Ranking the best songs of The Rubens means tracing an Australian band that has spent over a decade turning soulful hooks and rasped vocals into some of the country most enduring indie rock. From the Menangle backyard beginnings to five studio albums, The Rubens catalogue rewards a proper deep dive.
Sam Margin voice remains the anchor across every era, but the arrangements around him have shifted from raw, horn-flecked garage soul to the sleeker grooves heard on recent releases. This list works through the essential cuts, and a good pair of over-ear headphones genuinely changes how the low end and backing vocals land on several of these tracks.
My Gun
One of the earliest signature tracks off the 2012 self-titled debut, My Gun rides a strutting bassline and Sam Margin soulful rasp into one of the catchiest choruses the band ever wrote. The rhythm section does most of the heavy lifting here, locking into a groove that feels loose without ever losing its pocket. Horn stabs punctuate the chorus in a way that nods straight back to classic soul records, and it still holds up as a festival opener today.
Lay It Down
A slow-burning opener from the debut record, Lay It Down leans on warm keys and restrained percussion to build tension gradually rather than chasing an instant hook. Elliott Margin keyboard work sits front and centre, giving the track a smoky, late-night quality. The vocal performance stays understated for most of the runtime, which makes the eventual payoff hit harder on a proper listen through headphones.
The Best We Got
A mid-tempo highlight from the 2012 debut, The Best We Got pairs jangly guitar work with an anthemic, singalong chorus that became a staple of the band early live sets. The production keeps things relatively raw, letting the interplay between guitar and vocal breathe without overcrowding the mix. It is one of those deep cuts that longtime fans tend to rate above some of the singles.
Elvis
A groove-heavy cut from the debut album, Elvis channels classic soul phrasing through a distinctly modern indie rock lens. The song title is a fitting nod given how much the vocal delivery borrows from old-school R&B cadence. Guitar and organ trade space throughout, creating a warm, layered backdrop that never feels cluttered.
Cowboy
A twangy, guitar-forward track from the 2012 record, Cowboy leans into the band Americana-adjacent influences more than almost anything else in their catalogue. The arrangement is comparatively sparse, giving the storytelling lyrics room to sit at the front of the mix. It is a good example of how the early Rubens sound drew from blues and roots traditions as much as straight indie rock.
Be Gone
A tightly wound debut album cut, Be Gone is driven by punchy rhythm guitar and a chorus practically built for festival crowds to shout back. The tempo stays brisk throughout, and the mix keeps the drums forward, giving the whole track a live, energetic feel. It remains one of the more underrated tracks from the self-titled record.
Paddy
A lesser-discussed deep cut from the debut album, Paddy still showcases the band knack for melodic, horn-tinged arrangements even without the benefit of single status. Brass accents weave through the verses, adding texture without overwhelming the vocal line. Revisiting the full 2012 tracklist, Paddy stands out as proof of how consistent that record was start to finish.
Look Good, Feel Good
An upbeat, brass-accented debut track, Look Good, Feel Good leans hard into the band soul revivalist streak with a genuinely infectious groove. The horn section carries much of the melody, working almost as a second vocal line against Sam Margin delivery. It is a great pick for anyone building a playlist that needs a shot of energy between slower tracks.
The Day You Went Away
A tender, mid-tempo debut ballad, The Day You Went Away finds Sam Margin vocal grit softening into something more vulnerable than most of the record surrounding tracks. The arrangement pulls back considerably, giving space to a simple piano and guitar interplay. It is a strong example of the band range beyond the horn-driven soul numbers that dominate the rest of the debut.
I’ll Surely Die
A slower, atmospheric track from the debut album, I’ll Surely Die trades an obvious hook for mood, letting the arrangement breathe across its runtime. Reverb-soaked guitar and a patient rhythm section create a genuinely moody backdrop. It is the kind of song that rewards a focused, headphones-on listen rather than background play.
Hallelujah
The breakout single from 2015 Hoops, Hallelujah is arguably the song that pushed The Rubens into the national spotlight, becoming a Triple J and commercial radio favourite. The production here is noticeably more polished than the debut, with a cleaner mix and a chorus built for maximum singalong impact. Sam Margin vocal performance is at its most commanding, riding a steady groove that never overstays its welcome. It remains the track most casual listeners associate with the band name.
