Joe Jonas has spent nearly two decades proving he’s far more than just a Disney pop heartthrob. From his early days fronting the Jonas Brothers to his explosive run with DNCE and a refined solo catalog, the man has accumulated a genuinely impressive body of work. Whether you’re rediscovering old favorites or diving into his more recent output, this definitive list of the best Joe Jonas songs has something for every kind of listener.
Before we get into it — if you want the full immersive experience, make sure you’re listening on quality gear. We’ve got some excellent headphone comparisons that can seriously upgrade how you hear these tracks. Now, let’s get into it.
Cake by the Ocean
Released in 2015 and appearing on the Grease Live! compilation in 2016, “Cake by the Ocean” was the moment the world realized DNCE — Joe’s funk-pop side project — was not a passing experiment. Produced by Justin Tranter and Mattman & Robin, the track blends a gritty bassline with sun-soaked synths in a way that feels simultaneously retro and completely fresh. Joe’s vocal delivery here is looser, more playful, and frankly more confident than almost anything he’d done before. The song peaked at number 9 on the Billboard Hot 100 and became a genuine radio staple worldwide. There’s something about that opening guitar lick that just demands you turn the volume up — it’s one of those tracks that sounds completely different (and better) on good speakers or headphones.
Sucker
Few comeback singles have landed as hard as “Sucker,” the Jonas Brothers’ 2019 return after a six-year hiatus. Produced by Ryan Tedder and Frank Dukes, the song is an irresistible piece of pop craft — punchy horns, a propulsive groove, and harmonies so tight you’d think the brothers never skipped a beat. Debuting at number one on the Billboard Hot 100, it became the first song by a group with no prior number-one singles to debut at the top in the chart’s modern era. Joe’s lead vocal sits perfectly in the mix: confident without being overbearing, charming without being saccharine. The music video, featuring the Jonas wives alongside the brothers, added a fun, stylish visual layer that made the whole package feel celebratory.
Leave Before You Love Me
Featured on NOW That’s What I Call Music! 79 in 2021, “Leave Before You Love Me” is a collaboration between the Jonas Brothers and Marshmello that manages to avoid the usual pitfalls of DJ-pop crossovers. The production is clean and driving without overwhelming the melody, and the lyrical theme — two people who know a relationship is doomed but can’t stop anyway — hits with surprising emotional weight. Joe’s verses carry a melancholy undercurrent that contrasts beautifully with the euphoric chorus drop. It’s the kind of song that works just as well at 2am in headphones as it does blasting through a festival PA system.
This Is Me
From the original Camp Rock soundtrack in 2008, “This Is Me” is a cornerstone Jonas Brothers track and arguably the song that first showed Joe Jonas could carry an emotionally resonant ballad. The duet with Demi Lovato is a masterclass in dynamic contrast — Lovato’s powerhouse delivery pushes Joe to raise his game, and the result is genuinely moving. The production, handled by the Underdogs (Harvey Mason Jr. and Damon Thomas), keeps things warm and organic, letting the vocals breathe. It remains one of the most-streamed Camp Rock tracks to this day and earns its place in any Joe Jonas greatest hits conversation.
Only Human
Off the Jonas Brothers’ Happiness Begins (2019), “Only Human” is the feel-good moment of the album — a disco-tinged banger with a four-on-the-floor beat and a chorus built entirely for singalongs. Co-written by Nick Jonas and produced with a real sense of playfulness, the track leans hard into late-70s/early-80s pop influences without feeling like pastiche. Joe’s vocal performance is effortlessly fun here; you can practically hear the grin in every syllable. It hit the top 20 in several markets and became a staple of the Happiness Begins tour setlist.
Hesitate
Also from Happiness Begins, “Hesitate” is perhaps the most emotionally sophisticated track in the Jonas Brothers’ modern catalog. Written by Nick for his wife Priyanka Chopra, Joe’s delivery of the song lends it a tender, almost fragile quality. The production strips things back considerably compared to the album’s bigger pop moments — acoustic guitar, delicate piano, subtle strings — which lets every lyric land with full impact. For listeners who appreciate nuanced songwriting over pure spectacle, this is an essential listen. It’s the kind of song that rewards close attention on a good pair of earbuds.
