The best Melbourne bands and artists of all time

Naarm/Melbourne has long produced top bands, with the legendary Little River Band, Air Supply and Men At Work global exports. Today King Gizzard & The Lizard Wizard, Amyl And The Sniffers and Folk Bitch Trio are generating buzz.

But which are the best bands overall? We considered live presence, discography and cultural impact for this eclectic list. Yes, there are some omissions, so don’t hate us!

For example, Ross Wilson’s Daddy Cool had a seminal #1 hit in 1971’s Eagle Rock, but can anyone remember their other songs? Which bands transcend generation? Let us know if we missed your favourite.

We also look at the best musicians to have emerged from Melbourne, for as long as music has existed, so too have discussions about who is the best musician raged in earnest.

It’s a question that is as divisive as it is ripe for debate, but we’ve given it a solid crack to shine a light on some of those iconic Melbourne musicians whose work has soundtracked not only our lives in Australia but music lovers around the world too.

Check out our gig guide, our festival guide, our live music venue guide and our nightclub guide. Follow us on Instagram here.

The Seekers

The Seekers’ iconic status in Australian popdom is unparalleled, the group twice depicted on a postage stamp. Led by that celestial soprano Judith Durham, the folk ensemble achieved worldwide success in the 60s, capturing the zeitgeist; with television specials key to their ubiquity. Among The Seekers’ classics are I’ll Never Find Another You, The Carnival Is Over and Georgy Girl (the theme to the British rom-com of the same title nominated for an Academy Award), all notably penned by Dusty Springfield’s older brother Tom. Australia’s Fab Four returned to Melbourne in 1967, their homecoming concert attracting a record-breaking crowd of 200,000 to the Sidney Myer Music Bowl. 

Skyhooks

Peak glam-rock with their make-up, costumes and theatricality, Skyhooks took off when they chanced on a charismatic lead singer in surfer Graeme “Shirley” Strachan; the band’s ascent coinciding with the ABC’s launch of Countdown. In 1974 the risqué troupe debuted with Living In The 70’s, Ross Wilson producing. Initially a sleeper, the album spent weeks at #1 on the Kent Music Report, bolstering Michael Gudinski’s Mushroom Records. The Hooks played Festival Hall with Bon Scott’s AC/DC as supports – huge! The eccentrics reformed ahead of 1990’s Glasnost-themed chart-topper Jukebox In Siberia and were inducted into the ARIA Hall Of Fame soon after.

Cybotron

Many know of the early 80s Detroit electro combo Cybotron with Juan Atkins, aka the Godfather Of Techno. But Melbourne had its own Cybotron back in 1975. The avant-garde outfit traversed progressive-rock, Krautrock and kosmische; their primary instrumentation synths and composer Steve Maxwell von Braund’s saxophone. Cybotron recorded three albums (plus one live), starting with 1976’s self-titled debut. Alas, only the final, 1980’s Implosion, is on Spotify. Cybotron found a cult following overseas. They’re now deemed progenitors of (Australian) electronica, their wonky machine music presaging IDM. 

The Birthday Party

The Birthday Party’s existence was fleeting – from 1977 to 1983 – but Nick Cave’s formative band (formerly The Boys Next Door) have cast a long shadow. Relocating to London in 1980, the underground musicians impressed John Peel and UK critics. Their standalone single Release The Bats (with Englishman Nick Launay producing) represented a pivotal moment in the upswing of both the post-punk and goth movements. Amid growing tensions after their second album Junkyard, The Birthday Party wound up in West Berlin. But they played their final gig at St Kilda’s fabled Crystal Ballroom. The individual members all pursued distinguished careers, with guitarist Rowland S Howard an iconic figure in his own right.

Australian Crawl

Surf rockers hailing from the Mornington Peninsula, Australian Crawl have enjoyed remarkable longevity despite splitting in 1986. The band, their mercurial frontman James Reyne, had a three-album hot streak between 1980 and 1982 with The Boys Light Up, Sirocco and the grittier Sons Of Beaches (produced by Mike Chapman). Though known for pub-rock anthems, The Crawl’s lyrics had an edge; Beautiful People about class privilege. The band had their biggest hit with 1983’s #1 ballad Reckless (Don’t Be So), recently voted #39 in triple j’s Hottest 100 Of Australian Songs. Reyne is still touring behind their catalogue. 

