If you’re chasing down the best Angus Stone songs, you’re in for a treat, because this is one of the most criminally underrated catalogs in modern Australian folk-rock. Angus Stone has always been the smoky-voiced, wandering-troubadour half of Angus & Julia Stone, but his solo work — especially his 2012 album Broken Brights — is where he really let his freak flag fly. I’ve had this record on repeat since it dropped, through car stereos, cheap earbuds, and late-night headphone sessions, and it still surprises me. Below is my honest, deeply personal rundown of his best tracks, mixing the essential hits with a few deep cuts that deserve way more love than they get.
A quick programming note before we dive in: Stone recorded Broken Brights himself, across three different studios — Desert Harvest in Byron Bay, Sing Sing in Melbourne, and Plug & Play in Nyon, Switzerland — and released it in July 2012 through Desert Harvest Records under exclusive license to Nettwerk Productions. It peaked at number two on the ARIA Albums Chart, was certified gold, and picked up ARIA nominations for Best Male Artist and Best Blues and Roots Album. That context matters, because you can hear the different rooms and different moods bleeding into the record’s sequencing. Okay, let’s get into the songs.
Broken Brights
The title track is the emotional center of gravity for the whole album, and honestly, it’s the song that hooked me from the first listen. It’s a nostalgic, dreamy tribute to youth, built on Stone’s warm, cracked-honey vocal tone and a gently rolling arrangement that never overplays its hand. The mix here is warm and intimate rather than polished-to-death, which suits the lyrical content — there’s a genuine ache to it, like flipping through old photographs. On a good pair of headphones you catch every small textural detail in the acoustic layering, and if you’re shopping around for gear that can handle this kind of warm, low-key production, it’s worth browsing a solid compare-headphones guide before you commit to a pair.
Bird on the Buffalo
This one flips the script almost immediately — livelier, punchier, and built around distorted guitar riffs that give it real teeth compared to the softer folk moments elsewhere on the record. Stone’s songwriting leans into a rootsy, blues-rock swagger here, and the arrangement has this loose, jam-session energy that makes it a standout live cut too. I love how the rhythm section just refuses to sit still; it’s one of those tracks that sounds even better cranked up in the car than it does through a quiet living-room stereo. It became one of the most streamed cuts from the album, and it’s easy to hear why — the riff alone is instantly memorable.
Wooden Chair
Meanwhile, “Wooden Chair” pulls things back into more contemplative territory, and it’s become one of the record’s most-played tracks on streaming platforms for good reason. The melody is simple but incredibly sticky, the kind of tune that gets lodged in your head after one pass. Stone’s vocal delivery here feels almost conversational, like he’s talking directly to you rather than performing for a room, and that intimacy is the song’s biggest strength. It’s a great example of how restraint in arrangement can carry just as much emotional weight as a bigger production.
Monsters
“Monsters” is arguably the most commercially successful single from the Broken Brights era — Nettwerk Productions released an edited radio version in February 2013, trimming the album cut down from five minutes and twenty seconds to just over four minutes. That edit tightens the pacing without losing the song’s brooding, slow-burn intensity, and the lyrical imagery leans into internal conflict and self-doubt in a way that feels universal. On the original album version, the extended runtime lets the arrangement breathe and build more gradually, which I actually prefer if you’ve got the patience for it. Either version rewards close listening, especially on a strong headphone setup where the low-end textures really come through.
The Blue Door
In contrast to the rockier moments on the record, “The Blue Door” is a quieter, more delicate piece that showcases Stone’s gift for atmospheric storytelling. The instrumentation stays sparse, giving the vocal melody room to do the heavy lifting, and there’s a wistful, almost cinematic quality to how the song unfolds. It’s not the flashiest track here, but it’s the kind of song that grows on you with repeated listens, revealing new lyrical details each time. Fans of understated singer-songwriter material will find a lot to love in this one.
River Love
As the album opener, “River Love” sets the tone beautifully, easing listeners in with a gentle, flowing arrangement that lives up to its title. Stone’s vocal phrasing feels unhurried here, almost like he’s letting the song find its own pace rather than forcing it. There’s a real sense of place in the lyrics too, evoking water imagery and quiet reflection that ties back nicely to the album’s overall nostalgic mood. It’s a smart sequencing choice, easing you into the record before things get louder and more distorted a few tracks later.
Apprentice of the Rocket Man
This track leans into a more expansive, almost mythic songwriting style, with a runtime that lets the arrangement stretch out and build gradually. The title alone hints at the kind of playful, storytelling lyricism Stone favors throughout his solo work, blending folk tradition with a slightly psychedelic edge. On repeated listens, I keep noticing new layers in the instrumentation, particularly in how the guitar work interacts with the rhythm section as the song progresses. It’s not the most streamed song on the record, but it’s one of the most rewarding for listeners who like to dig deeper into an artist’s catalog.
Clouds Above
At under three minutes, “Clouds Above” is one of the shortest cuts on Broken Brights, and there’s something refreshing about how economical it is. Stone doesn’t overstay his welcome; the song makes its emotional point and gets out, which is a skill a lot of songwriters never really master. The melody has a breezy, almost weightless quality that matches the title perfectly, and it works as a nice palate-cleanser between the album’s heavier moments. On the other hand, its brevity means it’s easy to overlook on a first listen, so give it a second pass.
Only a Woman
Clocking in at over six minutes, “Only a Woman” is the album’s most patient, slow-building track, and it rewards listeners who let it fully unfold. The extended runtime allows Stone to layer in subtle instrumental shifts as the song progresses, rather than relying on a traditional verse-chorus structure. There’s a rawness to the vocal performance that feels unguarded, like he’s working through something in real time rather than delivering a polished final take. It’s the kind of song that hits differently depending on your mood — late at night on headphones, it becomes almost meditative.
