The ocean has captivated musicians for generations, inspiring some of the most evocative and powerful tracks in music history. From crashing waves to calm tides, songs about the sea and ocean capture the full spectrum of human emotion—longing, freedom, mystery, and transformation. These 20 tracks represent the finest ocean-themed songs ever recorded, spanning multiple genres and decades while showcasing the timeless connection between music and the deep blue.
“Ocean Eyes” by Billie Eilish
Billie Eilish’s breakthrough single “Ocean Eyes” remains one of the most mesmerizing debut tracks in recent memory. Released in 2016 through Darkroom and Interscope Records, this dream-pop gem showcases Finneas O’Connell’s ethereal production alongside Billie’s whisper-soft vocals that feel like gentle waves lapping at the shore. The song’s minimalist arrangement—featuring subtle electronic beats, atmospheric synths, and crystalline vocal harmonies—creates an intimate soundscape that perfectly captures the vulnerability of falling hopelessly in love. The lyric “I’ve been watching you for some time, can’t stop staring at those ocean eyes” became an instant classic, with the oceanic metaphor representing both beauty and emotional depth. When you listen on quality headphones, you’ll catch the delicate layering in the mix that gives this track its underwater quality.
“Beyond the Sea” by Bobby Darin
Bobby Darin’s 1959 jazz-pop masterpiece “Beyond the Sea” stands as one of the most romantic ocean songs ever recorded. This English adaptation of Charles Trenet’s “La Mer” features Darin’s smooth, confident vocals backed by a lush orchestral arrangement complete with sweeping strings and sophisticated brass sections. Producer Ahmet Ertegun helped craft a recording that sounds equally timeless whether you’re listening in a vintage jazz club or through modern streaming platforms. The song peaked at number 6 on the Billboard Hot 100 and has been covered countless times, but Darin’s version remains definitive thanks to his impeccable phrasing and the recording’s warm, analog richness. The way he delivers “somewhere beyond the sea, she’s there watching for me” captures pure optimism and longing in equal measure.
“The Ocean” by Led Zeppelin
From their 1973 album “Houses of the Holy,” Led Zeppelin’s “The Ocean” delivers raw, blues-infused hard rock power that metaphorically addresses their devoted fanbase—the “ocean” of fans at their concerts. John Bonham’s thunderous drumming, particularly that iconic shuffle groove, drives this Atlantic Records release with unrelenting energy while Jimmy Page’s guitar work cuts through the mix like a ship’s bow through rough seas. Robert Plant’s playful vocals, including the memorable spoken-word intro counting off the false start, add personality to this celebration of their audience. The production, handled by Page himself, showcases the band’s ability to balance heaviness with groove, and the song’s dynamic shifts mirror the unpredictable nature of ocean waves. This track sounds absolutely massive in a car stereo with proper bass response.
“Oceans (Where Feet May Fail)” by Hillsong UNITED
Released in 2013, this contemporary Christian worship anthem has become one of the most streamed worship songs globally, with over 250 million Spotify plays. Produced by Michael Guy Chislett, “Oceans” features Matt Crocker and Joel Houston’s emotive vocals over a gradually building arrangement that starts with delicate acoustic guitar and swells into a powerful wall of sound. The song’s spiritual metaphor of stepping out onto the ocean in faith resonates deeply with listeners, and the production’s use of space and dynamics creates genuine emotional impact. The bridge section—where everything drops out except vocals and minimal instrumentation—demonstrates masterful arrangement choices that give the subsequent crescendo maximum effect. For audio enthusiasts exploring worship music, comparing different playback systems reveals how crucial proper midrange reproduction is for capturing the vocal intimacy this track demands.
