With the pop music of the ’00s really finding its footing in 2002, the year 2003 was about a new class of superstars. Sure, some of the biggest names of the late ’90s were still around: The biggest name of the TRL era was getting back in the zone after a small commercial downturn, while the MC who’d just ascended to greatest rapper alive status was already planning his fade to black. And a couple of icons from earlier in the 20th century enjoyed late mainstream cameos, one making something close to a final artistic statement, and one just looking for an excuse to hit the nearest bar.
But 2003 was first and foremost about the new sensations: particularly a pair who’d just spun off from best-selling turn of the century acts, and would define solo pop superstardom for the rest of the decade. Justin Timberlake’s Justified from late the year before continued to live up to its title, earning its hype by spinning off bigger and bigger hits well into 2003. And Beyoncé’s Dangerously in Love trumpeted — somewhat literally, in the Chi-Lites sample that kicked off its lead single — the arrival of a true game-changing phenomenon. While pop in the ’90s had largely been defined by groups, the rise of JT and Beyoncé made it clear that solo acts would lead the vanguard in the early 21st century, a shift that’s only become more pronounced in the two decades since.
And solo superstardom was hardly the sole province of the top 40 world. The year was bookended by the emergence of two rappers — 50 Cent early and Kanye West late — whose simultaneous rise would grow into hip-hop’s most fascinating rivalry and binary. While still recording under the OutKast umbrella, the duo of Big Boi and Andre 3000 also splintered into solo ventures, with chart-topping, culture-changing results. Even the producers were going their own way: While he was always the more visible of the Neptunes, Pharrell scored a solo smash under his own name for the first time in 2003, proving — along with Lil Jon blasting off into one of pop culture’s most ubiquitous figures — that behind-the-decks figures suddenly had star potential as high as anyone with a mic.
But that’s not to say that no one was finding strength in numbers. The rock world, still dominated by nu-metal, emo and pop-punk, continued to be band-oriented — one or two even with frontwomen, a far-too-rare occurrence in early-’00s modern rock. Meanwhile, heroes of 2001’s New Rock Revolution like The White Stripes and The Strokes found greater commercial success with their follow-up efforts, as international outfits like Jet and The Darkness followed their example by diving further into rock’s archives, scoring two of the year’s biggest breakout hits in the process. And Northwest indie hero Ben Gibbard thrived as part of two very different groups, as the longtime frontman for Death Cab For Cutie — who pushed ever closer to the mainstream, with help from the year’s surprise breakout primetime drama — and as one-half of The Postal Service, the electro-pop duo whose remote, computer-based approach to music-making made their Give Up the year’s most prescient alt-rock release.
And all of this just scratches the surface of everything that was going on in music in 2003: crunk, dancehall, grime, discopunk… it was a year that produced as much timeless pop music as it did music that would only make sense in its particular moment, all of which remains incredibly satisfying to dive back into 20 years later. Don’t believe us? Check out our list of the 100 best songs of that year — kicking off a week of 2003-themed content here at Billboard.com — and see if it doesn’t move your feet, rock your body, and generally make you wistful and nostalgic about times like these.
(Songs were counted as being from 2003 if they first charted on their most relevant Billboard chart in 2003 — or, if they never charted, if they were released as a single in 2003 — unless they hit No. 1 for the first time in a later year. So apologies to “The Way You Move,” “Slow Jamz,” “99 Problems,” “Toxic,” “Maps” and many more songs all technically first released in ’03; we’ll see you all next year.)
