Few Australian artists cut through the noise like Briggs. Ranking the best Briggs songs means tracing a career built on razor-sharp bars, unapologetic politics, and beats that hit hard whether they land through a phone speaker or a proper sound system. From his 2010 debut mixtape through the A.B. Original years with Trials and into his most recent solo work, Briggs has never softened his message for radio play. This rundown pulls from The Blacklist, Sheplife, Reclaim Australia, Always Was, and the 2024 Sheplife 10th Anniversary reissue to build a list that actually reflects how his catalogue has evolved.
Sorry (A.B. Original)
Recorded for the Reclaim Australia album, “Sorry” turns the absence of a formal government apology into one of the most devastating tracks in modern Australian hip-hop. Briggs and Trials strip the production down so the words carry every ounce of weight, letting the hook build like a held breath. It picked up an ARIA Award nomination and remains the emotional center of the duo’s catalogue. Anyone hearing it for the first time should expect a gut-punch, not a bop.
January 26 (A.B. Original)
This is the track that turned a chart campaign into a national conversation. Briggs and Trials used the song’s release timing to push Triple J toward reconsidering its Hottest 100 broadcast date, and the track’s blunt title alone forced a debate that mainstream media had mostly avoided. Musically, it rides a stark, siren-laced beat that mirrors the urgency of the lyrics. It is one of the most culturally significant Briggs songs on this list, regardless of chart position.
Bad Apples
Pulled from the 2014 debut album Sheplife, “Bad Apples” set the tone for Briggs as a solo force separate from A.B. Original. The verses move at a conversational pace before snapping into aggressive double-time, a trick Briggs uses throughout his catalogue to keep listeners off balance. The mix favors low-end weight, the kind of track that rewards a solid pair of headphones over laptop speakers. It is a strong entry point for anyone building a starter playlist.
Life Is Incredible
Released as a single in 2019, “Life Is Incredible” leans into a more melodic, almost defiant chorus that contrasts with the grit of the verses. The production has a widescreen quality, with synths that swell behind Briggs’ vocal rather than sitting underneath it. Thematically it reads as a survivor’s anthem, acknowledging hardship while refusing to be defined by it. It has become a live favorite, partly because the hook translates so well to a crowd singing along.
Shadows
A 2021 single, “Shadows” finds Briggs rapping over a moodier, bass-driven instrumental that leaves more space in the mix than his earlier work. The pacing is patient, letting individual lines land before the beat pushes forward again. It is a good example of how his songwriting matured after the A.B. Original run, trading some of the confrontational energy for introspection. Late-night listening suits this one particularly well.
The Children Came Back
Featuring the late Gurrumul, “The Children Came Back” appeared on the 2024 Sheplife 10th Anniversary reissue and reworks a well-known Australian song into something entirely its own. The pairing of Briggs’ delivery with Gurrumul’s vocal gives the track a weight that few collaborations in Australian music have matched. It functions as both tribute and statement, connecting Briggs’ storytelling to a broader lineage of First Nations music. For readers exploring the deeper cuts in Briggs’ catalogue, this is essential listening alongside the rest of the songs archive.
Golden Era
Another Sheplife highlight, “Golden Era” is built around a warm, sample-driven loop that nods toward classic boom-bap without sounding retro for its own sake. Briggs uses the track to reflect on his come-up, name-checking influences and moments that shaped his approach to the craft. The mastering keeps the vocal forward and clear, which makes the wordplay easy to catch on a first listen. It is one of the more replayable tracks in his catalogue.
Sheplife
The title track of Briggs’ 2014 debut album, “Sheplife” is a direct portrait of growing up in Shepparton, Victoria. The storytelling is specific rather than generalized, naming streets, people, and moments that ground the track in a real place. Production-wise, it favors a stripped, percussive arrangement that keeps focus squarely on the lyrics. It remains one of the clearest statements of identity in his entire discography.
The Hunt
Also from Sheplife, “The Hunt” pairs aggressive verses with a tense, minor-key instrumental that never quite resolves, which suits the track’s restless energy. Briggs’ flow here is more clipped and percussive than melodic, treating his voice as another rhythmic instrument in the mix. The arrangement rewards close listening on headphones, where the layered percussion becomes easier to pick apart. It is a favorite among longtime fans who prefer his rawer material.
Purgatory
“Purgatory” leans into a darker, more atmospheric production style than much of the rest of Sheplife. The lyrics sit in a space between reflection and frustration, never fully landing on resolution, which mirrors the track’s title. Briggs’ vocal performance is understated compared to his more aggressive cuts, favoring control over volume. It is one of the album’s most texturally interesting tracks.
Eye for an Eye
Closing out several key Sheplife highlights, “Eye for an Eye” pairs confrontational lyricism with a beat that hits harder than most of the album around it. The mix pushes the drums forward, giving the track a physical presence that translates well live. Briggs uses the hook to underline the song’s central tension between retaliation and restraint. It remains a setlist staple.