“Sail Away” by David Gray
David Gray’s “Sail Away” from his breakthrough 1998 album “White Ladder” combines electronic elements with acoustic folk in a way that felt revolutionary at the time. Gray produced and recorded much of this album himself in his London flat, and “Sail Away” showcases his ability to layer drum machines, synth pads, and organic instrumentation into something that sounds both homemade and polished. His weathered vocals deliver lyrics about escape and renewal over a hypnotic beat that builds throughout the track’s five-minute runtime. The song’s appeal lies in its contradictions—electronic yet human, melancholic yet hopeful, simple yet richly textured. IHT Records released this as a single, and it helped establish Gray as one of the UK’s most distinctive singer-songwriters of the late ’90s.
“Ocean Avenue” by Yellowcard
Yellowcard’s 2003 pop-punk anthem “Ocean Avenue” remains an essential track from the early 2000s alternative scene. Released through Capitol Records and produced by Neal Avron, this song distinguished itself from typical pop-punk fare by prominently featuring Sean Mackin’s electric violin, which weaves melodically through Ryan Key’s passionate vocals and the band’s energetic guitar work. The song name-checks Ocean Avenue in Jacksonville Beach, Florida, and captures that specific feeling of young love and coastal nostalgia that defined a generation. The production achieves that perfect pop-punk balance—polished enough for radio play but retaining enough raw energy to satisfy the Warped Tour crowd. Live performances of this track demonstrate why Yellowcard built such a devoted following, as the violin sections translate beautifully to arena settings.
“Sitting on the Dock of the Bay” by Otis Redding
Recorded just three days before his tragic death in December 1967, Otis Redding’s “Sitting on the Dock of the Bay” represents both a creative peak and a heartbreaking farewell. Co-written with guitarist Steve Cropper and produced at Stax Studios in Memphis, this Volt Records release marked a departure from Redding’s typical soul-shouter style, instead offering a reflective, almost meditative performance. The song’s gentle groove, featuring Booker T. Jones on keyboards and the legendary Memphis session musicians, creates the perfect backdrop for Redding’s contemplative vocals about isolation and uncertainty. That iconic whistling outro, recorded in one take, adds an improvisational touch that makes the recording feel eternal. The track posthumously reached number one on the Billboard Hot 100, and its influence on soul and R&B production continues today—the spacious mix and unhurried tempo were radical choices for 1968.
“The Ocean” by Mike Perry featuring Shy Martin
Swedish producer Mike Perry’s 2016 dance-pop hit “The Ocean” featuring vocalist Shy Martin became a streaming phenomenon, racking up over 500 million Spotify plays. Released through DF Records and Sony Music, this track exemplifies the tropical house movement that dominated mid-2010s pop music, with its steel drum-inspired synths, relaxed tempo, and Martin’s breathy, emotional vocal delivery. Perry’s production here is deceptively sophisticated—beneath the seemingly simple arrangement lies carefully crafted sound design, with each element given space to breathe in the mix. The drop, while not aggressive by EDM standards, hits with satisfying impact thanks to the buildup’s tension and release. For those comparing headphones for electronic music, this track reveals how important clarity in the upper-midrange frequencies is for appreciating the nuanced synth work.
“Across the Sea” by Weezer
From Weezer’s critically acclaimed 1996 album “Pinkerton,” “Across the Sea” stands as one of Rivers Cuomo’s most emotionally raw compositions. Produced by the band with additional production from Geffen Records’ team, this track strips away the power-pop sheen of their debut for something far more vulnerable and uncomfortable. Cuomo’s lyrics detail his loneliness and yearning for connection with a Japanese fan across the Pacific, and his strained vocal delivery—particularly in the bridge—conveys genuine desperation. The guitar tones here are distinctly different from the radio-friendly “Buddy Holly,” favoring a rougher, more lo-fi aesthetic that matches the song’s confessional nature. While “Pinkerton” initially received mixed reviews, songs like this have been reassessed as masterworks of ’90s alternative rock, with the album’s unvarnished honesty influencing countless emo and indie bands.
