this track from Alter Bridge's album of the same name is genuinely affecting (even for listeners not familiar with the real-life backstory centered on the loss of a friend). There's tangible rage and grief baked into the driving rhythm here: "The cycle of suffering goes on/ But memories of you stay strong/ Someday I too will fly and find you again," sings Myles Kennedy. -- M. Siroky
33
Default's breakout moment arrived in 2001 with this track, which dared to ask a very bold question: How many syllables could just one lead singer stretch the words, "Whoa, yeah?" The band was primarily successful in Canada, but "Wasting My Time" landed at the perfect moment in time to break into other markets experiencing a boom of industrial angst and driving guitar. -- M. Siroky
32
South African act Seether may have named themselves after a Veruca Salt song, but there's never been any denying that Nirvana played a big influence on frontman Shaun Morgan and company. Kurt Cobain's quiet-loud dynamic certainly influenced the band's very first single, "Fine Again," but Seether managed to carve out their own brooding yet melodic sound on the infectious track, which shot all the way up to No. 3 on the mainstream rock chart. -- S. Kaufman
31
After going multi-platinum with their debut album The Better Life and its signature tune “Kryptonite,” 3 Doors Down handily avoided a sophom*ore slump when they unleashed “When I’m Gone” as the first single from Away from the Sun. The song features an anthemic chorus about unconditional love, even when you’re away from home. The heartfelt message helped the tune top the Mainstream Rock chart for an incredible 17 weeks. — S. Kaufman
30
This track from Our Lady Peace isso 2002, in all the best ways -- from the chord progressions to the raspy, unpolished vocals, everything about "Somewhere Out There" feels like a time capsule. Expressing vulnerability, like the desire to reunite with a past lover, is communicated withthe intensity more characteristic of the genre, and the balance is what keeps this one in rotation over twenty years later. -- M. Siroky
29
Bush's “Glycerine” is a calling card to the era, both the post-grunge movement and the ‘90s altogether. Even its title feels like an epitomizing signifier, evoking a hallucinogenic drug and bleach at the same time. With just a warm guitar, weepy strings, and Gavin Rossdale’s grumbling, tarnished-but-beautiful voice, “Glycerine” is one of the ultimate post-grunge ballads, lovingly parodied in The Simpsons and still serving as Bush’s most transcendental moment. – P. Ragusa
28
While dark on the surface, Shinedown's "45" is actually more of a message of hope than anything -- just go to the comment section of the track's YouTube video for confirmation. But if that's not enough, the band's lead vocalist Brent Smith commented on the legacy of the track, sharing, "The song is about the day that you wake up and you look at yourself in the mirror and you finally decide that you want to try to become comfortable in your own skin." -- M. Siroky
27
Papa Roach broke on the scene with their signature hit "Last Resort," but we'll save that one for a nu-metal list. The band got its post-grunge on with the heart-wrenching “Scars,” as Jacoby Shaddix delivers an unapologetically earnest vocal, howling like a preacher as the band plays like it’s their final bow. --P. Ragusa
26
Switchfoot were at the right place at the right time – their 2003 debut album, The Beautiful Letdown, was Christian-core alternative rock with some under-appreciated heaters (“More Than Fine,” the title track), and yet, “Meant to Live” still serves as their hardest-rocking statement to date. The alternating, droney guitar riffs are peak post-grunge, but it's Jon Foreman’s inspired vocal performance in the chorus that really took this band to rock cathedrals, Christian summer camps, youth group jam sessions, and rock radio stations everywhere. -- P. Ragusa
25
Unlike "Higher," "One Last Breath," or "With Arms Wide Open," Creed don't play coy on "My Sacrifice." There's no switch between clean and distorted guitars or a build to some grand chorus. No, for this number, Creed give the rockers what they want and keep their distortion pedals engaged for the full duration of the song. By definition, that might just make it the banger-est Creed banger of all. -- J. Krueger
24
Released in 2006, Breaking Benjamin’s “The Diary of Jane” is almost post-post-grunge. It definitely has the masculine angst common to the genre proper, but there are also some mathy quirks and Tool-esque flare-ups in the song. Breaking Benjamin have quietly enjoyed one of the most successful careers of any post-grunge act, with “The Diary of Jane” one of many chart-topping hits for the band. -- J. Hadusek
23
Corey Taylor formed Stone Sour long before joining Slipknot. The masked metal act hit it big first, but the singer soon had the distinction of fronting two successful bands. While Stone Sour rocked pretty hard, the band allowed Taylor to unmask his softer side, especially on songs like the melodically haunting "Through Glass." The tune was inspired by Taylor's frustrations with the music industry as reality singing competitions were dominating TV at the time.-- S. Kaufman
22
Songwriter Emerson Hart literally began working on this song after a phone call with his mother, in which they fought about his relationship at the time (he literally told her, "If you could only see the way she loves me, then maybe you would understand"). This song's themes understandably lie pretty close to the surface, but it's a great anthem for anyone furious at a family that just doesn't get it, anchored by a great blend of acoustic and electric guitar. -- L.S. Miller
