Anne-Marie has spent the better part of a decade proving that pop music can be simultaneously hooky, emotionally raw, and genuinely fun — sometimes all in the same chorus. From her early club-ready anthems to her more vulnerable recent work, the British singer-songwriter has built a catalogue that holds up remarkably well on repeat listens. Whether you’re catching her on a morning commute or blasting her through a proper speaker setup, the quality of her production choices and vocal performances rewards close attention. This list pulls together 20 of her best songs, covering the full range of her artistry — the party-starters, the heartbreak anthems, and the deeply personal moments in between.
2002
If there’s one song that introduced Anne-Marie to mainstream global audiences, it’s “2002.” Released in 2018 as a lead single from her debut album Speak Your Mind, the track is a masterclass in nostalgic pop craft — clever references to early-2000s pop culture (Destiny’s Child, Backstreet Boys, The Notebook) woven into a sun-drenched melody that feels both familiar and completely fresh. Producer Skylar Stecker and songwriters Ed Sheeran and Steve Mac built a production that shimmers like a summer memory, full of warm guitar and an irresistible pre-chorus build. Anne-Marie’s vocal delivery here is playful and light, but there’s genuine warmth underneath the wink — she sounds like someone who actually lived those years and loved every minute. The song peaked at No. 1 in multiple countries and earned multi-platinum certifications across the UK, Australia, and beyond. It remains her signature moment, and for good reason.
FRIENDS
“FRIENDS,” her 2018 collaboration with Marshmello, somehow turned the dreaded “let’s just be friends” speech into an absolute festival floor-filler. The production leans into Marshmello’s signature future-bass drops while still giving Anne-Marie room to work her more pointed, slightly sardonic vocal style. Lyrically, the song is refreshingly direct — there’s no ambiguity, no coddling, just a clean boundary delivered with a massive hook. It crossed over from the dance world into mainstream pop effortlessly, charting inside the top 10 in dozens of countries and racking up billions of streams on Spotify. On good headphones, you really hear the layered synth textures in the drop, which hold up far better than a lot of EDM crossover material from that era.
Ciao Adios
Before the global breakthroughs, “Ciao Adios” (2017) was the track that made serious pop listeners sit up and pay attention. The breakup anthem has a breezy, almost Caribbean-lite production feel, but Anne-Marie’s vocal performance carries an edge that cuts right through the lightness — there’s real steel in how she delivers the dismissal. Written with Ed Sheeran among others, the song showcases her gift for making emotional clarity sound effortless. It peaked at No. 9 on the UK Singles Chart and set the tone for the kind of pop she’d make throughout her career: bright on the surface, genuinely felt underneath. For fans exploring her back catalogue for the first time, this is an essential early listen.
Alarm
“Alarm” (2016) was Anne-Marie’s debut single and, in hindsight, one of the boldest opening statements a pop artist made that year. The song tackles the frustration of being dismissed or underestimated, and her vocal performance channels something that sounds close to genuine indignation — there’s a rawness and urgency in the verses that most pop production sands away. The production from Afterhrs has a stark, minimal quality in the verses before expanding into a chorus that practically dares you not to sing along. It introduced the Anne-Marie template: strong opinions, a relatable emotional core, and a hook built to last. For context on where she fits in the broader pop landscape, browsing through curated song lists at GlobalMusicVibe gives a useful sense of how her approach stacks up.
Perfect to Me
“Perfect to Me” is one of Anne-Marie’s most emotionally generous songs — a body-confidence anthem that manages to avoid the hollow uplift that sinks so many songs of its type. The production is warm and intimate, built around acoustic guitar and a piano-led arrangement that lets her voice do the heavy lifting without competing instrumentation. Released in 2018 as part of Speak Your Mind, the song addressed her own history with body image struggles, and that autobiographical specificity is exactly what makes it resonate rather than just feel like a promotional hashtag. Her vocal performance in the bridge is genuinely moving — she holds back just enough to make the emotional payoff feel earned rather than forced.
Birthday
Few songs in Anne-Marie’s catalogue are as purely, unabashedly fun as “Birthday” (2019). Co-written with Ed Sheeran, it has the kind of bounce that belongs in summer playlists and birthday party speakers with equal authority. The production is sleek without being clinical — there’s a warmth in the low end and a sparkle in the high-frequency guitar work that makes it feel generous rather than calculated. Her vocal performance is relaxed and conversational, which suits the celebratory subject matter perfectly. It’s the kind of song that sounds even better in a car with the windows down, and if you’re serious about getting the full sonic picture from her best work, pairing it with quality audio gear makes a real difference — comparing headphones before investing is worth doing.
