When discussing the best Adele songs, we’re talking about some of the most emotionally devastating and vocally stunning tracks in modern pop history. The British powerhouse has built a career on raw vulnerability, heart-wrenching lyrics, and a voice that can simultaneously whisper intimately and soar to arena-filling heights. From her breakthrough debut to her most recent introspective work, Adele’s catalog represents the pinnacle of contemporary soul-pop songwriting.
Experiencing these tracks through quality headphones reveals production nuances that might otherwise go unnoticed—the subtle breath control, the layered harmonies, and the immaculate mixing that makes each song feel like a personal conversation. Let’s dive into the twenty tracks that define Adele’s extraordinary career.
Rolling in the Deep – The Revenge Anthem That Changed Everything
“Rolling in the Deep” remains Adele’s signature song, and for good reason. Released in 2010 as the lead single from 21, this track spent seven weeks at number one on the Billboard Hot 100 and earned three Grammy Awards including Record of the Year. Producer Paul Epworth crafted a stomping, bluesy backing track featuring gospel-inspired handclaps and a pulsing rhythm that perfectly complements Adele’s scorching vocal performance. The song’s bridge, where she belts “We could have had it all” with raw anguish, represents one of the most iconic moments in 2010s pop music.
What makes this track exceptional is its production balance—the verses simmer with restraint before exploding into that massive, cathartic chorus. The mixing allows every element to breathe, from the driving percussion to the subtle string arrangements that underscore the emotional weight. On headphones, you catch the gravel in her voice during the second verse, the slight vocal runs she throws in spontaneously, and the way the backing vocals layer to create that churchy, communal feel. This isn’t just heartbreak music; it’s an anthem of empowerment wrapped in sonic perfection.
Someone Like You – Stripped-Down Devastation
Talk about emotional gutpunches. “Someone Like You” proves that sometimes less is infinitely more. Just Adele, a piano, and lyrics that capture the exact moment you see your ex has moved on while you’re still stuck in the past. Released as the second single from 21 in 2011, this ballad topped charts in fifteen countries and became one of the best-selling digital singles of all time with over 17 million copies sold worldwide. Dan Wilson co-wrote and produced the track, keeping the arrangement deliberately sparse to showcase the vulnerability in Adele’s voice.
The genius here is in the restraint. There’s no drum kit pounding away, no string section swelling artificially—just Mike Crawford’s piano chords and a vocal performance so intimate you feel like you’re eavesdropping on someone’s private moment of grief. When she reaches for that high note on “Nevermind, I’ll find someone like you,” there’s a controlled crack in her voice that sounds almost accidental but is absolutely intentional. The mastering keeps everything close and personal, making this essential listening through premium earbuds when you need that direct emotional connection.
Hello – The Comeback That Broke the Internet
After a four-year hiatus, Adele returned with “Hello” in 2015, and the music world collectively lost its mind. The lead single from 25 broke first-day streaming records on Spotify and earned a Grammy for Song of the Year. Producer Greg Kurstin layered the production masterfully—beginning with that haunting piano line before building to a gospel-tinged crescendo that showcases every ounce of Adele’s technical ability. The song’s structure is textbook perfection: verse, pre-chorus, chorus, but executed with such emotional precision that it feels revolutionary.
The production choices here deserve serious recognition. Kurstin recorded Adele’s vocals with minimal compression, allowing the natural dynamics of her voice to shine through. During the bridge where she repeatedly sings “Anymore,” you hear her voice straining at the edges, pushing against the limits of control in a way that feels thrilling and dangerous. The accompanying music video, directed by Xavier Dolan, became the first to reach one billion views on YouTube, cementing the song’s cultural impact beyond just audio.
Set Fire to the Rain – Cinematic Drama at Peak Power
This is Adele in full arena-rock mode, and it’s glorious. Released as the third single from 21 in 2011, “Set Fire to the Rain” showcases her ability to deliver power ballads with genuine emotional weight rather than overwrought theatricality. Fraser T. Smith produced the track with layers of atmospheric synths, pounding drums, and a string arrangement that swells dramatically during the chorus. The song peaked at number one on the Billboard Hot 100, making it her third consecutive number-one from the album.
What separates this from generic power ballads is the production’s attention to dynamic range. The verses sit in this moody, minor-key space with relatively restrained vocals before exploding into that massive chorus. Smith used subtle distortion on the drums to give them extra punch without losing clarity, and the string section—recorded at Abbey Road Studios—adds legitimate orchestral grandeur. When listening on quality audio gear, you notice how the low end rumbles during the chorus without muddying the vocal frequencies, a mixing achievement that keeps everything powerful yet clear.
