Adam Eckersley songs have a way of sneaking up on you — one minute you’re half-listening in the car, the next you’re singing along to a chorus you didn’t know you’d memorized. The Grafton-born guitarist, songwriter, and former Bluezone frontman has spent nearly two decades building a catalog that moves between blues-rock grit, contemporary country storytelling, and the warm harmony work he shares with his wife, Brooke McClymont. Whether you know him from the Adam Eckersley Band’s early Golden Guitar wins or from the “Adam & Brooke” duo records, this list pulls together the twenty songs that best capture why his fans keep coming back. You’ll find these tracks and plenty more over in our songs archive, where we regularly dig into artists just like this one.
Give Her The World
This is arguably the song that put Eckersley on the international map, and it still holds up as a genuine highlight of his catalog. Pulled from The First Album, “Give Her The World” was co-written with Danelle Leverett and Jason Reeves, and that Nashville-meets-Australia writing session shows in how efficiently the lyric builds its emotional case. The song went on to win the APRA Award for Country Work of the Year, and honestly, that recognition tracks — the melody is disarmingly simple, but the vocal delivery sells every ounce of sincerity in the lyric. On headphones you really notice how restrained the production is, letting the acoustic guitar and Eckersley’s voice do the heavy lifting instead of burying the song under studio polish.
Star Of The Show
As the lead single from the “Up Down & Sideways” album with Brooke McClymont, “Star Of The Show” carries a different kind of energy — brighter, more radio-ready, and built for a big chorus. It reached number one on the iTunes Single and Video chart, a moment that got an extra push when Brooke performed it during her run on I’m a Celebrity, Get Me Out of Here. What strikes me most is the interplay between the two vocalists; Eckersley’s grounded tone against McClymont’s more lilting delivery creates a genuine call-and-response dynamic rather than the token duet vocals you hear on a lot of country-pop crossovers. It later took home the Golden Guitar for APRA AMCOS Song of the Year, which feels like a fair reward for a song this catchy.
Wheels
“Wheels” leans into the road-song tradition that runs through so much of Eckersley’s writing, pairing a rolling rhythm guitar figure with lyrics that feel like they were written somewhere between gigs. There’s a live-band looseness to the arrangement that suggests this one probably kills in a festival set, where the tempo gives the rhythm section room to push and pull against the vocal phrasing. In contrast to some of his more polished radio singles, this track feels like it’s built for the stage first and the studio second.
Long Enough To Disappear
One of two pre-release singles from The First Album, “Long Enough To Disappear” was co-written with Troy Johnson and Henry Jack Williams and became an early proof point that Eckersley’s songwriting could travel well beyond Australia. The verses lean into a slow-burn narrative style, and the arrangement gives the storytelling plenty of breathing room before the chorus finally opens up. It’s a song that rewards patient listening — the kind of track that sounds even better on a proper pair of over-ears than it does through a phone speaker, which is worth remembering if you’re weighing options on our headphones comparison guide.
In And Out Of Love
This one plays with the push-pull dynamics of a relationship in flux, and the production mirrors that tension nicely — verses that feel a little more guarded giving way to choruses that open up melodically. Eckersley’s guitar work stays tasteful throughout, favoring texture over flash, which lets the lyric’s emotional swings carry the momentum. Meanwhile, the vocal phrasing does a lot of quiet work, stretching certain syllables just enough to underline the ambivalence at the heart of the song.
Memory Lane
Released as one of the singles from “Up Down & Sideways,” “Memory Lane” is a nostalgia-driven track that leans on vivid, specific imagery rather than vague sentimentality — always the harder trick to pull off in a genre this crowded with callback songs. The arrangement builds gradually, adding instrumental layers as the lyric moves deeper into memory, which is a smart production choice that mirrors the song’s emotional arc. It’s the kind of song that hits differently depending on your own life stage, which is probably part of why it connected with fans during its chart run.
Should’ve Known Better
Co-written with Brooke McClymont, Scott Greenaway, and Lindsay Rimes, “Should’ve Known Better” was the second pre-release single from The First Album, and it’s easy to hear why the label picked it. The song has a snappier tempo than a lot of his catalog, with a chorus hook that lands almost immediately on first listen. On the other hand, the verses still carry real lyrical detail rather than just filler before the hook, which is what separates a good country single from a forgettable one.
For You
A more stripped-back, intimate entry in the catalog, “For You” trades big choruses for close-mic’d vocal warmth and understated instrumentation. It’s the kind of track built for late-night listening rather than daytime radio, with dynamics that reward a quiet room and a good set of earbuds — something to keep in mind if you’re shopping around using our earbuds comparison before your next long drive. The restraint in the arrangement is really the star here; nothing overstays its welcome.
Took That Woman
There’s a swagger to “Took That Woman” that separates it from the more vulnerable ballads elsewhere on this list, with a rhythm section that sits further forward in the mix. The storytelling has a wry, almost cinematic quality, painting a scene rather than just stating a feeling. It’s a good example of Eckersley’s blues-rock roots bleeding into his country songwriting, a combination that’s become something of a signature across his career.
Roll On Baby
The second single from “Up Down & Sideways,” “Roll On Baby” peaked at number three on the Country Airplay chart and gave the duo the name for their 2022 national tour. It’s an upbeat, road-trip-ready track, and the production leans into a driving rhythm that practically demands to be played loud in the car. Live, it’s reportedly one of the moments in the set where the energy noticeably shifts, which makes sense given how built-for-performance the arrangement is.
