The best Andy Grammer songs cover more than a decade of relentlessly upbeat pop, stretching from busking beginnings on the Santa Monica Third Street Promenade to arena stages and Dancing With the Stars primetime. Few pop songwriters build a catalog this consistently hopeful, and this countdown pulls from every era of the catalog, pairing radio-era staples with newer cuts off the 2024 album Monster. Readers looking for more artist-by-artist breakdowns like this one can browse the full songs archive for additional countdowns and deep dives.
Honey, I’m Good
Released as the second single from 2014’s Magazines or Novels, “Honey, I’m Good” became Grammer’s signature hit, climbing to number nine on the Billboard Hot 100 and eventually earning triple-platinum certification from the RIAA. Co-written with Nolan Sipe and produced by Steve Greenberg, Brian West, and Sipe, the track wraps a monogamy anthem in a horn-driven, country-tinged pop arrangement that recalls classic Motown swagger. The bridge builds through layered vocals and swelling instrumentation before snapping back into the chorus, a dynamic arc that still lands in a crowded room or through a decent pair of headphones. That mix of radio polish and genuine warmth is exactly why it remains the most requested song at Grammer’s live shows.
Keep Your Head Up
Grammer’s 2010 debut single introduced the whistled hook and communal-singalong energy that would define his career, peaking at number 53 on the Hot 100 and later earning RIAA platinum certification. Written solely by Grammer and produced by Lion’s Share with additional work from Steve Greenberg, the song’s soft-rock instrumentation stays intentionally sparse, letting the melody and message of perseverance carry the weight. Live, it turns into a full-audience whistle-along, with the crowd effectively becoming an extra instrument in the mix. More than a decade later, the track’s streaming numbers keep climbing, proof that its resilience theme never really goes out of season.
Fine by Me
The second single from Grammer’s self-titled 2011 debut, “Fine by Me” reached number ten on the Adult Pop Airplay chart and went on to sell over a million copies for a platinum RIAA certification. Co-written and co-produced with Matt Radosevich, the piano-forward arrangement leans into a breezier, more intimate register than the whistling hooks of “Keep Your Head Up.” The vocal performance sits close in the mix, almost conversational, which suits the song’s forgive-and-forget narrative about a music-obsessed boyfriend winning back his girlfriend. It is one of those tracks that rewards a close listen through quality earbuds, where the layered piano and vocal harmonies come through cleanest.
Good to Be Alive (Hallelujah)
Released in 2015 while Grammer was competing on Dancing With the Stars, “Good to Be Alive (Hallelujah)” reached number twelve on the Adult Top 40 chart and earned gold certification in both the United States and Canada. Co-written with Ross Golan, Ian Kirkpatrick, and Ryan Met, the production leans maximalist, stacking gang vocals and a stomping beat that practically demands a car stereo turned all the way up. Lyrically, it channels gratitude without slipping into cliché, which is part of why the song later found a second life soundtracking Walmart and Quaker Oats commercials. It remains one of the clearest examples of Grammer translating a genuinely sunny outlook into big, festival-ready pop.
Fresh Eyes
Pulled from 2017’s The Good Parts, “Fresh Eyes” became one of Grammer’s most enduring streaming successes, eventually racking up more than 350 million plays and becoming his sixth single to go gold or better. The production trades the horn stabs of earlier hits for a cleaner, synth-driven pop-rock backbone, giving the vocal more room to breathe across the verses. Grammer has described writing it during a period of wanting to see a relationship, and himself, with renewed clarity, and that vulnerability comes through in the pre-chorus buildup. On a strong pair of over-ear headphones, the widened stereo image on the chorus really opens up, a detail worth exploring on GlobalMusicVibe’s headphone comparison guide for anyone chasing that fuller sound.
Give Love
Also from The Good Parts, “Give Love” pairs Grammer with rapper LunchMoney Lewis for a collaboration that leans harder into upbeat, percussion-forward pop than almost anything else in the catalog. The featured verse shifts the song’s energy noticeably, giving it a bounce that translates well to playlists built for workouts or road trips. Thematically it stays on-brand, urging listeners to lead with generosity, but the arrangement’s syncopated rhythm section sets it apart from the more piano-and-strings ballads elsewhere on the album. It is a reminder that Grammer’s catalog, while consistently optimistic, is not musically one-note.