Hunters & Collectors

Hunters & Collectors challenged pub-rock audiences with an abrasive, propulsive and brassy post-punk in the early 80s. Fronted by Mark Seymour, the band gained traction with 1982’s post-punk Talking To A Stranger (check out The Avalanches’ remix!). Next the Mushroom signings worked with Conny Plank – the Krautrock pioneer also involved in Ultravox’s Vienna. Restraining their abstruse lyricism and experimental inclinations, The Hunters attained mainstream success with 1986’s Human Frailty (taking in a previous standalone, Throw Your Arms Around Me). Seymour’s eloquent songwriting has stood the test of time with two classics making the Hottest 100 Of Australian Songs: Throw Your Arms Around Me at #25 and Holy Grail at #50. 

TISM

TISM (This Is Serious Mum) are one of those bands you either get or you don’t. Are they a novelty pop act or postmodern conceit? Who knows. The anonymous alt-rockers sprang straight outta Croydon in the 80s, its members assuming absurd aliases (lead singer dubiously Ron Hitler-Barassi) and sporting balaclavas. They courted a grassroots fandom (including Anthony Albanese), their subversively comic songs rife with cultural references. In the mid-90s TISM recast themselves as rocktronia, enjoying wider popularity with album three, Machiavelli And The Four Seasons. It won Best Independent Release at the ARIAs and the singles (He’ll Never Be An) Ol’ Man River and Greg! The Stop Sign!! placed highly in the triple j Hottest 100. 

I’m Talking

Anchored by soul vocalists Kate Ceberano and Zan Abeyratne, I’m Talking would be the first Australian funk, disco and electro-boogie groove band to break out, and at the height of the 80s’ pub-rock era. In 1986 they presented their sole album, Bear Witness, crossing over with the single Do You Wanna Be?. I’m Talking received overtures from the UK, being briefly signed to London Records and touring with Five Star. Abeyratne then departed and the group added rapper Tricky J (from the trailblazing hip-hop crew Mighty Big Crime). I’m Talking folded in 1987 but, in tandem with 2018’s Bear Witness repackage, reunited to support Bryan Ferry.

Models

The Models created new wave with an industrial funk edge prior to Depeche Mode. The band was initially led by guitarist Sean Kelly, with his racked vocal style. They had modest success in 1981 with their second album, Local And/Or General, recorded in the UK. Models reached a wider audience when Kelly’s old school pal James Freud joined as co-vocalist and bassist, releasing 1983’s dancey The Pleasure Of Your Company – I Hear Motion a hit. They even opened for David Bowie. Models made #1 with Out Of Mind, Out Of Sight from 1985’s LP of the same title (it also cracked the US Billboard Hot 100).

Pseudo Echo

In the 80s Melbourne spawned a series of synth-pop bands; Real Life, Kids In The Kitchen and Geisha. But Pseudo Echo proved the most enduring. Promoted by Molly Meldrum on Countdown, the group broke through with Listening ahead of 1984’s first album Autumnal Park just as English New Romantic acts like Spandau Ballet and Duran Duran were in vogue. Pseudo Echo had an international smash covering Lipps Inc.’s disco Funkytown in 1986. Frontman Brian Canham continues to perform, and record, as Pseudo Echo. In 2020 he defied the nostalgia trend to unveil a credible new album, After Party, influenced by Ibiza house.

The Living End

The Living End are surely Melbourne’s definitive punk band. Its core members vocalist-guitarist Chris Cheney and double-bassist Scott Owen, the trio surfaced as alt-rock exploded in the mid-90s,  standing out with their punkabilly sound. In 1997 the triple j regulars unleashed their perennial double A-side Second Solution/Prisoner Of Society – Australia’s highest-selling single that year. The Living End aligned themselves with Modular Recordings for 1998’s self-titled debut – their first #1 album. They made inroads on both sides of the Atlantic with Green Day’s Billie Joe Armstrong a champion. In 2025 the band rebounded with album nine, I Only Trust Rock n Roll.

1200 Techniques

1200 Techniques will go down as a homegrown hip-hop supergroup with DJ Peril, his guitarist brother Kemstar and MC Nfamas (N’fa). Australian gamechangers in the late 90s, they converted rock audiences with their hybrid of hip-hop, electro, funk and rock, even performing at Big Day Out. The trio crossed over with 2002’s Choose One, entering the Australian Top 20 and winning two ARIAs, including Best Independent Release for the single Karma. On 2004’s follow-up Consistency Theory, the 1200s expanded sonically with the RnB Fork In The Road; the only song featuring Aaliyah’s older brother Rashad Haughton, whom they befriended during the filming of Queen Of The Damned in Melbourne. 