B2K feat. Diddy, "Bump, Bump, Bump"
B2K’slecherous harmoniesand the limber Spanish guitar-meets-thunderous piano chords of thisquintessentialgrindinganthemlured“all those sexy mamas” to the dancefloor.Meanwhile, Diddyplays the ultimate wingman with hissuaveverse andendless come-onsscattered throughout the song.“Bump, Bump, Bump” becameB2K’s career-firstBillboard Hot 100 No. 1, and while Omarionpublicly announcedin 2019 thathe’sretiring the song from his set listdue toR.Kelly’s writingand producingcredits,itremainsthe band’s best-known hitto date.— HERAN MAMO
The Rapture, "Sister Saviour"
The Rapture’s Echoes album arrived on an avalanche of hype, due to their underground-scorching 2002 breakout single “House of Jealous Lovers” and association with NYC label-of-the-moment The DFA. The album might not have been the defining document of the discopunk era that some had hoped, but it had no shortage of in-the-moment new thrills — best of all perhaps being “Sister Saviour,” whose decadent synth-pop Eurosleaze reminded of a Duran Duran deep cut in all the best ways, and whose “If I drink myself to death/ At least I’ll know I had a good time” quote captured the period’s ethos pretty well. — ANDREW UNTERBERGER
P!nk, "Trouble"
While most of her Y2K peers felt like try-hards when dabbling in rock, P!nk’sTry Thislead single demonstrated she was actually more at home ripping it up to a pummeling punk riff than R&B-flavored pop. Co-writer/producer Tim Armstrong’s Van Halen-esque guitar tone and P!nk’s bluesy growl edge the listener until the chorus explodes into carefully orchestrated chaos, marking a fearless turning point from an icon in the making. — JOE LYNCH
The Libertines, "Time for Heroes"
London indie rockers The Libertines embodied disillusioned youth of the early 2000s with their devil-may-care attitudes and a punk bluster that was missing from mainstream rock on both coasts with the anthemic “Time for Heroes.” The second single from their debut album Up the Bracket (produced by the legendary Mick Jones of The Clash), is a snippet of what lead singer Peter Doherty witnessed at the anti-capitalist May Day Riots in London. In his Northumberland lilt, Doherty bangs on about police violence and the way some kids have co-opted the riots despite their social standing (“Did you see those stylish kids in the riot?”). Not much has changed in the last 20 years, which could ring as disappointing — unless you consider Doherty’s prophetic line delivered over smashing drums, “And we’ll die in the class we were born/ That’s a class of our own, my love.” — TAYLOR MIMS
JC Chasez, "Blowin' Me Up (With Her Love)"
While Justin Timberlake spent 2003 fortifying his solo stardom with Justified singles like “Rock Your Body” and “Señorita,” JC Chasez, who earned just as many lead vocal opportunities during their time together in *NSYNC, made his own bid for the pop charts with the funked-up sing-along “Blowin’ Me Up (With Her Love),” which cracked the top 40 of the Hot 100. Although the song’s marching-band production was a product of the song’s usage in the 2002 film Drumline, its brassy foundation and thumping percussion accentuate Chasez’s heartthrob vocal runs. — JASON LIPSHUTZ
Birdman feat. Clipse, "What Happened to That Boy"
Forever iconic instrumentals? “What Happened to That Boy” has entered the chat. By way of the undisputed production blueprint of Y2K hip-hop — a.k.a. The Neptunes — the track boasts cut-throat words from Pusha T and one ofBirdman’s best verses to date. Sadly, the single is rumored to have caused the decades-long beef between Clipse and Cash Money, stemming from a never-received payment from Cash Money, leading Pharrell to write off their camp forever. True or not, this year-defining track makes all the drama worthwhile. — NEENA ROUHANI
Molotov, "Here We Kum"
Thisattitude-heavyrock-en-españolanthemis,tothis day,a fan favorite at the Mexican band’s concerts — withfanssinging theno-holds-barredlyricsat the top of their lungs,willingly adopting thatrockeroego.“It’s not that we don’t care, it’s that we really don’t give a f—k,” theyconfessinthe opening verse. They continue to sing unapologetically:“We’re going to do you a solid and record an album that’s not too expensive/ But we’re here to take your money.”— GRISELDA FLORES
Three Days Grace, "I Hate Everything About You"
A roller-coaster journey of sweet melodic vocals transitioning into screams of frustration, ”I Hate Everything About You” was THE song of 2003 for describing love-hate relationships. “I hate everything about you/ Why do I love you?” belts lead vocalist Adam Gontier in the conflicted chorus. With its dazed opening guitar riffs and its angry drum beats throughout the track, “Everything About You” ultimately put the Canadian alt-metal band on the map and became their breakout hit in their home country and beyond. — JESSICA ROIZ
Jay-Z, "Change Clothes"
The first of Jay-Z’s three exemplary Black Album singles, “Change Clothes” owes plenty of its success to its buoyant, imperial-era Neptunes beat, another slice of soulful bliss that’s as mechanically flawless as a Swiss watch. Hov’s effortless verses about designer clothes and his place atop the rap game serve as the perfect lyrical complement. — ERIC RENNER BROWN
Hot Hot Heat, "Bandages"
An alt-rock single that could not have impacted as it did in any other year, with dingy East Coast dance-punk energy meeting sunny West Coast pop-rock hookiness, tied together by a squawked title phrase repeated to the point where the word essentially loses all meaning. “Bandages” probably shouldn’t work as well as it does, but as Hot Hot Heat frontman Steve Bays insists (and ultimately earns), “Don’t worry, ‘coz it’s all under control.” — A.U.