I Found You
Released as a standalone single in 2020, “I Found You” went on to earn gold certification, extending Grammer’s streak of hits well past the Magazines or Novels era. The production is noticeably more restrained than his mid-2010s singles, built around a steady mid-tempo groove and a vocal delivery that favors intimacy over belting. Lyrically, the song reads as a love letter to connection found later or unexpectedly, and the arrangement never oversells the emotion, letting small details like the acoustic guitar textures do the work. It is a quieter entry in the catalog, but one that ages particularly well on repeat listens.
My Own Hero
Opening 2019’s Naive, “My Own Hero” sets the tone for an album built around self-reliance and reinvention. The arrangement favors a driving, anthemic build, with the chorus arriving on a wave of layered background vocals that give the hook maximum lift. Where earlier singles leaned on external validation from a partner or a crowd, this track turns the message inward, framing personal resilience as its own reward. It is a strong entry point for anyone discovering the Naive album for the first time.
Best of You
Also from Naive, “Best of You” strips things back slightly compared to the album opener, leaning on a warmer, mid-tempo groove and a vocal performance that sits closer to the mic. The lyrics focus on wanting to show up as the strongest version of oneself for someone else, a theme Grammer returns to often but rarely with this much melodic restraint. The production layers in subtle keyboard textures underneath the main vocal line, rewarding attentive listening rather than demanding it. It functions almost like a palate cleanser between the bigger, brasher tracks surrounding it on the record.
She’d Say
“She’d Say” continues the Naive album’s more reflective streak, built around a narrative device where the singer imagines what a loved one would say in a difficult moment. The arrangement stays largely acoustic-leaning through the verses before opening into a fuller band arrangement on the final chorus. That structural choice mirrors the lyrical arc, moving from private doubt toward something closer to resolve. Fans who gravitate toward Grammer’s more storytelling-driven material tend to single this one out as a Naive highlight.
Wish You Pain
One of the more unusually titled tracks in the catalog, “Wish You Pain” flips the typical breakup-song formula by wishing an ex-partner enough hardship to grow rather than simple misery. Musically, the production keeps a light touch, favoring a plucky guitar line and understated percussion over big dynamic swings. The lyrical conceit gives the song a wry, almost bittersweet humor that separates it from the more straightforwardly sentimental material elsewhere on Naive. It is a good showcase of Grammer’s songwriting range beyond pure positivity anthems.
I Am Yours
Closing out the Naive material featured here, “I Am Yours” leans fully into devotion, pairing a steady, heartbeat-like rhythm with a vocal performance that stays warm rather than showy. The production keeps the arrangement uncluttered, giving space for the lyrics’ directness to land without competing instrumentation. It plays well as a slower-tempo palate cleanser in a playlist otherwise dominated by uptempo hooks. Among the deeper cuts on this list, it is one of the most quietly effective.
Lease on Life
Pulled from 2024’s Monster, “Lease on Life” finds Grammer returning to the big, gratitude-driven pop that made “Good to Be Alive” a hit nearly a decade earlier, but with noticeably more modern production polish. The mix favors punchy low end and crisp vocal processing, giving it a sheen that fits current pop radio without abandoning the songwriter’s signature optimism. It works especially well as a driving song, where the chorus’s momentum matches the highway-adjacent imagery in the lyrics. As one of the newer additions to the catalog, it shows the throughline connecting Grammer’s earliest hits to his current output.
These Tears
Also from Monster, “These Tears” takes a more emotionally direct approach than much of the album surrounding it, leaning into a slower build and a vocal performance with noticeably more grain and vulnerability. The production resists the temptation to overdecorate, keeping the arrangement centered on voice and a steadily rising instrumental bed. That restraint makes the eventual dynamic payoff in the final chorus feel earned rather than manufactured. It stands out as one of the more affecting tracks in the Monster rollout.