The Bamboos

The Bamboos, centred around Kiwi bandleader Lance Ferguson and main vocalist Kylie Auldist, are one of Melbourne’s most treasured acts. The funk/soul collective command a formidable live reputation, but also have an extensive discography. The tastemaker raves signed to UK independent Tru Thoughts for 2006’s debut Step It Up – the title-track, sung by Alice Russell, heard in Grey’s Anatomy. The Bamboos subsequently charted with 2012’s Medicine Man – You Am I’s Tim Rogers featuring on the hit I Got Burned. They lately celebrated their 25th anniversary with the retrospective The Bamboos Best and a national tour.

TZU

Similarly to 1200 Techniques, TZU combined hip-hop and live instrumentation, only they amplified the funk, becoming a local counterpart to The Roots with a charismatic MC in Joelistics. The posse came together at the end of the 90s – turntablist Paso Bionic formerly in Curse ov Dialect – and premiered with 2004’s Position Correction. A triple j act, they experimented with electronic influences on later albums – the electro Computer Love their most high-profile. Count Bounce (Phillip “Pip” Norman) has latterly emerged as a go-to producer for the likes of Troye Sivan. 

Cut Copy

Originating as Dan Whitford’s solo project before expanding into a full indie-dance band, Cut Copy debuted on the hipster Modular with 2004’s punchy Bright Like Neon Love, touring internationally. They experienced greater success domestically with 2008’s In Ghost Colours – The DFA’s Tim Goldsworthy producing. It reached #1 on the ARIA Top 50 Albums Chart on the back of the hits Hearts On Fire (remixed by Calvin Harris) and Lights & Music. Cut Copy’s next outing, 2011’s Zonoscope, was concertedly promoted and received a Grammy nomination for Best Dance/Electronic Album. The quartet just issued the clubby Moments via their own Cutters Records.

Midnight Juggernauts 

The mythic Midnight Juggernauts presented a trilogy of albums with sci-fi themes only to seemingly vanish. In 2006 they savoured a cult hit with the cosmic disco bop Shadows. The following year, the Juggernauts aired Dystopia via their Siberia Records, eschewing major record deals. The MySpace stalwarts consolidated a global fandom, supporting Justice in North America,  Ed Banger boss Pedro Winter citing Dystopia as his album of 2007 (he described it as “Alan Braxe and David Bowie smoking crack in Paris” to XLR8R). They befriended Tame Impala and remixed Solitude Is Bliss. More unexpectedly, Solange Knowles sought them out as collaborators during her indie phase. Currently in “hibernation”, members occasionally DJ.

Gypsy & The Cat

Synth-pop fabulists Gypsy & The Cat (GATC) are still underrated compared to Cut Copy, The Presets or Empire Of The Sun. Like Midnight Juggernauts, they were always more conceptually and sonically out-there. Xavier Bacash and Lionel Towers were signed as a next big thing by Bros bassist Craig Logan to RCA Records in the UK for 2010’s euphoric debut Gilgamesh; home to Time To Wander and Jona Vark. It entered the ARIA Top 50 Albums Chart and was certified gold. GATC lost momentum due to label upheavals, eventually bowing out with 2016’s Virtual Islands, encompassing Odyssey Of The Streets, pop-opera to rival Queen’s Bohemian Rhapsody. The pair recently reunited and completed a Gilgamesh 15th anniversary tour.

Big Scary

The multifaceted art-rock duo Big Scary – Tom Iansek (lead vocals, guitar and keys) and Joanna Syme (drums and backing vocals) – beguiled the local scene with a series of EPs culminating in 2010’s The Big Scary Four Seasons, spanning everything from neo-folk to piano balladry to garage-punk. Commercial success came later. Big Scary won 2014’s Australian Music Prize (AMP) with their second album, Not Art, on the boutique label Pieater. But it was 2016’s theatrical follow-up Animal that crashed into the Top Five – The Opposite Of Us their signature song. Big Scary switched guitars for synths on 2021’s charming Daisy and last aired the contemplative indie-pop Wing.

Hiatus Kaiyote

Associated with bohemian Fitzroy, Hiatus Kaiyote placed Melbourne’s future soul scene on the international map. In 2012 the quartet, fronted by Nai Palm, debuted with Tawk Tomahawk, released independently before New York’s Salaam Remi, famed producer of the Fugees, signed them to his Sony-backed Flying Buddha. Moving to Flying Lotus’ Brainfeeder Records, Hiatus Kaiyote travelled to Brazil to work with legendary arranger Arthur Verocai on 2021’s Mood Valiant, making the ARIA Top Five. They’ve thrice been nominated for a Grammy and sampled by Drake and Kendrick Lamar alike. Doja Cat has covered Mood Valiant’s Red Room live.

