Few artists working in Australian guitar pop write with the sharp, self-deprecating honesty of Alex Lahey, and these Alex Lahey songs prove why the Melbourne singer-songwriter has become one of the country’s most consistent hitmakers. Across three studio albums and a run of standalone singles, Lahey has built a catalogue defined by scuzzy guitar hooks, brass-flecked arrangements, and lyrics that turn burnout, heartbreak, and awkward small talk into anthemic sing-alongs. For readers who want a deeper dive into artist rankings like this one, the full has plenty more greatest-hits guides to explore. Below, the 20 essential tracks are ranked chronologically, from her 2015 breakout to her most recent releases.
Air Mail
Released back in 2015, “Air Mail” captures Lahey in her earliest, scrappiest form, all fuzzed-out guitar tone and unfussy vocal delivery. The song’s charm lives in its restraint — there’s no over-produced sheen here, just a tight rhythm section and a hook that sticks after one listen. It’s a fascinating listen in hindsight, since so many of the melodic instincts that would define her later records are already fully formed. Anyone tracing her evolution as a songwriter should start here.
I Love You Like a Brother
The title track from her 2017 debut album, produced by Oscar Dawson and released through Nicky Boy Records and Dead Oceans, is a stomping, brass-punctuated statement of intent that helped push the record to number 15 on the ARIA Albums Chart. Lahey’s alto saxophone work sits right alongside the guitars in the mix, giving the track a punchy, horn-driven texture that separates her from typical indie-rock peers. The lyric plays with the tension between platonic devotion and something messier, delivered with the dry humor that became her signature. On a good pair of earbuds, the saxophone stabs cut through with real clarity, which is worth keeping in mind for anyone comparing gear — the is a useful reference for picking a pair that handles brass instrumentation well.
Backpack
“Backpack,” also from the 2017 debut, leans into wry storytelling with a slacker-rock backbone that recalls the Australian pub-rock lineage Lahey grew up on. The verses roll out in a conversational cadence before the chorus opens things up melodically, a structural trick Lahey returns to often. It’s one of the album’s more understated tracks, but the guitar tone — thick, slightly overdriven, recorded at Headgap Studios and The Aviary in Melbourne — gives it real weight.
I Want U
A brisk, hook-forward cut from “I Love You Like a Brother,” “I Want U” trades some of the record’s brass color for a leaner, more direct pop-punk attack. Lahey’s vocal performance here is playful and slightly breathless, matching the song’s tempo and its blunt desire-driven lyric. The production keeps the low end tight, letting the vocal melody carry most of the emotional weight.
There’s No Money
Gentler in tone than much of the debut album, “There’s No Money” slows the pace and lets Lahey’s songwriting breathe. The arrangement strips back to something closer to a ballad, with space between the instruments that lets every lyrical detail land. It’s a good example of her range beyond the fuzzy guitar-pop she’s best known for, and it shows real confidence in dynamics.
Perth Traumatic Stress Disorder
The title alone signals Lahey’s knack for a pun, but “Perth Traumatic Stress Disorder” backs it up with a genuinely infectious melody and a wall-of-guitar arrangement that rewards a loud playback setup. Recorded during the “I Love You Like a Brother” sessions, the track leans into touring-life exhaustion with a self-aware wink rather than genuine complaint. The chorus hits with the kind of immediacy that made her early live shows so effective.
Don’t Be So Hard On Yourself
Moving into 2019’s “The Best of Luck Club,” co-produced by Lahey alongside Catherine Marks (known for her work with Wolf Alice and Local Natives), “Don’t Be So Hard On Yourself” is one of Lahey’s most quietly moving songs. The production is warmer and more polished than the debut, a shift that reflects the Nashville and Melbourne sessions where the record came together. Lyrically, it’s a direct, unguarded piece of reassurance, delivered without irony — a rare mode for Lahey, and one that resonates precisely because it feels earned.
Am I Doing It Right?
“Am I Doing It Right?” channels adult uncertainty into a driving, mid-tempo rock arrangement that builds toward a cathartic chorus. Mixed by Oscar Dawson, the track balances Marks’ polished production instincts with the rawer guitar energy of Lahey’s earlier work. The question posed in the title never gets a tidy answer, which is exactly the point — the song sits comfortably with ambiguity while the music underneath keeps pushing forward.
Misery Guts
Arguably one of the catchiest tracks on “The Best of Luck Club,” “Misery Guts” earned wider cultural reach after being featured in the video game Tony Hawk’s Pro Skater 1+2. The arrangement is electrified and propulsive, built around a chorus melody that lodges itself immediately. It’s a strong example of how Lahey’s pop-punk instincts translate into genuinely mainstream-friendly songwriting without sacrificing her lyrical bite.
I Don’t Get Invited to Parties Anymore
Opening “The Best of Luck Club,” this track tackles the isolating realities of adult ambition with barnstorming energy and a hook big enough to anchor the whole record. Lahey has spoken about writing it from a place of genuine reflection on sacrificing a social life for career focus, and that honesty comes through in every line. The arrangement swells rather than explodes, giving the song a slow-build payoff that rewards close listening.