Country Music, You & Beer
This one became a fan favorite fast, eventually lending its name to the couple’s later national tour — always a good sign that a song has crossed over from single to signature. The lyric leans into good-humored, unpretentious storytelling about the simple pleasures of life, which fits comfortably within the broader Australian country tradition of celebratory, communal songwriting. Sonically, it’s built for a crowd singalong, with a chorus melody that’s deliberately easy to catch on a first or second listen.
Hey Little Daughter
Given Eckersley’s own experience as a father, “Hey Little Daughter” reads like one of the more personal entries in his catalog, and that intimacy comes through in a gentler vocal performance than you get on his up-tempo singles. The arrangement stays relatively sparse, prioritizing lyric clarity over instrumental flourish. It’s the kind of song that lands hardest for listeners who are parents themselves, which is often the mark of genuinely personal songwriting rather than a generic sentiment dressed up in country clothing.
Devil’s Lullaby
Darker in tone than most of what’s on this list, “Devil’s Lullaby” leans into moodier chord voicings and a slower build, giving Eckersley’s blues background more room to show through. The title alone signals a shift away from the sunnier, radio-friendly material elsewhere in his discography, and the arrangement backs that up with a more atmospheric mix. It’s a reminder that his songwriting range extends well past the feel-good singles that tend to dominate his greatest-hits conversations.
Too Long Between Drinks
There’s a classic country phrase turned into a song title here, and Eckersley leans into that tradition with an arrangement that nods toward honky-tonk instrumentation. The pacing feels unhurried, almost conversational, which suits the laid-back subject matter. It’s a solid example of how he can work within familiar country tropes while still making the song feel like it belongs specifically to him.
Hang On Help Is On The Way
This track carries a reassuring, steady-hand quality both lyrically and musically, with a chord progression that resolves in satisfying, comforting ways rather than leaning on tension. The vocal performance leans warm rather than dramatic, which suits a song built around offering support to someone else. It’s a good showcase for how understated Eckersley’s delivery can be when the lyric doesn’t call for vocal fireworks.
What Are You Waiting For
A more urgent, motivational entry on this list, “What Are You Waiting For” pairs a punchier rhythmic pulse with lyrics that read like a nudge toward action rather than a reflection on the past. The arrangement builds energy through the bridge in a way that feels purposeful rather than just following a formulaic loud-quiet-loud structure. It’s a good example of tempo doing real narrative work rather than just filling space.
Someone Else’s Dream
This one digs into questions of identity and expectation, a theme that a lot of songwriters reach for but few pull off without sounding preachy. Eckersley keeps the lyric grounded in specific, personal detail rather than broad statements, which keeps the song from tipping into cliché. The instrumentation stays relatively restrained throughout, letting the lyric’s introspective tone lead rather than competing with a bigger production.
Now I’ve Said It
There’s a cathartic, get-it-off-your-chest energy running through “Now I’ve Said It,” and the arrangement seems built to match that release, with a chorus that opens up more than the verses suggest it will. The songwriting favors directness over metaphor here, which gives the track an unusually candid feel compared to some of the more scene-setting songs elsewhere in his catalog. It’s a good pick for anyone who prefers their country songwriting blunt rather than overly poetic.
Train Wreck
The title does a lot of the work here, and Eckersley leans into the metaphor with an arrangement that has a bit more grit in the guitar tone than his gentler ballads. There’s a rougher, more rock-leaning edge to this one, which tracks given his roots in blues-rock outfit Bluezone before he shifted toward contemporary country. It’s a useful reminder that his sound was never purely Nashville-influenced — there’s real rock DNA running underneath a lot of these songs.
Lay With Me
Closing out this list, “Lay With Me” is an intimate, slow-tempo track that leans on close vocal harmony and a stripped-down arrangement to create real emotional weight. It’s the kind of song that benefits enormously from good playback quality, since so much of its impact lives in the small details — breath control, subtle guitar dynamics, the space between phrases. As a closer, it captures something true about Eckersley’s writing at its best: unhurried, sincere, and built to reward listeners who actually pay attention rather than let the song play in the background.
Frequently Asked Questions
Who is Adam Eckersley?
Adam Eckersley is an Australian singer, guitarist, and songwriter from Grafton, New South Wales. He first gained recognition as the frontman of blues band Bluezone before shifting toward contemporary country with the Adam Eckersley Band, and later as one half of the duo Adam & Brooke alongside his wife, country artist Brooke McClymont.
What genre does Adam Eckersley play?
His music sits mainly in contemporary and country-rock territory, with clear blues-rock influences carried over from his early career. Some tracks lean toward radio-friendly country pop, especially the material recorded with Brooke McClymont, while others keep a grittier, guitar-driven edge.
What is Adam Eckersley’s biggest hit?
“Give Her The World” is widely regarded as one of his signature songs and earned him the APRA Award for Country Work of the Year. “Star Of The Show,” recorded with Brooke McClymont, is another major highlight, having reached number one on the iTunes Single and Video chart and later winning a Golden Guitar for Song of the Year.
Does Adam Eckersley perform solo, with a band, or as a duo?
All three. He fronted the Adam Eckersley Band for years, has released solo-credited material, and now regularly performs and records as a duo with his wife, Brooke McClymont, under the name Adam & Brooke.
Where can I listen to Adam Eckersley’s music?
His catalog is available across major streaming platforms including Spotify and Apple Music, under both the Adam Eckersley Band name and the Adam & Brooke duo project. You can browse more artist deep-dives like this one in our songs section.