Psycho
“Psycho” (2019), her collaboration with the late great Lil Dicky, is one of those rare crossover songs where both artists sound completely natural in the other’s lane. The song’s frank, almost comedically self-aware take on being obsessed with someone new gave Anne-Marie room to be funny and vulnerable simultaneously — a combination that’s harder to pull off than it sounds. The production is polished but never sterile, and her hook is the kind that lodges in your brain for days. The song peaked at No. 2 in the UK and became one of her biggest commercial moments.
UNHEALTHY
“UNHEALTHY,” her 2023 collaboration with Shania Twain, is arguably one of her most interesting creative choices. Pairing with a country-pop legend to sing about a relationship both parties know is bad for them brings a richness to the production that’s unusual for modern pop. Twain’s presence adds a lived-in country resonance, while Anne-Marie grounds it in a more contemporary vocal approach — the two styles shouldn’t work together as well as they do. Lyrically it’s among her most self-aware work, acknowledging destructive relationship patterns without excusing them. The song became a significant streaming hit and introduced her to an entirely new demographic of listeners.
Our Song
“Our Song” (2019) demonstrates Anne-Marie’s ability to write a classic, uncluttered pop song and let it breathe. The production is deliberately restrained — there’s space in the arrangement that lets her vocal performance carry the emotional weight without a big production machinery behind it. The song captures the particular ache of hearing a piece of music that used to mean something, and her phrasing throughout is beautifully controlled — she never over-emotes, which makes the moments where the emotion breaks through feel genuinely earned. On a good pair of earbuds (and it’s worth checking earbuds comparisons before you invest), the subtle layering in the production becomes much clearer.
Kiss My (Uh Oh)
“Kiss My (Uh Oh)” (2021), featuring Little Mix, is one of the most purely enjoyable pop tracks in Anne-Marie’s recent catalogue. The production is bright and propulsive, and the combination of her voice with Little Mix’s harmonies creates something bigger than either would have managed alone. The song is essentially a brushoff anthem — a polished piece of empowerment pop that never takes itself too seriously, which gives it a lightness that makes it endlessly replayable. The bridge in particular showcases the harmonic interplay between the artists, a moment worth paying close attention to.
Don’t Play
“Don’t Play” (2016), her early collaboration with Big Narstie and MØ, showed an entirely different side of Anne-Marie’s sonic personality. The track has a harder, more rhythmically aggressive edge than most of her work, and she navigates it with surprising confidence for an early-career release. The production sits somewhere between UK grime and pop, and her ability to shift vocal registers — from the percussive verses to the more melodic moments — hinted at the versatility she’d develop across her career. It was an early signal that she wasn’t going to be boxed into one lane.
To Be Young
“To Be Young” is a song that rewards revisiting. On the surface it’s a reflective pop ballad about the specific nostalgia of youth, but Anne-Marie’s vocal performance gives it a bittersweet complexity that lifts it above generic reminiscence. The production builds slowly, using orchestral elements sparingly but effectively, and the lyrical specificity — the way it captures the confusion and freedom of young adulthood simultaneously — feels personal rather than generic. It’s the kind of deep-catalogue gem that rewards listeners who go beyond the big singles.
Rewrite the Stars
“Rewrite the Stars” from The Greatest Showman soundtrack (2017), performed with Zac Efron, became one of the most-streamed songs from that film’s exceptionally successful soundtrack. Anne-Marie brings a genuine emotional depth to the song’s central metaphor of love defying impossible odds — her voice in the upper register has a vulnerable quality that the song requires, and the production from the Benj Pasek and Justin Paul songwriting team is deliberately theatrical in the best sense. The duet dynamic works because both performers commit fully to the emotional stakes. The song went platinum in numerous countries and introduced her to audiences who might never have found her through her pop work.
f*ck, i’m lonely
Her collaboration with Lauv on “f*ck, i’m lonely” (2019) is one of the most emotionally precise songs in either artist’s catalogue. The production is deliberately stripped-back — sparse piano, minimal percussion, and a mix that feels almost uncomfortably intimate. Both artists specialize in emotional directness, and the combination here creates something that sounds like an honest journal entry put to music. The frank title alone signals the song’s refusal to dress up loneliness in more palatable language, and that commitment to emotional honesty gives it a staying power that more polished pop often lacks.
Don’t Leave Me Alone
“Don’t Leave Me Alone” (2018), her collaboration with David Guetta, represents one of the better examples of EDM-pop crossover done with genuine craft. Rather than simply dropping Anne-Marie’s vocals onto a festival production, Guetta built the track around her vocal strengths — the verses are intimate and conversational before the chorus opens into the expected euphoria. Her vocal performance benefits from that contrast, and the production’s dynamic range is more sophisticated than the genre usually allows. The song was a significant European chart success and showed her ability to operate credibly in the dance music world without compromising her pop identity.
