The best Tate McRae songs cover a range that few artists her age can claim — raw teen vulnerability, sharp pop production, confessional lyricism, and a dance-rooted energy that translates just as powerfully on headphones as it does on a live stage. The Calgary-born singer-songwriter first caught global attention through YouTube and competitive dance before signing with RCA Records, and her artistic evolution from those early days to the era-defining sound of Think Later is genuinely one of the most compelling trajectories in modern pop. Whether exploring heartbreak with minimalist piano or unleashing a fully produced anthem with pulsing bass and layered synths, McRae writes and performs with a conviction that is hard to fake. This list pulls from her full catalog — EPs, albums, and standout singles — to highlight the twenty tracks that best define what makes her such a compelling artist. For more deep cuts and genre explorations worth adding to your rotation, the GlobalMusicVibe songs category is a great place to keep exploring.
greedy
Released as the lead single from Think Later in 2023, “greedy” is the song that transformed Tate McRae from a critically admired artist into a genuine mainstream force. The production — built around a tightly coiled bassline, snapping percussion, and spacious mid-range synths — has a confidence that matches the lyrical swagger perfectly. McRae’s vocal performance here is punchy and controlled, leaning into shorter, rhythmically clipped phrases during the verses before opening up into the anthemic hook. Hitting the top ten in multiple countries and racking up hundreds of millions of Spotify streams, “greedy” is the kind of breakout moment that reframes everything that came before it while setting a new benchmark for everything after.
you broke me first
This 2020 single remains the defining song of McRae’s early career and one of the most emotionally resonant breakup tracks of that entire year. The production is deliberately sparse in the opening bars — a light guitar melody and clean, uncluttered mix that puts her vocal front and center before the song gradually builds to a fuller arrangement with understated percussion and layered harmonics. What makes “you broke me first” stick is the lyrical specificity: the imagery of someone reaching out only after moving on, and the cold satisfaction embedded in refusing to take the bait. It peaked at number one in Canada and cracked the top twenty in multiple international markets, introducing McRae’s songwriting voice to a global audience at exactly the right moment.
exes
One of the strongest tracks on Think Later, “exes” leans into a post-breakup confidence that feels earned rather than performed. The production combines a driving, mid-tempo rhythm with melodic synth work that sits in a satisfying pocket between indie pop and contemporary R&B. McRae’s voice carries a wry edge here that suits the lyrical theme — the idea of running into a former partner and feeling absolutely nothing — and the hook lands with a punchy, almost conversational delivery that sticks immediately. On headphones, the spatial production detail really shines, with subtle background elements weaving through the stereo field in a way that rewards close listening.
she’s all i wanna be
From the 2022 project I Used to Think I Could Fly, this track ranks among McRae’s most emotionally complex pieces of writing. The song explores the particular ache of comparing oneself to an ex-partner’s new person, and it does so with a lyrical honesty that avoids any easy resolution. Production-wise, the track opens with a relatively bare piano-and-vocal arrangement before gradually adding textural layers — string-like synth pads, a warm low end, subtle rhythmic elements — that give the song a swelling, cinematic quality. McRae’s vocal control across the dynamic range of this track is genuinely impressive, moving seamlessly between soft, intimate verses and the emotionally charged chorus.
that way
Featured on the 2021 compilation Decade of Summer: The 10s, “that way” is a quietly devastating piece of writing that showcases McRae’s ability to convey enormous emotional weight through restrained, precise songwriting. The production is clean and unhurried, built around acoustic guitar and a measured rhythmic pulse that gives the vocal plenty of room. The lyrical content explores a one-sided emotional dynamic — wanting more from a relationship that the other person simply cannot give — with a maturity and nuance that belies how early in her career this was written. Listening through quality headphones, the intimacy of the vocal recording becomes especially apparent, with breath and tone captured in a way that makes the performance feel almost uncomfortably close.
You
Appearing on the 2021 compilation NOW That’s What I Call Music! 79, “You” demonstrates the melodic instinct at the core of McRae’s songwriting. The track is built around a warm, slightly melancholic chord progression that gives the production an emotional openness, and McRae’s vocal sits with a natural ease over the arrangement that suggests a genuine comfort with the material. The lyrical theme — an obsessive focus on another person, the way thoughts keep circling back regardless of effort — is delivered with enough self-awareness to prevent it from feeling one-note. As a pop song, it is structurally tight and exceptionally well-crafted, with a chorus hook that lodges itself quickly and does not let go.
run for the hills
One of the more sonically adventurous tracks from Think Later, “run for the hills” balances a propulsive energy with lyrical introspection in a way that makes it one of the more replayable moments on the album. The production incorporates a synth-forward palette with a driving low end that gives the track a sense of urgency, while the melodic layering in the chorus adds genuine lift. McRae’s performance here has a slight desperation underneath the surface gloss — a quality that makes the emotional stakes feel real even as the production leans into its more polished instincts. It is the kind of album track that rewards those who move beyond the singles.