Amyl And The Sniffers

Melbourne’s current ‘It’ band has to be Amyl And The Sniffers. Epitomised by the energetic Amy Taylor, the group have fostered a pub-rock revival since their formation in Balaclava almost a decade ago. The Sniffers established themselves with 2019’s self-titled debut, winning an ARIA for Best Rock Album. They returned strongly with Comfort To Me (and the gold hit Hertz). The band have won over audiences globally with their dynamic live presence, progressive socio-political platform and hooky punk. The Sniffers recently played a viral set at Glastonbury, and 2024’s Cartoon Darkness (produced by Nick Launay) is up for several ARIAs. They’ve even collaborated with Fred again.. on a drum ‘n’ bass banger, You’re A Star.

Kylie Minogue

It’s a little hard to look past the likes of Kylie Minogue when it comes to bringing Australian music to the masses. After all, it speaks volumes when the mere mention of your first name brings as much recognition and cachet as anything else. But for those watching Neighbours decades ago, few could have foreseen the tomboyish Charlene Robinson going global.

Fast-forward to 1988 and her debut album Kylie was going gangbusters thanks to the likes of I Should Be So Lucky, The Loco-Motion and more. More hits gave way to a reinvention in the ‘90s, with 2001’s Fever becoming a verified global smash hit.

Topping charts around the world, and even hitting #3 in the US, it proved that Kylie Minogue was going to be remembered for decades to come. Even now, almost 40 years since she kicked off her career, the milestones keep coming, proving that Kylie is an unstoppable force.

Crowded House

It’s fair to say that Crowded House’s inclusion here might also be the cause of debate, but given that the initial lineup featured one New Zealander (Neil Finn) and three Aussies, we’re willing to claim them as a Melbourne band.

After all, why wouldn’t we? For a few short years, Crowded House were the Australian band that most international audiences knew, all thanks to tracks like Don’t Dream It’s Over, Now We’re Getting Somewhere and more.

Having initially split in 1996 after 11 years together, their 2006 reformation following the death of Paul Hester has continued their trajectory as one of the most successful Melbourne bands. With no album of theirs charting outside of the top three in Australia, and with more than 15 million records sold globally, we’re more than happy to fight the Kiwis about Crowded House ownership.

Paul Kelly

Though Paul Kelly’s origins might kick off the classic rivalry between South Australia and Victoria, given that he didn’t launch his musical career until he moved from Adelaide to Melbourne means that we’re going to claim Kelly as one of our own.

Again, how could we not? Often considered to be Australia’s answer to Bob Dylan, it’s rare to find an artist like Kelly given the way he’s able to unite the rough and rowdy pub rockers and the folky types who enjoy some introspection.

Though he’s been a staple of our lives for almost 50 years, Kelly’s career has experienced a massive resurgence in the last decade, with his long-awaited number-one album finally arriving in 2017, and even more ARIA Awards being sent his way.

In 2025, Kelly is gearing up to undertake his biggest headline tour to date, performing stadium shows around the country. No matter how you slice it, it’s impossible to book a stadium tour such as this without the majority of fans labelling you one of the country’s best.

Archie Roach

The late Uncle Archie Roach was the very definition of the tenacious spirit that Australians like to champion. A member of the Stolen Generations, Roach’s early years were emblematic of the injustices done to Indigenous Australians, with personal trauma an undeniable constant.

However, it was in the ‘80s that he managed to harness his creativity and assert himself as a powerful performer, eventually releasing the enduring Charcoal Lane in 1990.

Becoming an iconic figure of First Nations music in Australia, Roach’s career was critically acclaimed, with a total of nine ARIA Awards to his name, and a place in the ARIA Hall Of Fame coming his way in 2020.

With his music and message resonating more than 34 years after he made his debut, Roach’s legacy is an enduring one. Even in the wake of his passing in 2022, he stands tall as one of Melbourne’s most influential and affecting musicians whose impact will be felt forever more.

Missy Higgins

When Missy Higgins won triple j’s Unearthed competition back in 2003, very few in the public eye could have predicted the future that lay ahead for her. Those close to her would have been more than aware that this was just the first step in a lifelong career for the acclaimed musician.