Heavy
“Heavy” is among Anne-Marie’s most emotionally exposing recordings. The song addresses mental load — the exhaustion of carrying difficult emotions alone — and her vocal performance in the chorus is raw in a way that isn’t always present in her more upbeat work. The production is deliberately weighted, with a low-end heaviness that mirrors the lyrical theme, and the dynamic contrast between the restrained verses and the more open, urgent chorus is thoughtfully constructed. It demonstrates that she has genuine depth as a recording artist beyond the radio-friendly surface.
Then
“Then” captures Anne-Marie in a more contemplative mode, reflecting on changed relationships and changed versions of oneself. The production is clean and modern without feeling clinical, and her phrasing in the verses has a conversational quality that draws you in. The song benefits from a slight restraint that many of her upbeat tracks don’t require — it sits in the emotional space between resolution and regret, which is far more interesting than a clean conclusion would be.
Her
“Her” is a song that stands apart in her catalogue for its unflinching perspective. Dealing with betrayal and self-reclamation, the production is tight and deliberately uncluttered, letting the lyrical content carry the weight. Anne-Marie’s vocal performance here is controlled but intense — she’s not shouting, but every note carries conviction. It’s the kind of song that sounds better the more carefully you listen.
Beautiful
“Beautiful” demonstrates that Anne-Marie’s songwriting works just as well in a stripped-down context. The song’s production is deliberately minimal — acoustic elements, gentle percussion, and a vocal mix that puts her front and center. The melody is uncomplicated but memorable, and the lyrical message, while familiar in theme, benefits from her specific vocal personality making it feel personal rather than generic. It’s a palate-cleanser in her catalogue that earns its place precisely because of its restraint.
Breathing Fire
“Breathing Fire” is one of Anne-Marie’s more sonically ambitious recent tracks, with a production that pushes into more textured, layered territory than her earlier radio pop. The song has a cinematic quality to it — the arrangement builds with genuine purpose, and her vocal performance matches the scope of the production. It suggests an artist actively expanding her range and unwilling to repeat herself, which is perhaps the most encouraging quality a pop artist in her position can demonstrate. As a closing entry on this list, it points forward as much as it celebrates what she’s already built.
Frequently Asked Questions
What is Anne-Marie’s most famous song?
“2002” is widely considered Anne-Marie’s signature song. Released in 2018, it reached number one in multiple countries, earned multi-platinum certifications across the UK, Australia, and Europe, and remains her most-streamed track globally on Spotify. Its nostalgic references to early-2000s pop culture and effortlessly catchy production gave it a crossover appeal that extended well beyond her existing fanbase.
Has Anne-Marie worked with Ed Sheeran?
Yes, Ed Sheeran has been one of Anne-Marie’s most significant creative collaborators. He co-wrote “2002,” “Birthday,” and “Ciao Adios,” among other tracks. The two have a long-standing creative partnership, and Sheeran’s influence on her songwriting — particularly his gift for emotionally direct, melodically memorable pop — is evident throughout her catalogue.
What album is Anne-Marie’s debut?
Anne-Marie’s debut studio album is Speak Your Mind, released in April 2018. It included major hits like “2002,” “Ciao Adios,” “Friends,” and “Alarm,” and debuted at number three on the UK Albums Chart. The album established her as a major pop artist in the UK and launched her international profile significantly.
Is Anne-Marie from the UK?
Yes, Anne-Marie is British. She was born in East Tilbury, Essex, England, and grew up in St Osyth, Essex. Before her pop career, she trained as a dancer and competed in martial arts, achieving a black belt in kickboxing — a background that has informed the physicality and energy of her live performances.
What is Anne-Marie’s vocal range?
Anne-Marie is generally classified as a mezzo-soprano, with a range that comfortably covers roughly two and a half octaves in her recorded work. Her voice is notable for its warmth in the middle register, its precision in faster melodic passages, and the emotional transparency she brings to sustained notes — qualities that distinguish her from the more technically acrobatic vocalists in contemporary pop.
Who produced most of Anne-Marie’s biggest songs?
Anne-Marie’s biggest songs have involved a range of producers, including Steve Mac (who co-produced “2002”), the production duo Afterhrs (responsible for “Alarm”), David Guetta (“Don’t Leave Me Alone”), and Marshmello (“FRIENDS”). Her collaborative approach to production has given her catalogue a healthy sonic variety while maintaining a consistent emotional identity across different styles.