feel like shit
From I Used to Think I Could Fly, “feel like shit” is a standout example of McRae using direct, unvarnished language to achieve maximum emotional honesty. The production is slightly grittier than some of her more polished output, with a rhythmic edge and a low-mid frequency presence that gives the track a physical weight. The lyrical premise — the morning-after emotional hangover following a night of poor decisions — is handled with real self-awareness and even dark humor in places, which prevents it from becoming purely self-pitying. McRae’s vocal delivery in the pre-chorus builds with controlled intensity before releasing into a hook that feels genuinely cathartic rather than merely executed.
cut my hair
One of the more understated gems on Think Later, “cut my hair” uses the act of a dramatic physical change as a vehicle for exploring the impulse to reinvent after emotional upheaval. The production is relatively restrained compared to the album’s biggest moments, relying on a clean rhythmic framework and melodic synth elements that give McRae’s vocal the space it needs. The lyrical writing here is some of her sharpest — the central metaphor is specific enough to feel personal yet universal enough to resonate broadly — and the hook has a melodic directness that makes it one of the more hummable moments in her catalog. Played through quality earbuds, the stereo balance of this mix is particularly satisfying. Speaking of earbuds, a good earbuds comparison guide can help match the right listening gear to McRae’s layered production style.
hurt my feelings
Another strong entry from Think Later, “hurt my feelings” channels a quiet devastation through a production that manages to feel simultaneously airy and emotionally heavy. The track centers on the specific pain of realizing that someone has been dishonest about their emotional investment, and the lyrical phrasing captures the disorientation of that discovery with impressive precision. McRae’s vocal here is measured and controlled in the verses, with the dynamic shift into the chorus feeling earned rather than manufactured. The production’s use of space — deliberate silences and sparse instrumental moments — gives the song a vulnerability that complements the lyrical content perfectly.
lie to me
From the 2021 EP The Idea Of Her, “lie to me” represents one of the more sonically polished moments of McRae’s earlier career, with production that bridges the more acoustic sensibility of her initial work and the fuller pop arrangements she would later embrace on Think Later. The lyrical premise — a complicated longing for comforting untruths over painful honesty — is handled with a emotional intelligence that avoids cheap sentimentality. McRae’s voice has a particular quality in the lower range of this track that adds weight to the more subdued sections, while the upper register moments in the chorus carry a pleading intensity that is genuinely affecting. It is a song that sounds especially good in late-night listening sessions.
we’re not alike
From Think Later, “we’re not alike” takes a more confrontational stance than some of McRae’s more introspective writing, and the production matches the energy accordingly. The rhythmic foundation is tighter and more aggressive than her softer material, with a mid-tempo drive that keeps the track moving without sacrificing the melodic focus. Lyrically, the song draws a clear line between the narrator and someone who has done them wrong, and the chorus delivery has a sharpness that makes the point effectively. Within the context of the album, this track functions as a necessary counterweight to the more vulnerable moments, demonstrating that McRae’s emotional range extends well beyond heartbreak into something closer to cold clarity.
stupid
Featured on the 2021 compilation Decade of Summer: The 10s, “stupid” is a sharp, confessional piece about the frustrating experience of acting against one’s own better judgment in a relationship. The production keeps things tight and melodically focused, with a clean arrangement that lets the lyrical content do most of the heavy lifting. McRae’s performance is animated by a self-directed frustration that feels completely authentic — the kind of specific emotional register that only works when the writing is genuinely personal. The bridge section in particular shows McRae’s instinct for dynamic pacing, using a stripped-back moment to set up the final chorus payoff effectively.
working
Originally released as a single and later featured on a 2021 TELYKast Summer Remix, “working” explores the emotional labor of trying to maintain a connection that seems to require disproportionate effort from one side. The production has a breezy, almost summery quality in the instrumentation that creates an interesting tension with the more emotionally frustrated lyrical content — a contrast that makes the song feel layered and intentional rather than tonally confused. McRae’s vocal approach here is slightly more relaxed in texture than her more intense performances, which suits the resigned quality of the storytelling. The remix version adds a driving low-end and a more energetic rhythmic arrangement that works particularly well in car listening environments.
all my friends are fake
From the 2020 EP All the Things I Never Said, this track tackles social anxiety and the disillusionment that can accompany adolescent social dynamics with a candor that resonated strongly with McRae’s core audience during its release. The production leans into a slightly lo-fi aesthetic in the percussion textures while maintaining clean melodic lines, giving the track a raw quality that suits its confessional subject matter. Lyrically, the specificity of the imagery — the performance of friendship rather than its genuine practice — elevates the song beyond a simple complaint into something more thoughtful and emotionally nuanced. It remains a significant track in understanding where McRae came from as an artist before the major commercial breakthrough.
uh oh
Released as a standalone single in 2022, “uh oh” finds McRae leaning into a more playfully confident register that points directly toward the energy she would fully embrace on “greedy” the following year. The production is bright and rhythmically punchy, with a hook built for immediate impact and high replay value. The lyrical concept — acknowledging the intoxicating, slightly dangerous pull of a new attraction — is executed with an awareness of its own absurdity that gives the song a lightness without sacrificing personality. As a transitional piece in her discography, “uh oh” is underrated: it documents the moment when McRae began consciously building toward a more confident pop identity.