By the time tracks like Scar preceded her debut album The Sound Of White, fans knew something special was on the way, and they were right.Fast forward two decades later, and Higgins is a newly-inducted member of the ARIA Hall Of Fame, an 11-time ARIA Award winner, and has had four of her six albums top the charts (the other two hit a very respectable #3).

With the release of her latest album, The Second Act, Higgins has proved that she’s only just beginning to show us what she’s capable of – not bad for someone who has already had a more successful career than most artists could ever dream of.

John Farnham

When it comes to Australian musicians who have had a massive impact, John Farnham should never be too far from the discussion. Having launched his career as a teen idol in the ‘60s, Johnny Farnham (as he was called) was never really a huge threat on the charts until the early ‘80s, at which point he took over as singer for the Little River Band and reinvented himself somewhat. In 1986, however, he released Whispering Jack and cemented himself as Aussie music royalty.

The highest-selling album by an Aussie artist in the country, there was a time when it was almost impossible to find a local household that didn’t own a copy of the record. Even now, it’s considered the watermark of Australian rock music of the ‘80s, with Farnham’s impact still being felt.

Almost 40 years later, and with numerous albums and farewell tours under his belt, Farnham’s legacy is largely tied to the success of the record. To be fair, there are much worse things to have your musical legacy tied to.

King Gizzard & The Lizard Wizard

It’s impossible to focus on the best artists from Melbourne without focusing on the ever-prolific King Gizzard & The Lizard Wizard. Having formed out of RMIT back in 2010, few could have expected the group to go as far as they have – especially with a name such as that.

But despite the somewhat head-turning name, heads have been turning constantly ever since thanks to the relentless output and truly inspiring fanbase.

After all, how many other bands out there can boast 26 albums in 12 years? (Including five each in 2017 and 2022?) How many bands can boast a career that constantly sees them selling out shows in the US and Europe?

How many bands can boast such a voracious fanbase that makes even the surviving members of Grateful Dead feel a tad inadequate? Truly, there aren’t many bands like the dizzying collective that is King Gizz, and frankly, there won’t ever be another. 

Tina Arena

Who can forget about the sensational Tina Arena? 

Getting her start on Network Ten’s beloved variety show Young Talent Time, she quickly captured the hearts of Australians as “Tiny Tina”. At age 19, she opened for Lionel Richie’s Australian Tour, affirming her status as the dazzling performer we know today. 

Her career has been nothing short of extraordinary. With international chart success, seven ARIA Awards, countless more nominations and an induction into the ARIA Hall of Fame she has become a symbol of Australian excellence. Add in her performance at the Sydney Olympics, and Tina Arena’s icon status becomes undeniable. 

Beyond mainstream music, her legacy extends to the theatrical arts. Working with greats like Andrea Bocelli and earning the admiration of legends like Andrew Lloyd Webber, Tina Arena’s name holds weight across many creative industries and testifies to her versatility as an artist. 

Gotye

Belgian-born, but Melbourne-raised, Gotye, became a global sensation. Developing an obsession for music at an early age, he taught himself a variety of instruments, fueling his creative journey. A proud Melburnain, he graduated from The University of Melbourne with a Bachelor of Arts. 

Smash cut to 2011, Gotye released his infamous single Somebody I Used To Know, catapulting into international stardom. This track was hugely successful. Going 11 x Platinum in Australia, 8 x Platinum (that’s 8,000,000 units!) in the US and reaching number one in 18 other countries, there was a substantial period when this song consumed global consciousness. 

When you’re considering artists who have released singles with a massively formidable presence and lasting impact, Gotye’s name goes to the top of the list. 

Olivia Newton-John

One of Australia’s beloved divas. Emigrating to Melbourne at five, she quickly immersed herself in the arts scene, starting with productions at Univeristy High which rapidly evolved into regular TV appearances. 

Her career went on to explode, selling over 100 million records she became Australia’s best-selling female artist of all time. But of course, we know, it doesn’t just stop there – her resume is impressive. If we had to rattle off a few achievements, we’d mention her four Grammys, nine Billboard Music Awards, six American Music Awards, and 15 top-ten singles. Not to mention being honoured as a dame in 2020 and with a star on the Hollywood Walk of Fame. 

And Grease! Starring alongside John Travolta in the classic musical, its soundtrack remains one of the best-selling albums ever. When you think of global icons, you think of Dame Olivia Newton-John. 

Read our list of the best Melbourne albums and best Melbourne films.