Train, "Calling All Angels"
Following the band’s 2001 monster hit “Drops of Jupiter (Tell Me),”Trainreturned to the Hot 100’s top 20 with the soaring “CallingAll Angels.” The track calls for fortitude and seeks the ear of a higher power, while cataloging a (unfortunately still timely) list of the world’s ills, including anger, lack of safety and shattered relationships. “CallingAll Angels” also become became an enduring, unofficial anthem for the Los Angeles Angels baseball team, playing in the Angels’ stadium along with footage from the team’s nearly 60-year history.— JESSICA NICHOLSON
Mya, "My Love Is Like... Wo"
Mýashedher girl-next-doorpersona toexplorehermoreexplicitsideinthe tantalizing“MyLove is Like… Wo.”She confidently assuresa manhe’llnever need to go searching for love again because herswill leave him oh-so-satisfied, withthe song’sco-writer (and producer) Missy Elliott puffing every “Wo”in thepompouschorus.Even thoughMýapreviouslytoldBillboard about how she “wasn’tconfident in saying,‘Mya–islike wo,’”her ability to pushthe boundaries of her image –especiallyin the music video –is still revered.— H.M.
Joe Budden, "Pump It Up"
Joe Budden has managed a 20-year career as a successful recording artist and media personality — but he only ever really had one major chart hit, with 2003’s irresistible “Pump It Up.” Riding a horns-of-Jericho Kool & The Gang sample (courtesy of a can’t-miss Just Blaze) and a jock jam-worthy chorus, “Pump It Up” carries all the momentum you’d want from its title, and became such a ubiquitous background part of pop culture so quickly that suddenly you couldn’t remember a time before it existed. — A.U.
FannyPack, "Cameltoe"
A tongue-in-cheek track from the improbably named FannyPack, “Cameltoe” finds three Brooklyn teens bemoaning the “growing epidemic” of “frontal wedgie[s]” over an insouciant electro-rap production indebted to Roxanne Shante. Sure, it’s a novelty goof, but with beautifully dumb playground taunts subbing in for lyrics (“Is your crotch hungry girl? / Cuz it’s eating your pants”), it’s exactly the kind of flash-in-the-pan single you find yourself savoring longer than you expected. — J. Lynch
Kenny Chesney, "No Shirt, No Shoes, No Problem"
The official anthem of No Shoes Nation, as Chesney’s legions of fans describe themselves, this song kicks the sand along the beach (with an almost minute-long instrumental intro), offering frothy delights from a ukulele to a fiddle to a slide guitar, as Chesney transports us to a idyllic retreat with “no boss, no clock, no stress, no dress code.” Although the song peaked at No. 2 on Billboard‘s Hot Country Songs chart (ironically held from the top spot by the like-minded “It’s Five O’Clock Somewhere” by Alan Jackson and Jimmy Buffett), “No Shirt” isn’t just a great hit, it’s a philosophy of life. — THOM DUFFY
David Banner feat. Lil Flip, "Like a Pimp"
One of southern rap’s all-time great two-handers, “Like a Pimp” features David Banner and Lil Flip stepping into the arena with the authority and chemistry of a couple of WWE superstars — even though that’s not the kind of club or the kind of tag-team they’re rapping about. Regardless, while trading boasts over Banner’s thundering beat, the duo sound like absolute hip-hop royalty, albeit still the kind you could feasibly catch at Pappadeaux eating steak and shrimp. — A.U.
