When exploring the best Muse songs, you’re diving into a catalog that defies easy categorization—a thrilling intersection of progressive rock, classical influences, electronic experimentation, and stadium-sized anthems. Since their formation in Teignmouth, Devon in 1994, Matt Bellamy, Chris Wolstenholme, and Dominic Howard have consistently pushed the boundaries of what rock music can be. Their ability to seamlessly blend Queen-like bombast with Radiohead’s experimental edge, all while maintaining an unmistakable sonic identity, has earned them a devoted global following and critical acclaim across multiple decades.
What makes Muse’s discography particularly remarkable is their refusal to repeat themselves. From the raw alternative rock of “Showbiz” through the space-rock epics of “Black Holes and Revelations” to the electronic-infused “The 2nd Law” and beyond, each album represents a distinct evolution. These songs showcase Bellamy’s extraordinary vocal range, his virtuosic piano and guitar work, and the band’s collective genius for crafting moments that feel simultaneously intimate and arena-ready. Whether experienced through quality headphones that reveal every production detail or blasting through festival speakers, Muse’s music demands your full attention.
Knights of Cydonia
This six-minute epic from “Black Holes and Revelations” (2006) remains Muse’s most audacious statement—a genre-defying mashup of surf rock, spaghetti western soundtracks, and progressive metal that somehow works brilliantly. The song opens with a galloping horse rhythm that immediately transports listeners to a sci-fi desert landscape before exploding into one of the most recognizable guitar riffs in modern rock. Producer Rich Costey captured the band at their most experimental, layering harmonized vocals that channel Queen’s operatic grandeur with distorted guitars that nod to Ennio Morricone’s film scores. The song’s structure deliberately subverts expectations—building tension through multiple movements before unleashing a triumphant falsetto chorus that’s become a live show staple, with audiences around the world singing “No one’s gonna take me alive” in unison.
Supermassive Black Hole
The lead single from “Black Holes and Revelations” marked a radical departure into funk-rock territory, with a bassline that Chris Wolstenholme claims was inspired by Millionaire’s “Paradisiac.” Recorded with producer Rich Costey, the track showcases Muse’s ability to strip down their typically maximalist approach into a groove-based monster that dominated alternative rock radio in 2006. Bellamy’s vocal delivery here is deliberately sultry and restrained compared to his usual histrionics, creating an atmosphere of controlled menace that perfectly complements the song’s themes of romantic obsession. The production emphasizes negative space, with the distorted bass and minimalist drum pattern creating a hypnotic foundation that allows each element to hit with maximum impact—a lesson in how less can indeed be more.
Starlight
Perhaps Muse’s most straightforwardly romantic song, “Starlight” from “Black Holes and Revelations” demonstrates the band’s capacity for emotional vulnerability without sacrificing their epic sensibilities. The track features some of Bellamy’s most soaring vocal melodies, particularly in the anthemic chorus that declares “Our hopes and expectations, black holes and revelations.” Rich Costey’s production balances stadium-rock grandeur with intimate moments, particularly in the verses where Bellamy’s falsetto floats over shimmering guitar arpeggios. The song’s success—reaching number 13 on the UK Singles Chart—proved that Muse could write genuinely affecting love songs while maintaining their artistic credibility, and it remains a concert highlight where thousands of phone lights create the starlight the lyrics describe.
Hysteria
The opening bass riff of “Hysteria” from “Absolution” (2003) is instantly recognizable—a relentless, fuzz-drenched pattern that Chris Wolstenholme plays continuously for nearly the entire four-minute duration. Produced by Rich Costey and Paul Reeve, the track represents Muse’s heaviest work up to that point, with layers of distorted guitars and Bellamy’s increasingly manic vocal delivery building to an almost unbearable intensity. The song’s structure is deceptively simple, relying on repetition and gradual dynamic shifts rather than dramatic changes, creating a hypnotic effect that mirrors the psychological state described in the lyrics. This track showcases the power trio format at its finest—each instrument locked into a groove that’s simultaneously mechanical and deeply human.
Time Is Running Out
This lead single from “Absolution” became Muse’s breakthrough hit in many territories, featuring a piano-driven verse that explodes into a guitar-heavy chorus with one of Bellamy’s most memorable vocal hooks. The song’s production by Rich Costey and Paul Reeve emphasizes contrast—the claustrophobic verses with their staccato piano chords give way to expansive choruses that showcase the band’s dynamic range. Lyrically, the track explores themes of relationship breakdown and desperation with unusual directness for Muse, avoiding their typical sci-fi metaphors for raw emotional honesty. The accompanying music video, featuring the band performing in a confined room filling with water, perfectly captured the song’s sense of encroaching pressure and remains iconic in their visual catalog.