“Cool for the Summer” by Demi Lovato
While not explicitly about the ocean, Demi Lovato’s 2015 summer anthem “Cool for the Summer” captures that beachside freedom and experimentation perfectly. Released through Hollywood Records and Island Records, this Max Martin and Ali Payami production showcases Lovato’s powerful vocals over a driving pop-rock arrangement complete with electric guitars and pulsing synths. The song’s suggestive lyrics about a summer fling, combined with its infectious “ooh-ooh-ooh” hook, made it a radio staple that peaked at number 11 on the Billboard Hot 100. Lovato’s vocal performance demonstrates impressive range and control, from the verses’ conversational delivery to the chorus’s belt-it-out power. The mastering here is particularly well-executed, maintaining radio-ready loudness without sacrificing dynamic range—a balance that many contemporary pop productions struggle to achieve.
“Ocean” by Khalid
Khalid’s smooth R&B track “Ocean” from his 2018 EP “Suncity” showcases his signature laid-back vocal style over production by Charlie Handsome and Stint. Released through Right Hand Music Group and RCA Records, this song exemplifies modern R&B’s minimalist approach, with trap-influenced hi-hats, deep sub-bass, and spacious atmospheric pads creating the sonic backdrop. Khalid’s lyrics use the ocean as a metaphor for emotional depth and mystery in a relationship, and his effortless vocal delivery makes even the most complex melodies sound casual. The track’s low-end response is particularly noteworthy—when played through a proper subwoofer or quality bass-focused earbuds, you’ll experience the sub-bass frequencies that are essential to this production’s impact. For listeners exploring different songs in contemporary R&B, Khalid’s catalog demonstrates how restraint and space can be just as powerful as complexity.
“By the Sea” by Sweeney Todd Cast
From Stephen Sondheim’s dark masterpiece “Sweeney Todd: The Demon Barber of Fleet Street,” “By the Sea” offers a comedic contrast to the musical’s grim themes. In the 2007 film version produced by DreamWorks and Warner Bros., Helena Bonham Carter’s performance as Mrs. Lovett brings this seaside fantasy to life with theatrical flair. The song’s music hall-style arrangement, featuring jaunty accordion, playful strings, and a waltz-time signature, creates a deliberately old-fashioned sound that contrasts brilliantly with the character’s murderous reality. Sondheim’s wordplay here is characteristically brilliant, with internal rhymes and tongue-twisting phrases that demand a skilled vocalist. The film’s production team, led by music supervisor Mike Higham, ensured the songs retained their theatrical energy while adapting to cinema’s intimate close-ups.
“Message in a Bottle” by The Police
The Police’s 1979 new wave classic “Message in a Bottle” from the album “Reggae de Blanc” demonstrates Sting’s genius for combining rock energy with reggae rhythms. Produced by Nigel Gray and The Police for A&M Records, this track features one of the most recognizable guitar riffs in rock history, with Andy Summers’ stacked, chorused guitar creating a shimmering texture that evokes both desperation and hope. Stewart Copeland’s hi-hat work drives the reggae-influenced groove while maintaining rock intensity, and Sting’s vocals deliver the castaway narrative with urgency and emotion. The song reached number one on the UK Singles Chart, and its production—lean, energetic, and devoid of unnecessary embellishment—remains a model for power-trio recording. The way the arrangement builds from sparse verses to the anthemic chorus demonstrates the band’s dynamic control.
“Sail” by AWOLNATION
AWOLNATION’s 2010 breakout hit “Sail” took an unconventional path to success, slowly building momentum through commercials, TV shows, and viral videos before eventually achieving diamond certification. Released through Red Bull Records, Aaron Bruno’s production here combines electronic elements, aggressive distortion, and an unforgettable vocal hook into something genuinely unique. The song’s minimal verse, consisting primarily of that haunting synthesizer line and Bruno’s processed vocals, creates tension that explodes in the distorted, bass-heavy chorus. What makes “Sail” particularly interesting from an audio perspective is how it uses dynamics and timbre changes rather than melodic complexity to maintain interest—the contrast between the clean verses and the crushed, heavily compressed chorus sections creates visceral impact. For anyone comparing different audio systems, this track’s extreme dynamic range and bass content make it an excellent test track.