Without You
“Without You” continues Monster’s exploration of gratitude and connection, built around a warm, mid-tempo arrangement that favors melodic hooks over big percussive drops. The vocal take leans conversational in the verses before opening up considerably on the chorus, a familiar Grammer structural move that still works because the melodies underneath it remain genuinely strong. Lyrically, the song frames a relationship or support system as essential rather than optional, continuing the album’s overarching theme of appreciation. It slots naturally alongside the album’s other mid-tempo entries as a grower rather than an immediate hook.
Good In Me
Another Monster cut, “Good In Me” turns Grammer’s usual outward optimism inward, framing the song as an internal pep talk rather than a message aimed at a partner or crowd. The production keeps a steady, mid-tempo pulse throughout, letting the lyrical content carry most of the emotional weight rather than leaning on a huge chorus swell. That restraint is notable given how many of Grammer’s earlier singles reach for maximum uplift; here the arrangement trusts the song to land more quietly. It is a solid example of the more mature, settled songwriting voice present throughout Monster.
Joy
True to its title, “Joy” leans into some of the brightest production on Monster, pairing an upbeat rhythm section with layered vocal harmonies that stack up through the chorus. The arrangement favors immediacy, front-loading the hook so it lands within the first thirty seconds rather than building slowly toward it. Lyrically, it stays squarely within Grammer’s comfort zone of finding light in difficult circumstances, but the production’s contemporary pop touches keep it from feeling repetitive next to older catalog entries covering similar ground. It works well as a mood-lifting addition to any playlist built around feel-good pop.
Love Myself
“Love Myself” tackles self-acceptance with a steady, groove-driven arrangement that prioritizes rhythm over big dynamic shifts. The vocal performance stays relatively even-keeled throughout, letting the bassline and percussion carry more of the energy than in some of Grammer’s more chorus-driven hits. Thematically, it continues Monster’s pattern of turning outward gratitude into inward affirmation, a shift that has become more pronounced across the artist’s later-career material. It rewards listening in the car or through a solid pair of earbuds, where the rhythm section’s low end really comes through.
Love Is the New Money
One of the more conceptually playful entries on Monster, “Love Is the New Money” builds its hook around a value-reassessment metaphor, arguing that connection matters more than material success. The production leans into a punchy, hip-hop-adjacent rhythm section that sets it apart from the more traditional pop-rock instrumentation found elsewhere on the album. That rhythmic emphasis gives the track a different feel live, where the groove tends to get the crowd moving rather than singing along in unison. It is a good example of Grammer experimenting with texture while keeping his core lyrical themes intact.
Good Company
Closing out the Monster selections here, “Good Company” leans into warm, mid-tempo instrumentation built around the idea of surrounding oneself with the right people. The arrangement favors layered acoustic and electric guitar textures over synth-heavy production, giving it a slightly more organic feel than some of the album’s brighter, more polished tracks. The vocal delivery stays grounded and unhurried, matching the song’s message about steady, dependable relationships rather than fleeting excitement. As a closing entry on this list, it offers a fitting reminder of the consistent, community-minded thread running through Grammer’s entire catalog, whichever era it happens to come from.
Frequently Asked Questions
What is Andy Grammer’s biggest hit?
“Honey, I’m Good” is Andy Grammer’s most commercially successful single, peaking at number nine on the Billboard Hot 100 and earning triple-platinum certification from the RIAA.
Which Andy Grammer song has the most streams?
“Fresh Eyes,” from 2017’s The Good Parts, has accumulated more than 350 million streams and became his sixth single to earn gold certification or better.
What is Andy Grammer’s most recent album?
Monster, released in 2024, is Grammer’s most recent studio album and includes tracks such as “Lease on Life,” “These Tears,” “Joy,” and “Good Company.”
Does Andy Grammer write his own songs?
Yes. Grammer is credited as a co-writer on the vast majority of his catalog, often working alongside collaborators like Nolan Sipe, Ross Golan, and Ian Kirkpatrick depending on the era.
What genre is Andy Grammer’s music?
Grammer’s catalog sits primarily in pop and pop-rock, with country-pop, adult contemporary, and hip-hop-adjacent influences appearing on individual tracks throughout different albums. Readers building a home listening setup around genre-hopping catalogs like this one can compare options on GlobalMusicVibe’s earbud comparison page.