Plug In Baby
The opening guitar riff of “Plug In Baby” from “Origin of Symmetry” (2001) ranks among rock’s most technically impressive and instantly recognizable introductions. Produced by John Leckie and David Bottrill, the song showcases Bellamy’s classical guitar training filtered through aggressive rock sensibilities, with rapid-fire arpeggios that lesser guitarists have spent years trying to master. The song’s breakneck tempo, driven by Dominic Howard’s propulsive drumming, creates an urgent energy that never lets up, while Bellamy’s vocals alternate between controlled verses and explosive choruses. This track established Muse as virtuoso musicians who could match technical prowess with songwriting craft, and it remains a guitar hero favorite on Rock Band and real stages alike.
Uprising
The synth-heavy lead single from “The Resistance” (2009) marked another stylistic evolution, incorporating electronic elements more prominently than ever before. Produced by the band themselves, “Uprising” features a retro synth riff that recalls Giorgio Moroder’s work while the lyrics address themes of conspiracy and rebellion that had become increasingly prominent in Bellamy’s writing. The song’s structure is deliberately anthemic, with a chorus designed for mass participation—a quality that’s made it a protest song staple at demonstrations worldwide. Despite—or perhaps because of—its overtly political message, the track reached number 9 on the UK Singles Chart and introduced Muse to a broader mainstream audience, proving that commercially accessible music needn’t sacrifice substance.
Madness
From “The 2nd Law” (2012), “Madness” represents Muse’s most successful embrace of electronic production, with a dubstep-influenced breakdown that divided longtime fans while attracting new listeners. The song’s minimalist approach—built around a single guitar loop, handclaps, and Bellamy’s vocal—demonstrates remarkable restraint from a band known for maximalism. Producer Rich Costey helped the band explore textural dynamics, with the song building from sparse verses to a euphoric electronic chorus that became unavoidable on alternative radio. The lyrics explore relationship dysfunction with metaphors of insanity, delivered through some of Bellamy’s most vulnerable vocal performances, particularly in the falsetto passages that reveal genuine emotional fragility beneath the band’s typically confident exterior.
Map of the Problematique
This electronic-rock hybrid from “Black Holes and Revelations” showcases Muse incorporating influences from Depeche Mode and other synth-rock pioneers into their sound. The track features dense layers of synthesizers and programmed beats beneath Bellamy’s soaring vocals, creating a futuristic soundscape that perfectly complements the dystopian lyrical themes. Rich Costey’s production here is particularly dense, with multiple sonic elements competing for attention in a way that somehow remains coherent and powerful rather than muddy. The song’s relentless forward momentum and apocalyptic atmosphere make it a live favorite, with extended instrumental sections that allow the band to stretch out and explore the electronic textures even further.
Bliss
The opening track of “Origin of Symmetry” (2001) introduced Muse’s increasingly ambitious approach with its church organ introduction and space-rock grandeur. Produced by David Bottrill and John Leckie, “Bliss” features some of Bellamy’s most technically demanding vocal work, with his falsetto reaching stratospheric heights during the chorus sections. The song’s production emphasizes organic instruments—particularly the prominent organ that provides harmonic foundation—while the rhythm section creates a propulsive groove that prevents the track from floating away into complete ethereality. Lyrically, the song explores themes of emotional release and transcendence, with Bellamy’s delivery conveying both yearning and satisfaction in a way that’s deeply affecting when experienced through quality earbuds that capture every vocal nuance.
Muscle Museum
From their debut album “Showbiz” (1999), “Muscle Museum” showcases Muse in their rawest form, before the bombast and experimentation fully took hold. Produced by John Leckie, the track features a haunting guitar riff and some of Bellamy’s most introspective lyrics, exploring themes of inadequacy and emotional dysfunction. The production is notably stripped-back compared to their later work, allowing the song’s inherent darkness and vulnerability to take center stage. The guitar solo demonstrates Bellamy’s already-impressive technical skills while serving the song’s emotional arc, building tension before releasing into the final chorus. This track remains a fan favorite from their early catalog, representing the foundation upon which they’d build their increasingly ambitious sonic experiments.
Stockholm Syndrome
Perhaps Muse’s heaviest song, “Stockholm Syndrome” from “Absolution” (2003) opens with a brutal guitar riff that could soundtrack a horror film before exploding into a chaotic maelstrom. The song’s structure is deliberately disorienting, with time signature changes and dynamic shifts that mirror the psychological manipulation described in the title. Producer Rich Costey captured the band at their most aggressive, with layers of distorted guitars creating a wall of sound that’s both oppressive and exhilarating. The mid-section breakdown, featuring arpeggiated guitars over a steady drum pulse, provides brief respite before the song erupts again into its crushing finale. Live performances of this track are legendary for their intensity, with the band often extending the quiet section into a full-blown jam before bringing the chaos back.