21
"Denial" appeared on Sevendust's sophom*ore album, Home, and while they would have bigger radio hits, the sharpness of this one endures. The song starts with swirling sounds that feel like the hiss of a dynamite fuse before the explosion. After ignition, Clint Lowery's guitar lick paces in furious circles like a caged animal, and while we never learn exactly what's being denied, when Lajon Witherspoon growls that word, "Denial," you can feel the rage coursing through your veins. --W. Graves
20
When Silverchair emerged as a trio of Australian teens in late 1994 with their debut single "Tomorrow," the comparisons to Nirvana were inevitable -- thanks in large part to singer Daniel Johns' striking resemblance to the late Kurt Cobain. However, the tune had more of a Pearl Jam vibe, with Johns displaying some gritty, Vedder-like vocals. Either way, it's a pretty killer track considering the band members were each 15 years old when they recorded the song. -- S. Kaufman
19
Thank the rock gods that post-grunge was peaking right at the same time as original movie soundtracks. "Hero" was the theme song to the firstSpider-Man film, and it's hard to undersell how massive both releases were. Credited to Nickelback's Chad Kroeger featuring Salivia's Josey Scott, Theory of a Deadman's Tyler Connolly and Pearl Jam's Matt Cameron are also on the track. Together, they give string-accompanied sonics to the epic vulnerability at the core to the Spider-Man mythos. --B. Kaye
18
Days of the New carried the Alice in Chains comparisons like an albatross, but there’s no denying that a song like “Touch, Peel and Stand” taps into the same laidback haze as AIC’s acoustic material. That includes the thinly veiled lyrical references to addiction, which frontman Travis Meeks has battled over the years. This one has objectively aged well sonically, even if it’s chorus refrain —“you are the one to abuse” — is a bit cringe in 2024. -- J. Hadusek
17
This one’s all high howls and hard riffa*ge, folks. Leave it to Tom Morello to write the most hair-raising, gut-punching, fire-breathing guitar line, which is certainly one of the best in Audioslave’s short-but-terrific catalog. While Audioslave quickly expanded far enough from the post-grunge label with their debut album, “Cochise” was likely the first impression that many Rage and Soundgarden fans got from the then-new supergroup – and it’s an early-aughts scorcher. -- P. Ragusa
16
Nothing screams "turn of the century rock ballad hit" like "Fred Durst directed the music video." Yet on its own merits, "It's Been Awhile" holds up for the way it expresses what it feels like to think you've ruined the best thing you ever had. It's a song about screaming for a second chance, and not being sure you deserve it. Weirdly, it's super fun at karaoke. -- L.S. Miller
15
There's something special about how the post-grunge era accommodated songs that rocked hard while also delivering stories beyond the standard love tune. The real-life events that inspired "The Freshman" did not include an ex-girlfriend's death by suicide, yet that doesn't stop the song from being a true power ballad that inspires memories of being young and foolish, and thinking you're not. -- L.S. Miller
14
You’re in a no-name dive bar. You’ve just ordered your third Coors Banquet, and someone shuffles over to the jukebox. A moment later, a familiar flurry of guitar harmonics fills the room — it’s “Blurry.” Everyone cheers and downs their drink. By the time the chorus kicks in, Wes Scantlin and the gang have somehow done it, they’ve managed to “TAKE IT ALL AWAYYYY,” and life is bliss for five minutes and four seconds. —Jonah Krueger
13
The riff on Chevelle’s “The Red” is laced with so much tension that each time it descends to the bass note, you can feel it rattling in your chest. Luckily, that tension explodes in the song’s harmony-laden chorus, which is so stadium-ready that it sounds designed for supersized speakers. Like “Send the Pain Below,” “The Red” also makes great use of the contrast between heavy, drop D guitars and vocalist Pete Loeffler’s Chino Moreno-like tenor. --P. Ragusa
12
Marcy Playground play it fairly straight on "Sex and Candy." Unlike many of the other hits on this list, there's no wall of distorted guitars, no strained vocals, and the licks are loose and slackery rather than macho and aggressive. Instead, "Sex and Candy" lets John "Woz" Wozniak's vocal performance take the spotlight, with the band gently supporting him as the song strolls along -- and in the process of doing so, Marcy Playground just about reach melodic perfection.-- J. Krueger
11
The songs on this list aren't known for restraint, but "Voodoo" bucks the trend with moody atmospherics built around negative space. The drums, simple yet provocative, share time with a haunting bass line and the distant screech of guitars. Sully Erna, more known for his growling delivery, here allows his bourbon baritone to float over top of the track. "Voodoo" is not a sensitive look at a religion, but it is good fun, and as far as commercial rock goes, it's so unusual it's almost experimental. -- W. Graves
10
Ignoring the Jared Leto-sized elephant in the room, few post-grunge songs are as purely exhilarating as Thirty Seconds to Mars' "The Kill." On top of the soaring vocals, air-drum-worthy groove, and wonderfully dramatic piano chords, the track boasts a song structure that seems scientifically engineered to engage listeners' dopamine receptors -- a taste of the chorus at the top, a breakdown that leads to a build in the back end, and a final resolution that brings you back home. You gotta hand it to them, "The Kill" is truly killer. -- J. Krueger