“Southern Cross” by Crosby, Stills & Nash
From their 1982 album “Daylight Again,” Crosby, Stills & Nash’s “Southern Cross” stands as one of the most beautiful sailing songs in the classic rock canon. Originally written by Rick and Michael Curtis before being reworked by Stephen Stills, this Atlantic Records release features the group’s trademark three-part harmonies over a mid-tempo rock arrangement with tasteful keyboard work and Stills’ melodic guitar playing. The lyrics detail a sailing journey as metaphor for moving past heartbreak, with specific nautical references that demonstrate genuine knowledge of seamanship. The vocal blend here is exquisite—each singer’s voice remains distinct while creating a unified whole, a production achievement that requires both skilled performers and careful mic placement and mixing. The song became a staple of classic rock radio, and its enduring appeal lies in its combination of craftsmanship, emotional resonance, and that singalong chorus.
“Come Sail Away” by Styx
Styx’s 1977 progressive rock epic “Come Sail Away” from the album “The Grand Illusion” showcases the band’s ability to craft radio-friendly art rock. Released through A&M Records and produced by the band with technical assistance from Will Rascati and Barry Mraz, this track famously begins as a piano ballad before transforming into a full-band anthem complete with synthesizers, guitar solos, and Dennis DeYoung’s soaring vocals. The song’s structure—moving from intimate to bombastic—was a bold choice that paid off commercially, reaching number 8 on the Billboard Hot 100. Tommy Shaw’s guitar work in the song’s rock section provides the perfect counterpoint to DeYoung’s keyboard-driven intro, and the extended outro with its choir of “I’m sailing away” vocals creates genuine euphoria. Live performances of this track demonstrate why Styx became one of the ’70s most successful arena rock bands, as the song’s dynamic arc translates perfectly to large venues.
“Ocean Eyes” by Owl City
Owl City’s 2009 synthpop confection “Ocean Eyes” (the title track from the album, not to be confused with Billie Eilish’s later song) exemplifies Adam Young’s bedroom-producer-turned-star story. Released through Universal Republic Records, this track features Young’s characteristic layers of synthesizers, drum programming, and multi-tracked vocals creating a dreamy, optimistic soundscape. The production here is deceptively dense—beneath the seemingly simple pop structure lies dozens of synthesizer tracks, each carefully EQ’d and placed in the stereo field to create maximum clarity despite the complexity. Young’s lyrics lean into whimsical metaphors about wonder and romance, and his earnest vocal delivery sells material that in lesser hands might sound overly cute. The album’s success, driven by the massive hit “Fireflies,” proved that independent artists with strong production skills could compete with major-label pop acts.
“Waves” by Dean Lewis
Australian singer-songwriter Dean Lewis broke through internationally with “Waves,” released in 2016 through Island Records. This emotional ballad builds from a simple acoustic guitar and vocal arrangement into a powerful, orchestral-backed climax that showcases Lewis’s raw vocal intensity. Produced by Edd Holloway and Nick Atkinson, the track uses the ocean waves metaphor to describe overwhelming grief and emotion, with Lewis’s personal experience of loss informing the genuine vulnerability in his performance. The song’s structure follows a classic power ballad template, but the execution—particularly the restraint shown in the early verses before the full band enters—elevates it above typical pop formulas. When Lewis performs this live, the audience’s emotional response demonstrates the song’s universal resonance, and the streaming numbers (over 600 million Spotify plays) confirm its status as one of the decade’s most affecting ballads.
“The Ocean” by Against Me!
Punk rock band Against Me! delivered “The Ocean” on their 2007 album “New Wave,” released through Sire Records. Produced by Butch Vig (famous for Nirvana’s “Nevermind”), this track balances the band’s punk roots with more polished production values, resulting in one of their most accessible yet still powerful songs. Laura Jane Grace’s distinctive voice delivers lyrics about isolation and escape over driving guitar work and propulsive drumming that maintains energy without sacrificing melody. Vig’s production brings clarity to the band’s typically raw sound—each instrument occupies its own space in the mix while maintaining the cohesive wall-of-sound that punk demands. The song represents Against Me!’s successful transition to a major label without losing the authenticity that earned their devoted following.