I Want to Live With You
A tender, relationship-focused song from the same album, “I Want to Live With You” softens Lahey’s usual guitar-forward approach in favor of a more melodic, keyboard-supported arrangement. It’s one of the record’s emotional high points, capturing domestic intimacy without slipping into sentimentality. The vocal performance stays grounded and conversational, which suits the song’s honest subject matter.
I Need to Move On
Where much of “The Best of Luck Club” processes burnout and self-doubt, “I Need to Move On” pushes toward resolution with a punchier tempo and a chorus built for shouting along. The Nashville dive-bar concept behind the album is audible here — there’s a loose, communal energy to the arrangement that suits the lyric’s forward-looking mindset. It’s a transitional song in the tracklist, and it earns that role.
Black RMs
Named after the iconic Australian boot brand, “Black RMs” is one of Lahey’s most culturally specific songs, grounding a universal theme of comfort and identity in a very local image. The guitar work is scrappy and immediate, closer in spirit to the debut album than to the more polished tracks surrounding it on “The Best of Luck Club.” It’s a fan favorite precisely because of that specificity — the song feels unmistakably Australian without ever explaining itself to an outside listener.
Interior Demeanour
“Interior Demeanour” leans into more introspective territory, with production that gives space to Lahey’s vocal phrasing rather than burying it under guitars. The arrangement builds gradually, using dynamics rather than volume to create tension. On quality over-ear playback, the layered backing vocals and subtle percussion details come through with real definition, which is one reason the headphones comparison guide is worth a look for anyone building a home listening setup around records like this one.
Unspoken History
Closing out much of the emotional arc of “The Best of Luck Club,” “Unspoken History” trades big choruses for a more measured, narrative-driven approach. Lahey’s songwriting here favors accumulation over hooks, letting details pile up until the emotional picture becomes clear. It’s a testament to her range that the same album containing “Misery Guts” also holds a song this patient.
Sucker For Punishment
Released as a standalone single in 2020, “Sucker For Punishment” arrived during a period when Lahey was steadily releasing non-album tracks between full-lengths. The song keeps her fuzzy guitar-pop sound intact while sharpening the hooks even further, a sign of a songwriter growing more confident with every release. It’s an underrated entry in her catalogue, often overshadowed by the singles surrounding her three studio albums.
Merry Christmas (I Don’t Want to Fight Tonight)
A genuinely clever addition to the modern holiday-song canon, this 2020 single takes the well-worn Christmas single format and injects it with Lahey’s trademark candor. Rather than leaning into saccharine sentiment, the lyric addresses real tension within a relationship during the holidays, which gives the song unexpected emotional depth. Musically, it borrows the warmth of classic holiday pop while keeping Lahey’s guitar-driven identity intact.
Spike the Punch
A 2021 single that finds Lahey working in a leaner, more direct rock mode, “Spike the Punch” moves at a brisk clip with minimal ornamentation. The production favors immediacy over polish, putting the guitar riff and vocal hook front and center. It’s the kind of song built for a live setlist, energetic enough to translate directly from record to stage.
They Wouldn’t Let Me In
Released ahead of 2023’s “The Answer Is Always Yes,” Lahey’s first album to feature external songwriters and co-producers including Jacknife Lee, “They Wouldn’t Let Me In” signals a noticeably bigger, more collaborative sound. Mixed by Carlos De La Garza and mastered by Dave Cooley, the track has a polish and dynamic range that reflects sessions split between Melbourne and Los Angeles. The songwriting still carries Lahey’s characteristic candor, but the arrangement reaches for a bigger, more anthemic scale than her earlier work.
Congratulations
Closing out this list, “Congratulations” was one of the earliest singles previewing “The Answer Is Always Yes,” released in September 2022. The track balances sharp lyrical wit with a fuller, more layered production style, a natural extension of the creative growth Lahey pursued by working with outside collaborators for the first time. It’s a strong marker of where her sound has landed in recent years — still recognizably her own, but broader in scope and sonically more ambitious than the records that built her reputation.
Taken together, these Alex Lahey songs trace a decade-long evolution from scrappy guitar-pop beginnings to confident, collaborative songwriting, and every stage of that journey rewards a genuine, attentive listen.
Frequently Asked Questions
What is Alex Lahey’s most popular song?
“Misery Guts” and “I Don’t Get Invited to Parties Anymore” are widely regarded as her most recognized tracks, both drawing strong streaming numbers and continued live-show popularity.
What genre does Alex Lahey play?
Lahey’s music sits primarily in indie rock and power pop, with elements of pop-punk and Australian pub rock woven throughout her catalogue.
Which Alex Lahey album should a new listener start with?
“I Love You Like a Brother” (2017) offers the most direct introduction to her sound, though “The Best of Luck Club” (2019) is often considered her creative peak.
Has Alex Lahey collaborated with other artists?
Yes. She released “Dino’s” with her partner, fellow Australian musician Gordi, and worked with outside songwriters and producers including Jacknife Lee on “The Answer Is Always Yes.”
Is Alex Lahey still releasing new music?
Yes. Following “The Answer Is Always Yes” and its expanded edition, Lahey has continued releasing singles and remains an active touring artist.