Butterflies and Hurricanes
This track from “Absolution” (2003) features one of the most impressive piano solos in modern rock, with Bellamy channeling Rachmaninoff during the bridge section over thunderous drums and bass. The song’s dramatic arrangement builds through verses and pre-choruses before exploding into a triumphant chorus that showcases the band’s Queen influences. Producers Rich Costey and Paul Reeve captured extraordinary dynamic range here, from the intimate piano-and-vocal opening to the full-orchestra bombast of the climax. The lyrics address themes of change and revolution, delivered with conviction that elevates the potentially pretentious subject matter into genuinely inspiring territory. This track demonstrates Muse’s ability to incorporate classical music training into rock contexts without sounding forced or academic.
Undisclosed Desires
From “The Resistance” (2009), this R&B-influenced track surprised fans with its groove-based approach and electronic production. The song features programmed drums, funk-influenced bass, and synth textures that recall late-80s pop while maintaining Muse’s essential identity through Bellamy’s distinctive vocals. The band’s self-production allows for a level of experimentation that might have been tempered by outside producers, with the track’s unconventional structure and genre-blending approach paying off commercially—it became a top 20 hit in several countries. Lyrically, the song explores themes of desire and vulnerability with unusual directness, avoiding the band’s typical metaphorical approach for something more personally revealing. The minimalist production allows each element to shine, particularly the bass groove that drives the entire arrangement.
Apocalypse Please
Opening “Absolution” (2003) with a pipe organ and apocalyptic grandeur, this track immediately establishes the album’s ambitious scope. The song builds from Bellamy’s solo piano-and-vocal performance into a full-band assault complete with string arrangements that enhance the drama without overwhelming the core performance. Producers Rich Costey and Paul Reeve captured an almost religious fervor in Bellamy’s vocal delivery, with his voice breaking with emotion during the climactic sections. The lyrics address environmental destruction and societal collapse with prophetic urgency that’s only become more relevant in subsequent years. This track showcases Muse’s ability to tackle weighty subjects without becoming preachy, using their musical intensity to convey passion and conviction.
New Born
The opening track of “Origin of Symmetry” (2001) announced Muse’s arrival as a major creative force, with its iconic piano riff and explosive energy. The song’s structure is unconventional, featuring distinct sections that feel almost like separate songs stitched together—the frantic piano-driven verses, the spacious guitar-led pre-chorus, and the cathartic chorus with its wordless vocal melody. Producers David Bottrill and John Leckie captured the band’s live intensity while adding studio polish that enhanced rather than diminished their raw power. The song’s middle section breaks down into near-silence before rebuilding with layers of guitar and bass that demonstrate the band’s sophisticated understanding of dynamics. This track established many of the sonic signatures—falsetto vocals, aggressive piano, dramatic builds—that would define Muse’s sound.
Feeling Good
Muse’s cover of the Nina Simone classic from “Origin of Symmetry” (2001) transforms the jazz standard into a rock anthem while maintaining its essential soul. The arrangement replaces the original’s brass section with layers of distorted guitars, while Bellamy’s vocal performance channels the song’s message of liberation with convincing power. Producers David Bottrill and John Leckie captured a live-in-studio energy, with the rhythm section providing a propulsive groove that builds throughout the song’s duration. The track’s climax features some of Bellamy’s most powerful vocal work, his voice soaring over crashing guitars and thunderous drums. This cover proved Muse could reinterpret classic material through their unique lens, introducing the song to a new generation while honoring its legacy.
Psycho
The lead single from “Drones” (2015) showcases Muse returning to a heavier guitar-driven sound after their electronic explorations. The song’s central riff—played on a vintage guitar formerly owned by Tom Morello—is brutally simple yet effective, creating a mechanical groove that mirrors the song’s themes of military conditioning. Producer Robert John “Mutt” Lange helped the band craft a more straightforward rock song than their typically complex arrangements, resulting in one of their most accessible yet still distinctive tracks. The pre-chorus drill sergeant vocals add a theatrical element that some critics found heavy-handed, but which perfectly serves the album’s conceptual framework about warfare and control. This track demonstrated that Muse could simplify their approach without losing their edge.
Resistance
The title track from “The Resistance” (2009) marries Muse’s progressive rock ambitions with accessible pop songwriting, featuring a piano-driven verse and an anthemic chorus built for stadium sing-alongs. The band’s self-production allows for intricate details—the layered vocal harmonies, the orchestral flourishes, the dynamic shifts—without losing sight of the core melody. Lyrically, the song draws from George Orwell’s “1984,” exploring themes of forbidden love under totalitarian surveillance with romantic idealism that elevates the concept beyond pure dystopia. The song’s bridge features a gorgeous string arrangement that showcases Bellamy’s classical training, while the final chorus adds even more layers of vocals and instruments to create an overwhelming emotional crescendo. This track balances commercial appeal with artistic ambition in ways that few bands manage.