Be What You Be
There’s a looser, more free-spirited energy running through “Be What You Be” that captures Stone’s songwriting philosophy pretty well — he’s always been an artist who resists overthinking things in favor of raw feeling. The arrangement has a rootsy, organic warmth to it, and the melody carries a gentle sense of encouragement without ever tipping into cliché. Meanwhile, the vocal performance stays relaxed and conversational, reinforcing the song’s easygoing message. It’s a lovely mid-album breather that keeps the record’s emotional arc from feeling too heavy.
End of the World
As the album’s proper closer, “End of the World” carries a weighty, reflective tone that ties the whole record together nicely. The arrangement builds gradually, giving the song a sense of finality without resorting to bombast, and Stone’s vocal delivery feels particularly weathered and lived-in here. Lyrically, it leans into themes of endings and acceptance, which makes sense as the last statement on an album that’s largely about looking back at youth and change. It’s a strong reminder of how well-sequenced Broken Brights really is as a full listening experience.
It Was Blue
This is one of the rockier moments on the record, built around distorted guitar riffs that echo the earlier grit of “Bird on the Buffalo.” There’s a bluesy swagger to the arrangement that shows off a different side of Stone’s musical range compared to his gentler folk material. The vocal performance has more bite and urgency here too, matching the harder-edged instrumentation. If you’re a listener who gravitates toward the folk-blues crossover sound, this track is an essential entry point into the album.
The Wolf and the Butler
There’s a storytelling quality to “The Wolf and the Butler” that feels almost like a short story set to music, with vivid character-driven imagery running through the lyrics. The arrangement supports that narrative feel, shifting in tone as the song’s mood develops rather than sticking to a single dynamic throughout. Stone’s phrasing here is particularly expressive, drawing out syllables in a way that adds real dramatic weight to key lines. It’s one of the more underrated tracks on the record, and one I’d point any new listener toward if they want proof of his range as a lyricist.
Happy Together
Tucked away as the bonus track on Broken Brights, “Happy Together” is a shorter, more stripped-back piece that feels like an intimate afterthought rather than a proper album closer. At just under two and a half minutes, it doesn’t overstay its welcome, letting a simple melodic idea make its point and step aside. There’s a lightness to the vocal performance here that contrasts nicely with some of the heavier, more reflective songs earlier on the record. Deep-catalog tracks like this are exactly why it’s worth exploring an artist’s full discography rather than just the singles — you can find more hidden gems like it in our broader songs archive.
In the Glow
Released as the previously unreleased companion track on the 2013 “Monsters” single, “In the Glow” is one of those b-sides that genuinely deserved a bigger spotlight. It shares some of the same brooding atmosphere as its single-mate, but with its own distinct melodic identity that keeps it from feeling like a leftover. Stone’s vocal tone leans warm and hazy here, matching the song’s title almost literally in how it sits in the mix. For completionists and casual fans alike, tracking this one down rounds out the Monsters era nicely.
The Blower’s Daughter
Released as a non-album single in 2012, this is Stone’s own take on the Damien Rice original, and it’s a genuinely moving reinterpretation rather than a note-for-note copy. His smoky, weathered vocal delivery brings a different emotional texture to the song’s aching simplicity, leaning into his own folk-blues sensibilities rather than mimicking the source material. The stripped-down arrangement puts almost all the weight on the vocal performance, which is a bold choice but one that pays off. It’s a great example of how a well-chosen cover can feel completely at home within an artist’s own catalog.
Listening back through this whole run of songs, on headphones, in the car, or through a decent pair of earbuds if you’re catching up during a commute, what strikes me most is how consistent Stone’s voice is as a storyteller even as the instrumentation shifts from delicate folk to rowdier blues-rock. If your current listening setup isn’t doing these arrangements justice, it might be worth checking a compare-earbuds roundup to find something that handles both the quiet acoustic passages and the distorted guitar moments well. Either way, this is a catalog built for repeat listens, and every relisten seems to surface something new.
Frequently Asked Questions
What is Angus Stone’s best album?
Most fans and critics point to Broken Brights (2012) as his strongest solo statement. It peaked at number two on the ARIA Albums Chart, earned a gold certification, and picked up ARIA nominations for Best Male Artist and Best Blues and Roots Album, making it his most decorated and widely celebrated solo release.
Is Angus Stone the same person as Dope Lemon?
Yes. Angus Stone began recording under the moniker Dope Lemon starting in 2016, releasing albums like Honey Bones and Smooth Big Cat under that name, while his earlier solo work, including Broken Brights, was released under his own name and the earlier alias Lady of the Sunshine.
What’s the difference between Angus Stone’s solo work and Angus & Julia Stone?
Angus & Julia Stone is the sibling folk duo that first brought Stone to international attention, while his solo material, including the songs featured here, reflects his individual songwriting voice without his sister Julia’s vocal harmonies and input.
Which Angus Stone song is best for new listeners?
“Broken Brights” and “Monsters” are the most accessible entry points, offering a good balance of his melodic sensibility and rootsy production style, before diving into deeper cuts like “The Wolf and the Butler” or “Apprentice of the Rocket Man.”
Are any of these songs available as singles outside the album?
Yes. “Monsters” was released as a standalone single in 2013 with an edited runtime, “Bird on the Buffalo” and “Wooden Chair” were also issued as singles, and “The Blower’s Daughter” was released separately as a non-album cover single in 2012.