Skyfall – Bond Theme Perfection
The only Bond theme to win an Academy Award, “Skyfall” represents Adele operating at the intersection of pop accessibility and cinematic grandeur. Released in 2012 for the James Bond film of the same name, the track pays homage to classic Bond themes while maintaining Adele’s contemporary sensibility. Producer Paul Epworth reunited with Adele to craft a track that features a 77-piece orchestra recorded at Abbey Road Studios, creating that lush, expansive sound that defines the spy franchise’s musical legacy.
The song’s orchestration is genuinely breathtaking. The brass section announces itself with classic Bond swagger during the intro, while strings weave throughout the arrangement with both menace and elegance. Adele’s vocal performance walks a tightrope between sultry and powerful, never overcommitting to either extreme. The bridge, where she sings “Where you go I go” over increasingly intense orchestration, builds tension masterfully before releasing into the final chorus. The mastering gives the track a slightly vintage quality that honors the Bond tradition while remaining unmistakably modern—a difficult balance that Epworth nailed completely.
Make You Feel My Love – The Bob Dylan Cover That Became Hers
Originally written by Bob Dylan, Adele’s version of “Make You Feel My Love” from her debut album 19 has become the definitive interpretation for many listeners. Released in 2008, this cover stripped away any unnecessary production, focusing entirely on the song’s timeless melody and Adele’s emotionally resonant delivery. The arrangement, produced by Jim Abbiss, features primarily piano and subtle string accents that support rather than dominate the vocal performance.
What makes this cover exceptional is Adele’s restraint. She doesn’t try to oversing or put unnecessary vocal gymnastics on display—she simply inhabits the lyric with genuine feeling. The production keeps everything intimate, with reverb used sparingly to maintain that close, personal feeling. During the second verse, you can hear her voice naturally breaking slightly on certain phrases, imperfections that actually enhance the emotional authenticity. This track became a popular choice for weddings and first dances, testament to its universal emotional appeal. The song selections that define important life moments often share this quality of sincere, unadorned emotional truth.
When We Were Young – Nostalgia Weaponized
From 25, “When We Were Young” captures that bittersweet feeling of running into someone from your past and seeing how time has changed everything. Co-written with Tobias Jesso Jr. and produced by Ariel Rechtshaid, the track builds from intimate piano beginnings to a massive, multi-tracked vocal climax that showcases Adele’s ability to layer harmonies with herself. Released in 2016 as the album’s second single, it resonated deeply with listeners navigating their thirties and the complex emotions that come with aging.
The production here is deceptively complex. What sounds like a straightforward piano ballad actually features carefully placed synthesizers, subtle percussion, and those stacked harmonies that create a choir-like effect during the final chorus. Rechtshaid recorded multiple vocal takes and assembled them to create moments where Adele seems to be singing call-and-response with herself. The mixing gives each element its own space—the piano occupies the mid-range, the bass synth provides subtle low-end warmth, and the vocals float clearly above everything. During the bridge, when she sings “I was so scared to face my fears,” her voice cracks slightly, a vulnerability that cuts straight through any production sheen.
Chasing Pavements – The Debut That Announced a Star
“Chasing Pavements” introduced the world to Adele in 2008, earning Grammy nominations and establishing her as more than just another pop singer. From her debut album 19, the track features production by Francis “Eg” White that blends acoustic guitar, strings, and Adele’s already-stunning voice at just twenty years old. The song peaked at number 21 on the Billboard Hot 100 and number two in the UK, remarkable for a debut single from an unknown artist.
The metaphor of chasing pavements—pursuing something futile—resonates throughout a production that builds gradually from stripped-down verses to increasingly orchestrated choruses. White’s arrangement includes a gorgeous string section that swells during the bridge without overwhelming the vocal. What’s remarkable listening back is how fully formed Adele’s artistic identity already was at this young age. Her phrasing, her ability to convey complex emotions through subtle vocal choices, the way she holds certain notes with unwavering control—it’s all there from the beginning. The mastering gives the track a warm, organic quality that feels more classic soul than contemporary pop, setting a template she’d expand upon throughout her career.
Remedy – Deep Cut Excellence
Album track “Remedy” from 25 deserves far more recognition than it receives. Co-written and produced by Ryan Tedder, the song features a more uptempo, percussive arrangement than Adele’s typical ballads while maintaining her emotional intensity. The production incorporates hand percussion, finger snaps, and a rhythmic structure that gives the track an almost tribal feel, particularly during the pre-chorus build.