Take a Bow
Opening “Black Holes and Revelations” (2006) with a dramatic string arrangement and haunting piano melody, “Take a Bow” sets the album’s ambitious tone immediately. The song builds gradually, adding layers of instrumentation—distorted bass, atmospheric guitars, electronic elements—while maintaining its core piano melody throughout. Producer Rich Costey captured a cinematic quality here, with the track feeling like it could soundtrack a dramatic film sequence. Lyrically, Bellamy addresses corruption and the fall of empires with metaphors that work both personally and politically, delivered with conviction that makes the potentially grandiose subject matter feel urgent and necessary. The song’s structure avoids traditional verse-chorus patterns, instead building continuously toward its climax—a bold choice that pays off through the sheer power of the composition.
Frequently Asked Questions
What is Muse’s most popular song?
“Supermassive Black Hole” stands as Muse’s most commercially successful and widely recognized track, having been streamed over 900 million times on Spotify alone. Released in 2006 as the lead single from “Black Holes and Revelations,” the song’s funky bass groove and sultry vocals marked a departure from their typical progressive rock sound, making it accessible to mainstream audiences while maintaining their artistic identity. The track gained additional cultural prominence through its inclusion in the “Twilight” film soundtrack, introducing the band to a younger demographic and cementing its place in pop culture beyond rock circles.
What genre is Muse?
Muse defies simple genre classification, blending progressive rock, alternative rock, space rock, electronic music, and classical influences into a unique sonic identity. Their early work like “Showbiz” leaned toward alternative rock with grunge influences, while albums like “Origin of Symmetry” and “Absolution” embraced progressive rock with complex structures and classical elements. Later albums incorporated electronic music, synth-pop, and even dubstep influences, demonstrating the band’s refusal to be confined by genre expectations. Critics often describe them as “stadium rock” given their arena-filling sound, though this simplification misses the experimental nature that defines their catalog.
Who are the members of Muse?
Muse consists of three core members who have remained constant since the band’s formation: Matthew Bellamy (lead vocals, guitar, piano, keyboards), Christopher Wolstenholme (bass guitar, backing vocals, keyboards), and Dominic Howard (drums, percussion). The trio formed in Teignmouth, Devon, England in 1994, initially under the name Rocket Baby Dolls before adopting the Muse moniker. Bellamy serves as the primary songwriter and creative visionary, though all three members contribute to arrangements and sonic direction. Their chemistry as a power trio allows them to create an enormous sound with just three people, though they occasionally augment their live performances with touring musicians for keyboards and additional instrumentation.
What are Muse’s biggest influences?
Muse draws from an eclectic range of influences spanning multiple decades and genres. Matt Bellamy has consistently cited Queen, Radiohead, and Jeff Buckley as major inspirations, with Queen’s theatrical bombast and complex arrangements particularly evident in tracks like “Butterflies and Hurricanes” and “Knights of Cydonia.” Classical composers including Rachmaninoff and Chopin inform Bellamy’s piano work and compositional approach, while progressive rock bands like Yes and Rush influenced their complex song structures. Electronic artists like Daft Punk and Depeche Mode became more prominent influences in their later work, particularly on albums like “The 2nd Law” and “The Resistance.” The band also acknowledges political themes from bands like Rage Against the Machine.
Has Muse won any major awards?
Muse has accumulated numerous prestigious awards throughout their career, including two Grammy Awards—Best Rock Album for “The Resistance” (2011) and Best Rock Album for “Drones” (2016). They’ve won five MTV Europe Music Awards, including Best Alternative Act and Best Live Act multiple times, recognition that acknowledges their legendary concert performances. The band has also secured eight NME Awards and multiple Q Awards from British music publications. Their albums have achieved multi-platinum status in numerous countries, with “Black Holes and Revelations” and “The Resistance” both reaching number one on the UK Albums Chart. Beyond awards, their influence on contemporary rock music and their reputation as one of the world’s premier live acts may be their most significant achievement.
What makes Muse’s live performances special?
Muse’s live performances are legendary for their theatrical staging, technical precision, and sheer sonic power, with the band consistently ranked among the world’s best live acts. Their concerts feature elaborate stage designs including LED screens, pyrotechnics, confetti cannons, and massive lighting rigs that transform arenas into immersive audio-visual experiences. Matt Bellamy’s instrumental virtuosity—seamlessly switching between guitar, piano, and keyboards while delivering demanding vocal performances—provides constant focal points of musicianship. The band’s setlists balance fan-favorite anthems with deep cuts and occasional cover songs, while their improvisational jams during songs like “Stockholm Syndrome” add spontaneity to otherwise tightly-rehearsed productions. The collective experience of thousands of fans singing along to “Knights of Cydonia” or “Starlight” creates communal moments that transcend typical rock concerts.