The Wrong Brother
From the 2010 debut The Blacklist, “The Wrong Brother” shows Briggs early in his career already comfortable with dense, technical wordplay. The production is rougher and more lo-fi than his later work, which suits the mixtape’s overall character. Lyrically, the track plays with expectation and misdirection, a theme Briggs returns to throughout his catalogue. It is worth revisiting for anyone only familiar with his post-2014 material.
So Dangerous
Also pulled from The Blacklist, “So Dangerous” leans into a menacing, bass-forward instrumental that suits Briggs’ more combative delivery on this record. The track moves quickly, packing dense verses into a tight runtime without ever feeling rushed. It is a strong example of the mixtape era of Briggs’ career, before the more polished production of his later albums. Fans of harder-edged Australian hip-hop should start here.
I Wish
Rounding out key cuts from The Blacklist, “I Wish” trades some of the record’s aggression for a more reflective tone. The instrumental is sparser, giving Briggs room to slow his delivery and let individual lines breathe. It shows an early glimpse of the introspective songwriting that would become more prominent on later releases like “Shadows.” The contrast with the mixtape’s harder tracks makes it a useful reference point for hearing his range.
HouseFyre
Released as a standalone single in 2020, “HouseFyre” finds Briggs experimenting with a more club-oriented production style while keeping his lyrical density intact. The beat has a propulsive energy that sets it apart from the more traditional boom-bap of his earlier catalogue. It works especially well through a good pair of earbuds on a commute, where the low-end punch stays consistent even at lower volumes. It is one of his more underrated recent tracks.
Extra Extra
Taken from the 2020 album Always Was, “Extra Extra” pairs a brash, attention-grabbing hook with verses that keep the energy high throughout. The mixing is bright and forward, built for maximum impact on modern streaming setups. Briggs uses the track to assert his standing in the scene without ever losing the wit that defines his writing. It is one of the more immediate, replayable songs on Always Was.
Here
Part of the 2024 Sheplife 10th Anniversary reissue, “Here” functions as a kind of victory lap, reflecting on a decade in the industry from a position of confidence rather than struggle. The production is more layered than the original 2014 material, reflecting how Briggs’ sound has evolved. It closes the loop on the Sheplife story in a way that feels earned rather than nostalgic. New listeners exploring the reissue should treat this as a natural entry point.
Rather Be Dead
Another Sheplife cut, “Rather Be Dead” leans on stark imagery and a defiant tone that runs through much of the album. The beat is minimal but forceful, leaving space for the vocal to carry the track’s weight. Briggs’ delivery here is direct, almost conversational, which makes the harder lines land with more impact. It is a good example of the album’s overall restraint.
I.C.U. (A.B. Original)
From Reclaim Australia, “I.C.U.” pairs Briggs and Trials over a tense, minimal beat that keeps the focus on the interplay between the two rappers. The chemistry between them is obvious here, trading lines with a rhythm that feels almost conversational. It is a strong showcase of why the A.B. Original project resonated so widely beyond either artist’s solo work. The track holds up as one of the album’s tighter, more focused moments.
Take Me Home (A.B. Original)
Closing out this list, “Take Me Home” from Reclaim Australia blends a soulful sample with Briggs and Trials’ typically direct lyricism. The hook softens the production just enough to make the track feel personal rather than purely political, even as the verses stay pointed. It is a fitting note to end on, tying together the themes of identity and place that run through nearly every Briggs song on this list. Listening back to back with “Sheplife” makes the throughline in his songwriting even clearer.
Frequently Asked Questions
What is Briggs’ most famous song?
“Sorry,” released with A.B. Original on Reclaim Australia, is widely regarded as his most significant and widely recognized track, both for its songwriting and its cultural impact.
Is Briggs part of A.B. Original?
Yes. A.B. Original is a duo made up of Briggs and producer-rapper Trials. Their album Reclaim Australia is considered essential listening within his broader catalogue.
What album should new listeners start with?
The 2014 debut Sheplife offers the clearest introduction to Briggs as a solo artist, while Reclaim Australia is the best starting point for the A.B. Original side of his work.
Has Briggs won any major awards?
A.B. Original’s Reclaim Australia received major recognition within the Australian music industry, including award nominations tied to tracks like “Sorry.”
What themes does Briggs explore in his music?
Identity, place, injustice, and resilience run through nearly all of his work, whether delivered through confrontational verses or more reflective, melodic tracks.
Is Briggs’ music available on streaming platforms?
Yes, his full catalogue across The Blacklist, Sheplife, Reclaim Australia, and Always Was is available on major streaming services.
What makes Briggs’ production style distinct?
His catalogue moves between stripped, bass-heavy boom-bap and more melodic, widescreen production, often depending on whether a track leans political or personal.
Are there more Briggs-adjacent tracks worth exploring?
Readers who enjoy this list can browse more artist deep dives in the songs section for additional greatest hits guides.
What’s the best way to listen to Briggs’ bass-heavy tracks?
Tracks like “Bad Apples” and “The Hunt” reward a decent pair of headphones, since the low-end detail can get lost on smaller speakers.
Does Briggs still release new music?
Yes, with recent singles and the 2024 Sheplife 10th Anniversary reissue showing his catalogue is still actively expanding.