Tedder’s production choices here show creative risk-taking. Rather than defaulting to piano-led arrangements, he built the track around percussion and vocal harmonies, creating space for Adele to deliver a more rhythmic vocal performance. The chorus, where she promises “I will be your remedy,” features layered vocals that create a supportive, almost maternal feeling that matches the lyrical content. During the bridge, the production strips back to just vocals and minimal percussion, allowing the emotional weight to hit before building back to the final chorus. This track works brilliantly in live settings, where the percussion elements translate to audience participation—hand claps and rhythmic movement that create communal energy.
Hometown Glory – The B-Side That Became Essential
Written when Adele was just sixteen and included on 19, “Hometown Glory” represents pure, unfiltered songwriting before industry polish entered the equation. The track, produced by Jim Abbiss, features a simple repeating piano figure throughout the entire song, allowing the lyrics about her London neighborhood to take center stage. Despite being initially released as a B-side, the song gained popularity through TV placements and eventually received proper single treatment in 2008.
What makes this track fascinating is its simplicity. The piano part repeats with minimal variation, creating an almost hypnotic effect that mirrors the cyclical nature of walking familiar streets and seeing the same scenes repeatedly. Adele’s vocal delivery here is more spoken-word influenced, almost stream-of-consciousness in places, giving insight into her songwriting process before she fully developed the powerhouse delivery she’d become famous for. The recording quality is deliberately raw—you can hear her breathing between phrases, the piano pedal occasionally clicking, small imperfections that ground the song in authenticity rather than studio perfection.
Turning Tables – The Breakup Song That Actually Breaks Up
From 21, “Turning Tables” showcases Adele’s ability to capture specific relationship dynamics—in this case, the moment you realize a relationship has become a power struggle and you’re finally ready to walk away. Co-written with Ryan Tedder and featuring his production, the track builds around a simple piano progression that gradually incorporates strings, percussion, and layered backing vocals. Released as a single in European markets, it demonstrated the album’s remarkable depth beyond the massive hits.
Tedder’s production here emphasizes space and dynamics. The verses sit in a vulnerable register with sparse accompaniment, allowing Adele’s lower register to convey exhaustion and resignation. The pre-chorus builds tension incrementally before releasing into a chorus that’s more determined than desperate. During the bridge, when she sings “I won’t let you close enough to hurt me,” her voice takes on an edge that feels genuinely angry rather than performatively so. The string arrangement, recorded with a full orchestra, swells during key moments without overwhelming the intimacy of the vocal performance. This balance between orchestral grandeur and emotional vulnerability defines much of 21‘s success.
Don’t You Remember – Haunting Simplicity
Another album track from 21 that deserves single-level recognition, “Don’t You Remember” strips everything back to acoustic guitar and vocals for much of its duration. Co-written and produced by Dan Wilson, the track captures the confusion and hurt of a relationship ending without clear closure. The production choices here are deliberately sparse, focusing entirely on the lyric and melody without unnecessary embellishment.
Wilson recorded Adele’s vocal with minimal processing, capturing the natural resonance of her voice in the studio space. During the verses, you can hear the room tone, the slight breath sounds between phrases, all the human elements that create intimacy. The acoustic guitar, played by Wilson himself, provides just enough harmonic support without demanding attention. When the full band enters during the final chorus, the contrast feels earned rather than manipulative, a genuine emotional crescendo that mirrors the lyrical content. This track works exceptionally well in the car or on headphones during late-night drives, those liminal spaces where emotional processing happens naturally.
One and Only – The Unrequited Love Masterpiece
“One and Only” from 21 captures the vulnerability of admitting you’re in love with someone who may not reciprocate. Co-written with Greg Wells and featuring production by Rick Rubin, the track builds gradually from piano-led intimacy to a massive, gospel-influenced climax that showcases Adele’s full vocal power. Rubin’s production philosophy—stripping away unnecessary elements to reveal emotional core—serves the song perfectly.
The arrangement here is masterful. The verses feature just piano and vocal, creating an almost uncomfortable intimacy that makes you feel like you’re overhearing a private confession. The pre-chorus introduces subtle organ, building anticipation before the chorus explodes with drums, bass, and stacked vocal harmonies. During the bridge, where Adele repeatedly sings “I dare you to let me be your one and only,” her voice strains with desperation that feels genuinely risky, like she’s pushing her technical limits in service of emotional truth. The recording captured at Shangri-La Studios features natural room reverb that gives the track organic warmth without the artificial sheen of heavy processing.