9
"Machinehead" starts with a riff for the ages -- a guitar lick so good that it transforms "I felt you like electric light" from nonsense into one of the coolest things you can shout in an arena. "Breathe in, breathe out," is less a lyric than a command, and every time you find yourself wondering what "Blood is like wine/ Unconscious all time" even means, here comes that riff again. "Machinehead" is designed to sweep you up in overwhelming emotion -- to silence the nagging part of your brain asking questions like, "What is this song about?" It's about to rock your face off, that's what. -- W. Graves
8
An underappreciated aspect of 2000's radio rock is just how danceable many of the songs really were. Case in point, "Animal I've Become." Kicking off with just bass and four-on-the-floor drums, the song builds itself around a syncopated guitar riff that has your hips swaying just as much as it has your head banging. Then, of course, there's the bombastic chorus, which relieves the tension and turns the dancing into a full-on push-pit. Ultimately, it's a tune built to get stadiums, festival sites, and biker bars on their feet and moving, and it does so damn near flawlessly. -- J. Krueger
7
Post-grunge could bleed back and forth with nu-metal, and that confluence was best handled by Incubus. "Pardon Me" butts electronic scratching and half-rapped verses up against shredding guitars and cathartic screams on the chorus. Thatshould sound utterly weird, but there's something just deft in the way the loud-quiet dynamics all comes together. It helps that Brandon Boyd has one of the most unique voices the genre ever witnessed, making it a perfect vessel for reflecting the desire for change so prominent at the turn of the millenium. --B. Kaye
6
The fuzzy, muted guitar intro to Collective Soul’s “Shine” is seductive and strangely calming. It just feels good to listen to, guiding this ’90s radio staple to its iconic chorus refrain:“Whoa-ooh-oh, heaven let your light shine down.” The general positivity of the song, with its obvious religious connotations, was in sharp contrast to much of the darker grunge being released in 1993; yet, Collective Soul lucratively kept their sound heavy enough to tap into the huge alt-rock/grunge market of the time while still appealing to a soft-rock listener base — “Shine” being the definitive example of this dichotomy. -- J. Hadusek
5
According to Fuel’s guitarist and principal songwriter Carl Bell, “Hemorrhage (In My Hands)” was written about a childhood experience when his grandmother lost her battle with cancer. Knowing the context may help reinforce the song’s devastating, heartsick desperation – but even without it, “Hemorrhage” is one of those post-grunge ballads that truly transcended the genre and became a genuinely moving document. It’s Bell’s creation, but it’s original singer Brett Scallions’ soaring, broken vocals that help the song play out like a gripping piece of theater. --P. Ragusa
4
Even if this genre wasn't your vibe at all in its heyday, there's a very strong chance you know the words to this song. It's hard to deny how much fun the energy of "Kryptonite" is, and that's probably a huge reason this 3 Doors Down cut -- their debut single! -- blew up the way it did. The band's vocalist Brad Arnold (who also drummed on the track) wrote "Kryptonite" during math class, and the track's success from there is remarkably organic: the song aired on a local radio station as a demo and quickly caught fire. "Kryptonite" was simply destined to be out in the world. -- M. Siroky
3
You could certainly make the argument that Live's 1994 opusThrowing Copper was the birth of the post-grunge movement (stay tuned, we will). At the center of the album is "Lightning Crashes," a slightly restrained, riveting song that combined the Pennsylvania band’s command of tenderness with their soaring, anthemic impulses. “Lightning Crashes” may be one of the more minimalist post-grunge moments, but its themes are macro and existential, conducted so cinematically that it will likely receive emotional needle drops in film and TV for decades to come (see: Yellowjackets). -- P. Ragusa
2
Hopefully we've moved past the idea that Nickelback is cringe, because frankly, there is nothing cringe about "How You Remind Me." The Canadian band's breakout hit is a force to be reckoned with, and there are so many spine-tingling moments to treasure over 20 years later: The iconic opening line of "Never made it as a wise man...," the perfectly-sequenced drum roll in the verses, the toggle between gorgeous, crystal clear guitars and appropriately heavy ones, and perhaps most of all, the instantly rousing "I've been wrong! I've been down!" in the chorus. It is one of post-grunge's most important crossover moments, and thankfully, it still hits. -- P. Ragusa
1
In so many ways, "Higher" has aged into the definitive post-grunge song. Each individual element -- Scott Stapp's mouthy baritone, Mark Tremonti's tasty drop D licks, the anthemic melodrama -- serve as paragons of the genre's hallmarks. Moreover, its 2024 pop culture revival completes a cycle of appreciation parallel to post-grunge in general: one of the era's biggest hits becomes emblematic of all its criticisms, gets used ironically in film soundtracks and YouTube montages, ends up embraced by the likes of baseball's Texas Rangers and Paramount+ for the truly badass song it is. What's old is new again, but what rocks always rocks. -- B. Kaye