Ying Yang Twins feat. Lil Jon & The East Side Boyz, "Salt Shaker"
Lil Jon’s first year of true cultural dominance was capped by “Salt Shaker,” a growling banger and top 10 hit that returned the favor to the Ying Yang Twins for their guest appearance on his own crossover breakthrough earlier in the year. “Shake it like a salt shaker” might finish a distant No. 2 for the year’s most memorable “shake it” simile hook, but “skeet so much they call her Billy Ocean” probably has even “Get Low” beat in the “skeet” rankings. — A.U.
AFI, "Girl's Not Grey"
Long-running hardcore punk group AFI scored an unlikely crossover hit in 2006 with the ultra-anthemic single “Miss Murder,” but three years earlier, Davey Havok and co. achieved their greatest piece of pop craft with “Girl’s Not Grey.” The call-and-response shout-along distills every piece of the band, from Adam Carson’s racing drums to Jade Puget’s guitar strut to Havok’s falsetto-turned-bellow, into its catchiest three minutes. “Grey” may have conjured a countless number of mosh pits for AFI, but that “What followwwws!” hook is pure top 40 bliss. — J. Lipshutz
The All-American Rejects, "Swing, Swing"
In 2023, you’re not going to find many 30-second intros dominated by a church organ (though we’d take ’em, no complaints here) — but the pop-punk stylings of “Swing, Swing,” with lyrics centered around heartbreak, would still go off today without a hitch. Bounce along with lead singer Tyson Ritter’s vocal inflections in the verses; dial it up to belt out that “fiiiind a way” in the chorus; or simply ride it out until the guitar solo takes it to the bridge. — JOSH GLICKSMAN
Erykah Badu, "Danger"
The loose, spread-out funk of 2003’s Worldwide Underground might not make it too many fans’ favorite Erykah Badu album, but there was no denying the tightness of lead single “Danger.” With its southern-fried beat and sing-along chorus (“They got the block on lock, the trunk stay locked…”) both worthy of a Kelis-Neptunes teamup, and a brilliantly deployed nod to Badu’s beloved Dark Side of the Moon towards the end, it was as much of a potential radio killer as anything on her first two LPs. That it only made it to No. 82 on the Hot 100 might still demand an eight-part podcast mini-series investigation. — A.U.
Electric Six, "Gay Bar"
“Gay Bar” is a garage-rock raver about a horny hetero hellbent on getting it on with his lady in — you guessed it — agay bar. While no self-respecting queer wants to watch straights neck in agay bar, calling foul on Electric Six for celebrating cultural tourism is missing the point: Frontman Dick Valentine delivers his lines with such stentorian enunciation that he comes across like a finishing school teacher who dropped acid and never looked back. The only thing these Detroit rockers are serious about is having a stupid good time. — J. Lynch
Dizzee Rascal, "I Luv U"
Before he was an indie blog darling, then a UK hitmaker, and now an elder statesman too often mired in controversy, Dizzee Rascal was a teenage rapper with a clanging grime sound and a story to tell. “I Luv U,” an ugly and captivating back-and-forth about teen pregnancy and ensuing disputes over parental custody (Jeanine Jacques plays Dizzee’s counterpart on the track), turns real-life hurt into scintillating theater — he’s hard-nosed and pig-headed throughout, and doesn’t exit the confrontation unscathed. — J. Lipshutz
Linkin Park, "Faint"
Chester Bennington makes it abundantly clear in the earsplitting chorus of this monsterMeteorasingle that he “won’t be ignored,” and this song can’t go unnoticed either, with its piercing intro, breakneck breakbeat and heavy guitars. “You’re gonna listen to me, LIKE IT OR NOT!” the late frontman wails during the bridge (and he’s absolutely right). –KATIE ATKINSON
Floetry, "Say Yes"
This slow jam staple is a perfectly executed union of song and spoken word, the latter now a practically forgotten artform in mainstream music. Arriving as the second single from the U.K. R&B duo’s critically acclaimed debut album Floetic, “Say Yes” embodies a brand of unspoken love and lust, most notably evident in Marsha Ambrosius’ passionately delivered chorus capper, “You make me so so, so so so…” before reaching a melodic climax over the tantalizing outro.— N.R.