I Drink Wine – Mature Reflection from 30
From her 2021 album 30, “I Drink Wine” shows Adele embracing a more musically diverse palette while maintaining her emotional directness. Co-written with Greg Kurstin and featuring his production, the track incorporates elements of ’70s soul and yacht rock—including prominent saxophone and Hammond organ—while addressing themes of self-reflection and aging. The song’s relaxed groove and extended runtime give it a different energy than her typically concise pop productions.
Kurstin’s arrangement here pays homage to Carole King and Elton John while remaining unmistakably contemporary. The saxophone solo, played by session musician Chris “Daddy” Dave, adds a jazzy sophistication that’s new territory for Adele. Her vocal performance embraces a more conversational delivery in places, almost spoken-word during certain verses, before opening up into that powerful belt during key phrases. The production includes subtle string arrangements that weave throughout without dominating, creating a lush sonic landscape that rewards repeated listening through quality audio equipment. The mixing gives each instrument clear definition—you can follow the bass line independently, hear the organ’s sustained chords underneath the melodic elements, and still have Adele’s voice floating clearly above everything.
Lovesong – The Cure Cover Reinvented
Adele’s version of The Cure’s “Lovesong,” included on 21, transforms the new wave original into a piano-led soul ballad. Produced by Rick Rubin, the arrangement strips away the electronic elements of the 1989 original, replacing them with acoustic piano, subtle strings, and Adele’s emotional vocal interpretation. While some covers feel unnecessary, this reimagining gives the song new life while respecting the original’s essential qualities.
Rubin’s production approach here is characteristically minimal. The piano, played by Eg White, provides harmonic foundation without flashy embellishment. Strings enter subtly during the second verse, building gradually until the final chorus features a full orchestral arrangement. Adele’s vocal interpretation emphasizes different syllables and phrases than Robert Smith’s original, making the cover feel like genuine reinterpretation rather than karaoke. The track works beautifully as a wedding first-dance song, which speaks to its success in capturing universal romantic feeling. The mastering keeps everything warm and analog-feeling, avoiding the overcompressed loudness that mars many contemporary productions.
All I Ask – Heartbreaking Ballad Perfection
Co-written with Bruno Mars and featuring production by Mars and his team The Smeezingtons, “All I Ask” from 25 showcases Adele in classic ballad territory. The song captures the request for one final perfect night before an inevitable ending, delivered with vocal control that alternates between whispered intimacy and powerful release. The production walks a careful line between restraint and drama, building gradually to avoid overwhelming the emotional content.
Mars’s production incorporates live strings and piano, giving the track organic warmth. The arrangement builds incrementally—starting with just piano and vocal before introducing strings, then bass and drums during the final chorus. Adele’s vocal performance here is technically stunning; she navigates difficult melodic leaps and sustains notes with unwavering control while maintaining emotional vulnerability. During the bridge, where she sings “It matters how this ends,” her voice breaks slightly in a way that sounds spontaneous but likely took multiple takes to capture perfectly. This track demonstrates why Adele remains dominant in the ballad space—few contemporary artists can deliver this level of vocal and emotional intensity without tipping into overwrought territory.
Send My Love (To Your New Lover) – Upbeat Departure
One of Adele’s few uptempo tracks, “Send My Love (To Your New Lover)” from 25 features production by Max Martin and Shellback that incorporates their signature pop craftsmanship while maintaining Adele’s artistic identity. Released as the album’s third single, the track reached number one in several countries and demonstrated her ability to work in more rhythmic, less ballad-heavy territory. The production centers on acoustic guitar loops and layered vocal harmonies rather than traditional drums, creating an organic yet contemporary sound.
Martin and Shellback built the track around a repeating guitar riff played by session guitarist Ted Jensen, then added extensive vocal layering—Adele singing harmonies with herself creating a choir-like effect during the chorus. The production includes subtle electronic elements, finger snaps, and hand percussion that give the track momentum without traditional rock or pop drumming. This restraint keeps the focus on the vocal and melodic elements while providing enough rhythmic drive for radio play. The mixing emphasizes the mid-range frequencies, making it translate well across different playback systems from car stereos to streaming services played through phone speakers.
Easy On Me – The 30 Lead Single
Released in 2021 as the lead single from 30, “Easy On Me” immediately topped charts worldwide and became one of the year’s biggest songs. Produced by Greg Kurstin, the track features his now-signature piano-led production style that allows Adele’s voice to remain the primary focus. The song addresses her divorce and asks for understanding regarding decisions she made, themes that resonated with fans who had watched her personal journey unfold publicly.