“Ocean Drive” by Duke Dumont
British producer Duke Dumont’s 2015 deep house hit “Ocean Drive” featuring Boy Matthews became a summer anthem through its infectious groove and nostalgic vibes. Released through Blasé Boys Club and Virgin EMI Records, this track exemplifies sophisticated dance production—the seemingly simple arrangement actually contains meticulously crafted sound design, from the warm bass line to the shimmering synth pads that evoke sunset drives along coastal highways. Matthews’ vocals, processed with subtle effects that enhance rather than obscure his performance, deliver lyrics about romantic possibility over Dumont’s impeccable beat programming. The song’s success on both club sound systems and portable speakers demonstrates the production’s versatility, and for those interested in comparing earbuds for electronic music, this track’s balance of bass weight and melodic clarity makes it an excellent reference point. The track achieved platinum certification in multiple countries and remains a staple of summer playlists.
Frequently Asked Questions
What makes a great ocean-themed song?
Great ocean-themed songs successfully use maritime imagery and metaphors to convey universal emotions like longing, freedom, mystery, or transformation. The best tracks balance lyrical content with production choices that evoke the sea’s qualities—whether through spacious mixing that mimics ocean vastness, rhythmic patterns suggesting waves, or dynamic shifts representing the water’s changing moods. Songs like “Ocean Eyes” by Billie Eilish achieve this through ethereal production, while Led Zeppelin’s “The Ocean” uses raw power to metaphorically represent their massive fanbase.
Why do so many musicians write about the ocean?
The ocean serves as one of music’s most versatile metaphors because it represents countless human experiences—depth of emotion, the unknown, journey and transformation, separation and longing, freedom and danger. Musicians across genres from Bobby Darin’s jazz-inflected “Beyond the Sea” to Against Me!’s punk rock “The Ocean” have found the maritime theme endlessly adaptable to their specific artistic visions. The sea’s universal presence in human culture also means ocean imagery resonates across different audiences and generations.
Which ocean song has been most commercially successful?
Otis Redding’s “Sitting on the Dock of the Bay” stands as one of the most commercially successful ocean-themed songs, reaching number one on the Billboard Hot 100 posthumously in 1968 and becoming his signature song. In the modern streaming era, AWOLNATION’s “Sail” achieved diamond certification, representing over 10 million units sold or streamed, making it one of the best-selling rock songs of the 2010s. Billie Eilish’s “Ocean Eyes” also achieved massive streaming success with over a billion Spotify plays.
How do producers create oceanic sounds in recordings?
Producers employ various techniques to evoke oceanic feelings in recordings, including spacious reverb to suggest vastness, filtered and processed vocals to create underwater effects, synthesizer pads with slow attack times mimicking waves, and dynamic mixing that alternates between sparse and full arrangements like tidal patterns. Duke Dumont’s “Ocean Drive” uses warm bass lines and shimmering synths to suggest coastal environments, while Mike Perry’s production on “The Ocean” incorporates steel drum-inspired sounds that evoke tropical beaches and ocean settings.
What’s the difference between ocean songs and general water-themed songs?
Ocean songs specifically reference seas, sailing, waves, tides, and maritime imagery, often addressing themes of vastness, journey, and the unknown, while general water-themed songs might reference rivers, rain, or lakes with different metaphorical implications. Ocean songs like Styx’s “Come Sail Away” or Crosby, Stills & Nash’s “Southern Cross” incorporate nautical terminology and sailing imagery that wouldn’t apply to other water settings. The ocean’s specific qualities—its size, power, mystery, and connection to exploration and trade—provide distinct thematic material that separates these songs from broader water references.