Teenage Mind
From the 2021 project The One Day LP, “Teenage Mind” is one of McRae’s most openly vulnerable pieces of writing, exploring the specific emotional overwhelm of adolescence without romanticizing it. The production is built on a warm, piano-centered foundation with layered harmonics that give the track a slightly anthemic quality in the chorus without veering into territory that feels overly produced. McRae’s vocal performance across this song shows impressive dynamic control — the quieter moments in the verses carry as much emotional weight as the more open chorus sections. For listeners who came to McRae through her later, more polished pop material, this track is a compelling reminder of the earnest emotional intelligence that has always been central to her writing.
One Day
Also from The One Day LP, “One Day” is a genuinely moving piece of aspirational writing that balances hope with a clear-eyed awareness of difficulty. The production is spacious and melodically focused, with an arrangement that builds carefully from a restrained opening to a fuller, more emotionally complete resolution. McRae’s vocal performance carries real conviction here — there is nothing performative about the delivery, and the emotional sincerity of the writing comes through clearly. Within the context of her catalog, “One Day” occupies a slightly different emotional register than her more explicitly romantic or heartbreak-focused material, and that distinction makes it a valuable and enduring track.
guilty conscience
One of the more psychologically complex tracks from Think Later, “guilty conscience” examines the internal conflict of a relationship dynamic where both people may be at fault in different ways. The production has a tension embedded in the arrangement — subtle dissonances and a rhythmic underpinning that never quite settles into complete comfort — that mirrors the lyrical content effectively. McRae’s performance here demonstrates a nuance in her vocal characterization that goes beyond simply singing well: the slight hesitations and tonal shifts in the verses feel like genuine moments of internal negotiation. For those who want to understand what makes McRae’s songwriting stand apart from much of her pop contemporaries, this track is an excellent case study. Pairing a well-matched pair of headphones with deep tracks like this can reveal those subtle production details — a solid headphones comparison resource helps find the right fit for critical listening.
Just Keep Watching
The most recent addition to this list, “Just Keep Watching” appeared on the 2025 soundtrack album F1 the Album and demonstrated that McRae’s evolution as an artist shows no signs of slowing. The production carries a cinematic scale that suits the project’s context, with a driving instrumental foundation and a melodic ambition that gives the track a different kind of energy from her earlier confessional work. McRae’s vocal performance here has a commanding quality — more assured and technically polished than her earliest recordings while retaining the emotional directness that has always been her signature. As a statement of where she stands as an artist in 2025, “Just Keep Watching” is a fitting closer to any survey of her best work.
Frequently Asked Questions
What is Tate McRae’s most popular song?
“greedy,” released in 2023 as the lead single from the Think Later album, is widely considered Tate McRae’s most popular song. It became a global hit, reaching the top ten in multiple countries and accumulating hundreds of millions of streams across platforms. The track’s combination of confident lyricism, rhythmically precise vocal delivery, and polished production represented a breakthrough moment in her career.
When did Tate McRae release her debut album?
Tate McRae released her debut studio album I Used to Think I Could Fly in 2022 through RCA Records. Prior to that full-length debut, she had released several EPs including All the Things I Never Said in 2020 and The Idea Of Her in 2021, along with the standalone single “you broke me first,” which became her breakthrough hit in 2020.
What album is greedy on?
“greedy” appears on Tate McRae’s second studio album Think Later, released in 2023. The album also includes other fan favorites such as “exes,” “run for the hills,” “cut my hair,” “hurt my feelings,” “we’re not alike,” “plastic palm trees,” “want that too,” “stay done,” “grave,” and “guilty conscience.”
Is Tate McRae a dancer as well as a singer?
Tate McRae is both a professionally trained dancer and a singer-songwriter. She competed at high levels in competitive dance before transitioning into music, and her background in movement is often visible in her music videos and live performances. This dual training gives her stage presence and visual artistry a physicality and precision that distinguishes her performances from many of her pop contemporaries.
What are some of Tate McRae’s best deep cuts?
Beyond her well-known singles, some of the most rewarding deep cuts in Tate McRae’s catalog include “lie to me” from The Idea Of Her, “Teenage Mind” and “One Day” from The One Day LP, “all my friends are fake” from All the Things I Never Said, and “feel like shit” from I Used to Think I Could Fly. These tracks showcase the range and emotional depth of her songwriting beyond what the singles alone reveal.
What genre is Tate McRae?
Tate McRae’s music primarily falls within the pop genre, with significant influences from R&B, indie pop, and dance-pop. Her earlier work leaned toward a more acoustic and confessional singer-songwriter style, while her later output — particularly the Think Later era — incorporates a more polished, production-forward pop sound with rhythmic elements borrowed from contemporary R&B and electronic pop.