Waffle House
From The Album (2023), “Waffle House” captures the Jonas Brothers at their most nostalgic and narrative-driven. The track tells the story of a late-night diner conversation that turns into something more — classic Americana wrapped in contemporary pop production. Joe’s storytelling instincts shine throughout, with vocal phrasing that feels conversational yet perfectly rhythmic. The production by Jon Bellion (who executive produced the entire album) gives it a warm, slightly retro sheen that suits the subject matter perfectly.
What A Man Gotta Do
The lead single from the What A Man Gotta Do EP (2020) is a gloriously theatrical piece of pop built around classic film homages. Channeling the energy of Risky Business, Say Anything, and Ferris Bueller’s Day Off simultaneously, the song is pure joy from start to finish. The production is punchy and retro-leaning, with a horn section that gives it genuine swagger. Joe’s vocal performance leans into the camp brilliance of the concept without ever winking too hard at the camera. It charted in the top 40 in the US and became a fan favorite almost immediately.
S.O.S.
From the Jonas Brothers’ self-titled debut album in 2007, “S.O.S.” was the breakthrough moment that announced the brothers as a genuine pop-rock force rather than just a manufactured Disney act. Produced by John Fields, the song has a raw energy that later, more polished Jonas productions sometimes lack — there’s genuine urgency in the guitars and a restless quality to the rhythm that makes it feel like it could fall apart at any second (it never does). Joe’s voice is notably younger here, but the charisma is already unmistakable. It hit number 1 on the Billboard Hot 100, making it one of the defining pop-rock moments of 2007.
Gotta Find You
Another Camp Rock standout from 2008, “Gotta Find You” showcases Joe’s ability to blend earnest romance with genuine melodic invention. The production keeps things acoustic-forward and bright, giving the song a summery, timeless quality. As the emotional centerpiece of the film’s climax, it carries narrative weight beyond just the music — but even stripped of context, it holds up as an excellent piece of pop songwriting. The bridge in particular, where the melody opens up and Joe’s vocals soar, is a highlight of his early catalog.
Burnin’ Up
From A Little Bit Longer (2008) and featuring Big Rob, “Burnin’ Up” is the most purely fun the Jonas Brothers ever sounded in their early Disney era. The production is slick and radio-ready but retains enough guitar grit to feel like a real band rather than a pop product. Joe’s delivery is playful and confident, riding the groove with ease. It peaked at number 5 on the Billboard Hot 100 and remains one of the most recognizable Jonas Brothers songs in their entire discography.
Lovebug
Also from A Little Bit Longer, “Lovebug” is the kind of timeless teen ballad that sounds just as beautiful now as it did in 2008. The production is deliberately restrained — piano, subtle strings, and clean guitar — allowing the vocal melody to carry the full emotional load. Joe’s vocal here is probably his most technically controlled performance of the early era; there’s real care in how he shapes each phrase. The song peaked at number 8 on the Billboard Hot 100 and remains a benchmark for what the Jonas Brothers could achieve when they focused on pure songcraft over production flash.
Toothbrush
From DNCE’s self-titled EP (2016), “Toothbrush” is the moody, R&B-inflected counterpoint to “Cake by the Ocean’s” sun-drenched energy. The production is darker and more atmospheric, with a late-night feel that showcases Joe’s vocal range in a different light entirely. Lyrically, it’s more vulnerable than most DNCE output — a song about the intimacy of spending the night with someone you care about, told with refreshing specificity. It charted well internationally and helped establish DNCE as more than a one-trick pony.
Do It Like That
Featured on TOMORROW X TOGETHER’s The Name Chapter: Freefall in 2023, “Do It Like That” is a fascinating genre crossover that works far better than you might expect. Joe’s contribution brings a classic pop-rock energy to TXT’s K-pop sensibility, and the production bridges both worlds with skill. The track speaks to Joe’s ongoing cultural relevance and his ability to move fluidly between musical contexts — not something every pop veteran can pull off authentically.
Cool
From Happiness Begins (2019), “Cool” is exactly what the title promises: breezy, effortless, and impossible not to enjoy. The production leans into a classic California-pop aesthetic with layered guitars and an easy-going rhythm that masks how carefully constructed the song actually is. Joe’s vocal performance is among his most relaxed and natural, perfectly suited to the track’s vibe. It hit number 10 on the Billboard Hot 100 and became the album’s signature feel-good moment.