Sean Paul, "Like Glue"
Teased at the end of the video for his Hot 100-topping “Get Busy” smash, “Like Glue” proved a seamless continuation of Sean Paul’s winning streak when it was released as his follow-up single. A breathless barrage of sung-rapped hooks laid over a Tony “CD” Kelly production that buzzes, hums and chirps like an animated Disney chorus, “Like Glue” was (appropriately) one of the stickiest things on pop radio in the summer of 2003 — and the rare dancehall hit that season that didn’t even need the Diawli riddim to entrance listeners. — A.U.
Maná, "Mariposa Traicionera"
It’ssurprising that Manádidn’tget their first No. 1 on the Hot Latin Songs chart until 2003, butit’sno surprise that they achieved it with this song.One of the Mexican band’sbest songs, the track instantlybecame atimeless hitwith powerful lyrics thatsing tothe unfaithful.“You’relike butterfly,you fly,going from mouth to mouth/ Easy to those who provoke you,”FherOlverasings, palpably hurt,overanequally melancholyacoustic guitarmelody. — G.F.
The Chicks, "Travelin' Soldier"
The lyrics may reference Vietnam, but in 2003, The Chicks’ bluegrass tearjerker was a nod to current affairs as a generation of young people got their first lived experience of war, and missing those away fighting in it, when the U.S. invaded Iraq after the 9/11 attacks. So too did the stirring ballad soundtrack a related political entanglement, when Natalie Maines announced, “We do not want this war, this violence, and we’re ashamed that the President of the United States is from Texas” during a March 2003 performance, a declaration thatinfamously resulted inthe vast majority of country radio stations pulling “Travelin’Soldier” — then sitting at No. 1 on Hot Country Songs — from the air. — KATIE BAIN
Juanes feat. Nelly Furtado, "Fotogrofia"
Topping both the Hot Latin Songs chart and Latin Airplay tally for five weeks,“Fotografía”wasone of those songs thatSpanish-language radio stationshad on repeatin 2003.It made sense: The song is a gorgeous pop ballad powered bybrightelectric guitarthat serves as a canvas for both Juanes and Nelly Furtado’slilting vocals, as they sing about preserving each other’s photos even after they are no longer together.Timeless lyrics about a topic we can all relate to.— G.F.
Wayne Wonder, "No Letting Go"
This heartfelt love song from Jamaican artist Wayne Wonder is well-served by its infectious handclap beat — our No. 48 and No. 9 list entries below also prove just what a 2003 MVP this specific riddim was. But the real star is Wonder’s silky-smooth delivery, earnestly selling the lyrics about “really and truly” giving in to the love of that special someone. –K.A.
No Doubt, "It's My Life"
This year found No Doubt at a crossroads: post-Rock Steady, pre-Stefani’s first solo effort, Love.Angel.Music.Baby,the band neededa viableholding pattern — so itzeroed in on compilations, introducingThe Singles 1992-2003with this TalkTalkcover. With its synth-pop underpinnings and plaintive vocal lineseemingly moldedto Stefani’s strengths, it was a deft choice: a nod to No Doubt’s ’80s influences that somehow sounded entirely new and original, earning a Grammy nomination and (for its cinematic video) a pair of MTV VMAs. — REBECCA MILZOFF
Baby Bash feat. Frankie J, "Suga Suga"
“Suga Suga” clocks in at only four minutes, but its hypnotic guitar lick exists outside of time – listen to the song, and it feels like it could’ve been playing, on loop, for the 20 years since it came out. And Baby Bash’s awestruck wonderment (to an impossibly cool flame? to a coveted illicit substance? who knows) is similarly eternal. — E.R.B.
Simple Plan, "I'd Do Anything"
SimplePlan burst onto the pop-punk scenewith No Pads, No Helmets… Just Balls, and the band became an instant success with “I’d Do Anything.” The song seamlessly blended the relatability of teenage angst and post-breakup desperation with wildly catchy hooks — as well as spiked-gel hair, studded leather bracelets and snarky graphic tees. Truly nothing captured 2003 male style likeSimplePlan, and the nostalgia of it all has allowed it to stand the test of time. — RANIA ANIFTOS
Alejandro Sanz, "No Es lo Mismo"
“No Es loMismo” (It’s Not the Same) is a pop-rock song with hip-hop undertones that, because of its potent lyrics, became a staple when released from Sanz’s seventh studio album of the same name. With witty verses where he uses same-sounding words that mean the complete opposite, Sanz is vocal about human rights. “Vivir es lo mas peligroso que tiene la vida” (to live is the most dangerous thing life has), he chants. The modern-day protest anthem won the 2004 Latin Grammy for record and song of the year. — J.R.