Kurstin’s production here emphasizes simplicity and space. The verses feature just piano and vocal, recorded with enough room tone to feel intimate without artificial reverb. During the pre-chorus, subtle strings and backing vocals enter, building toward a chorus that adds drums and bass without overwhelming the essential elements. The bridge features one of Adele’s most powerful vocal moments in recent years, where she belts “I had good intentions” with a rawness that feels genuinely cathartic. The mastering allows significant dynamic range, meaning the quiet moments are genuinely quiet and the louder sections hit with real impact—a rarity in modern pop production that typically compresses everything to maximum loudness.
Water Under the Bridge – Hidden Gem Uptempo Track
While not released as a single, “Water Under the Bridge” from 25 deserves recognition as one of Adele’s most effective uptempo tracks. Co-written and produced by Greg Kurstin, the song features driving drums, pulsing bass, and a chord progression that builds urgency throughout. The lyric captures relationship anxiety—wondering if you’re alone in your commitment—delivered with vocal intensity that matches the energetic production.
Kurstin’s production here shows his range beyond ballad arrangements. The track opens with a repeated drum pattern and bass riff that immediately establishes momentum. During the verses, Adele’s vocal sits slightly back in the mix, creating anticipation for the chorus where everything opens up sonically. The bridge strips back to just voice, bass, and minimal percussion before building back to the final chorus with added harmonies and string flourishes. This production approach—tension and release, buildup and payoff—keeps the track engaging across its nearly four-minute runtime. The song works brilliantly in live settings, where the rhythmic elements translate to audience participation and movement.
To Be Loved – Closing Statement of Growth
The closing track from 30, “To Be Loved” represents perhaps Adele’s most mature songwriting, addressing the difficulty of choosing self-growth over comfortable relationships. Produced by Inflo, known for his work with SAULT and Little Simz, the track features live orchestration recorded at Abbey Road Studios and builds to one of Adele’s most powerful vocal climaxes. Running over six minutes, the song takes its time developing both musically and lyrically.
Inflo’s production incorporates live strings from the start, creating immediate emotional weight. The arrangement builds gradually across the song’s extended runtime, adding percussion, bass, and additional orchestral elements as it develops. Adele’s vocal performance here is stunning—she starts in her lower register with almost conversational delivery before building to sustained high notes during the climax that showcase her technical mastery. The final minute features just her voice over sparse piano and strings, allowing the emotional resolution to breathe without over-production. This track benefits immensely from attentive listening through quality audio equipment where you can appreciate the orchestral nuances and the full dynamic range of Adele’s voice.
Frequently Asked Questions
What is Adele’s most successful song?
“Rolling in the Deep” remains Adele’s most commercially successful single, spending seven weeks at number one on the Billboard Hot 100 and earning three Grammy Awards including Record of the Year. The track from her second album 21 has sold over 8.7 million copies in the United States alone and helped propel the album to sell over 31 million copies worldwide, making it one of the best-selling albums of all time.
Which Adele album has the best songs?
Most critics and fans consider 21 to be Adele’s masterpiece, featuring an unprecedented collection of hits including “Rolling in the Deep,” “Someone Like You,” “Set Fire to the Rain,” and deeper cuts like “Turning Tables” and “One and Only.” The album won six Grammy Awards including Album of the Year and stayed on the Billboard 200 chart for over 300 weeks, testament to its enduring appeal and consistent quality across all tracks.
What song made Adele famous?
“Chasing Pavements” from her debut album 19 introduced Adele to international audiences in 2008, earning Grammy nominations and radio play worldwide. However, “Rolling in the Deep” from 21 catapulted her to global superstardom in 2011, establishing her as one of the defining voices of contemporary pop music and proving her debut success was no fluke.
Does Adele write all her own songs?
Adele co-writes most of her songs with various collaborators including Paul Epworth, Dan Wilson, Greg Kurstin, Ryan Tedder, and Bruno Mars among others. She maintains significant creative control over her music and lyrics, ensuring every song reflects her authentic experiences and emotions. Her songwriting partnership with Paul Epworth on “Rolling in the Deep” and “Skyfall” proved particularly fruitful, earning multiple Grammy Awards.
What makes Adele’s voice unique?
Adele possesses a contralto voice with remarkable range, power, and emotional expressiveness. Her technical control allows her to navigate from intimate whispers to arena-filling belts while maintaining clarity and tone. The slight rasp in her voice, particularly in her lower register, adds character and authenticity to emotional delivery. Her phrasing and ability to convey complex emotions through subtle vocal choices set her apart from technically proficient singers who lack her emotional depth.