Hold Me Back
A driving, hook-laden Hoops track, Hold Me Back pairs a propulsive rhythm section with a soaring chorus that showcases the album more radio-ready direction. The mix gives real weight to the low end, which makes it a satisfying listen through a decent set of earbuds or full-size cans alike. It is one of several Hoops cuts that proved the band could scale up production without losing their soul roots.
Switchblade
A sharper, guitar-led Hoops cut, Switchblade trades some of the album overall polish for raw energy and a more aggressive vocal delivery. The guitar tone here is grittier than most of the record surrounding tracks, giving the song an edge that stands out on the tracklist. It is a favourite among fans who prefer the band rougher, more rock-leaning side.
Same Drugs
A moody Hoops deep cut, Same Drugs is built around a hypnotic groove and a restrained, brooding vocal delivery that contrasts with the album brighter singles. The production leans into repetition, letting a single guitar figure anchor the entire track. It is a slow grower that tends to click more on repeat listens than on first pass.
The Night Is On My Side
A shimmering Hoops highlight, The Night Is On My Side leans into atmospheric production and a memorable, climbing chorus that builds steadily across the runtime. Layered backing vocals add depth without crowding the mix, and the arrangement gives Sam Margin room to stretch his range. It is one of the more cinematic moments on an album otherwise built around tight, radio-length songs.
God Forgot
A brooding, slow-building single from the 2018 Lo La Ru era, God Forgot leans into darker lyrical territory than most of the band earlier work. The arrangement takes its time, layering percussion and vocal harmonies gradually rather than front-loading the hook. It signalled a noticeably more mature, textured direction for the band songwriting.
Woman Oh Woman
A soulful Lo La Ru track, Woman Oh Woman brings horns and gospel-tinged backing vocals back into the arrangement in a way that echoes the debut album while sounding more refined. The vocal interplay between Sam Margin and the backing singers gives the chorus real lift. It is a strong reminder that the band soul influences never really left, even as their sound modernised.
Masterpiece
A standout from the 2021 record 0202, Masterpiece blends polished production with one of the band most confident vocal performances in years. The mix here is noticeably crisper than the earlier albums, reflecting a more contemporary approach to arrangement and mastering. It is a strong entry point for newer listeners exploring the band recent catalogue through the songs section of the site.
Never Ever
A radio-friendly 0202 single, Never Ever leans into slick, contemporary pop production while keeping the band soulful core fully intact underneath the polish. The chorus is built for immediate recall, with layered harmonies stacked high in the mix. It shows how comfortably The Rubens adapted their sound for a streaming-era listener without losing their identity.
Black Balloon
The lead moment from the 2024 album Soda, Black Balloon shows the band settling into a smoother, groove-forward sound that trades some of the earlier grit for restraint and space. The production is the cleanest in the band catalogue to date, with careful attention to how each instrument sits in the mix. It is a strong signal that The Rubens are still evolving well over a decade into their career.
Frequently Asked Questions
What is The Rubens best known song?
My Gun and Hallelujah are widely considered the band signature tracks, with Hallelujah becoming a Triple J and commercial radio staple after the Hoops album dropped in 2015.
How many albums has The Rubens released?
The Rubens have released five studio albums: The Rubens in 2012, Hoops in 2015, Lo La Ru in 2018, 0202 in 2021, and Soda in 2024.
Where is The Rubens from?
The Rubens formed in Menangle, a small town in New South Wales, Australia, built around brothers Sam, Elliott, and Zaac Margin along with Scott Baldwin and William Zeglis.
What genre is The Rubens music?
The Rubens blend indie rock with soul and pop influences, driven by Sam Margin distinctive rasp and warm, guitar-and-keys arrangements that lean melodic rather than heavy.
What is The Rubens most popular album?
Hoops is generally regarded as the band commercial and critical peak, topping the ARIA Albums Chart in 2015 and producing several of their most streamed songs.
Is The Rubens still making music?
Yes, the band remains active, releasing the Soda album in 2024 with tracks like Black Balloon and Good Mood that show a slightly more polished, groove-focused direction.