Like It’s Christmas
From Classic Christmas Hits (2020), “Like It’s Christmas” is a genuinely great modern Christmas song — which is rarer than it sounds. The production evokes classic holiday pop without tipping into parody, with jingle bells and big harmonies deployed with real taste. Joe’s vocal sits warmly in the mix, and the songwriting captures genuine festive nostalgia. It’s one of the few contemporary holiday tracks that earns repeat play through actual December without wearing out its welcome.
Year 3000
From It’s About Time (2006) — originally a Busted song — the Jonas Brothers’ cover of “Year 3000” was actually the first taste many American listeners got of the band, and it remains a perfect entry point. The production punches up the original’s pop-punk energy with American radio polish, and Joe’s lead vocal has a wide-eyed enthusiasm that perfectly matches the song’s absurdist futurist premise. It never gets old.
Wings
From The Album (2023), “Wings” is perhaps the most emotionally ambitious track in the Jonas Brothers’ recent catalog. The production builds gradually from intimate piano to a full, sweeping arrangement, and Joe’s vocal performance navigates that journey with genuine sensitivity. It’s the kind of song that earns its big moments by taking its time getting there — a lesson in restraint that makes the payoff all the more powerful.
Play My Music
From the original Camp Rock soundtrack in 2008, “Play My Music” is pure, unfiltered Jonas Brothers energy at its most infectious. The track serves as the band’s in-film performance centrepiece, and its production reflects that — big guitars, a driving rhythm section, and a chorus engineered to fill a room. Joe’s vocal leads with real conviction, carrying the kind of carefree enthusiasm that defined the brothers’ early Disney era. Co-written by the Jonas Brothers themselves, the song holds up as a genuinely solid pop-rock track beyond its film context, with a hook that lodges itself in your head long after the credits roll. It remains one of the most streamed songs from the Camp Rock catalog and a staple of any Jonas Brothers throwback playlist.
Send It On
Technically a collaboration between Miley Cyrus, Demi Lovato, Selena Gomez, and the Jonas Brothers released in 2009, “Send It On” is a fascinating time capsule of early-Disney-era pop at its most earnest. The charity single — released to support the Disney Friends for Change environmental campaign — benefits from strong production and genuine chemistry between the performers. Joe’s contribution is well-integrated into the ensemble, and the song’s optimistic message still lands with warmth. It’s a reminder of the cultural moment these artists collectively represented.
For more great song discoveries across all genres, check out our full songs category for curated playlists and deep dives.
Frequently Asked Questions
What is Joe Jonas’s most famous solo song?
“Cake by the Ocean” with DNCE is widely considered Joe Jonas’s signature moment as a solo/band act outside the Jonas Brothers. Released in 2015, it reached number 9 on the Billboard Hot 100 and became a global hit, demonstrating his range and artistic maturity beyond his Disney-era persona.
What was the Jonas Brothers’ first number one hit?
“S.O.S.” from their 2007 self-titled album was one of their earliest major hits, and “Sucker” in 2019 became their first song to debut at number one on the Billboard Hot 100 — making it arguably the definitive Jonas Brothers chart milestone.
Did Joe Jonas write his own songs?
Yes, Joe Jonas has songwriting credits on numerous Jonas Brothers and DNCE tracks. He is typically part of the co-writing process, working alongside his brothers and outside collaborators including producers like Ryan Tedder and Jon Bellion.
What albums are considered Joe Jonas’s best work?
The Jonas Brothers’ Happiness Begins (2019) and The Album (2023) are widely regarded as their strongest modern work. For solo/side project output, DNCE’s self-titled EP (2016) is essential listening. The Camp Rock soundtracks (2008, 2010) remain important early milestones.
Is Joe Jonas still making music in 2025?
Joe Jonas has remained active in music through both his Jonas Brothers work and various collaborations. The brothers released The Album in 2023, and Joe has continued to appear on collaborative tracks. Fans should follow his official channels for the latest release news.
What genre is Joe Jonas’s music?
Joe Jonas’s music spans multiple genres depending on the project. The Jonas Brothers occupy a pop-rock space, while DNCE leans into funk-pop and dance-pop. His collaborative tracks have touched on EDM, R&B, and K-pop adjacent sounds, demonstrating genuine versatility across his career.