The Black Eyed Peas, "Where Is the Love"
This was thePeas’ first song to feature Fergie as an official member. It was also their first significant hit – top 10 on the Hot 100, a pair of high-profile Grammy nods. The song touches on many of the hot-button issues of the early 2000s, from terrorism to the war in Iraq (“A war’s going on but the reason’s undercover”). Like Sly & the Family Stone’s 1969 classic “Everyday People,” it takes complex issues and puts them in language so simple even a child could understand: “When you hate, you’re bound to get irate.” – PAUL GREIN
Dashboard Confessional, "Hands Down"
Chris Carrabba wasn’t too far away from turning 30 when his group Dashboard Confessional released the lead single to A Mark, A Mission, A Brand, A Scar, but “Hands Down” is brimming with fizzy teenage energy — not just because the song is about a first kiss, but because he’s so hopeful about that first kiss that he fears it might kill him. While the lyrics to “Hands Down” capture an age-appropriate brand of melodrama, so does the song itself: racing through breathless verses, wrapping around a sugary hook, then floating into the clouds when the kiss lands — high school euphoria, several years before Euphoria. — J. Lipshutz
Nelly, Diddy & Murphy Lee, "Shake Ya Tailfeather"
When tapped for theBad Boys IIsoundtrack, Nelly, Diddy and Murphy Lee turned a staple sports stadium chant into an irresistible banger. It’s nearly five minutes (and the “War Chant” has its problematic roots), but with three playboys sharing top billing, it feels like a Friday night spent ping-ponging between parties that’s over just as soon as it started. Best of all, “Tailfeather” took the question “Is that your ass or your mama half reindeer?” to No. 1 on the Hot 100, and to a 2004 Grammy win for best rap performance by a duo or group.— J. Lynch
Blink-182, "Feeling This"
While Blink-182’s self-titled 2003 album expanded the band’s sonic and emotional palettes far beyond thee-chord rippers and d–k jokes, “Feeling This” was a good transition single — packing the energy and brio of their early hits, but with a musical sophistication to make it clear they weren’t playing high-schoolers anymore. By the time the song dissolves into a Beach Boys-like round of traded-off a cappella vocals, it was clear the trio had the talent to live on long past the American Pie era, even if they also had the combustibility to ultimately make such longevity a longshot. — A.U.
Toby Keith & Willie Nelson, "Beer for My Horses"
Keith got a co-sign from country music legend Nelson on this collaboration, which cheers on justice against lawbreakers and evildoers — a notion that resonated with many in a nation still reeling from the impact of the terrorist attacks of Sept. 11, 2001. “It’s time the long arm of the law put a few more in the ground/ Send ’em all to their maker and he’ll settle ’em down,” they boast, celebrating with libations for the victors and their steeds. “Beer” was a six-week Billboard Country Airplay chart-topper. The pairing of two music stars, a singalong melody and a bombastic chorus has made this track endure.— J.N.
The Diplomats, "Dipset Anthem"
“Dipset Anthem” is titled for the whole Diplomats crew, but it’s really a showcase for Juelz Santana — then still best-known as the scene-stealer from Cam’Ron smashes “Hey Ma” and “Oh Boy” — as he scopes potential territory and plots his big move. He might be standing alone and watching the walls like Scarface, but his mind isn’t playing tricks on him: With all the co*ckiness in the world and a massive sample from Sanchez’s “One in a Million” to further gas him up, it certainly sounds like he’s about to take over. — A.U.
Ratatat, "Seventeen Years"
This weird instrumental ditty from Brooklyn oddballs Ratatat defies most norms of popular music — unnecessarily loud, meandering and lacking anything resembling a conventional pop hook. But as an irreverent, tuneful inside joke — one that follows in the tradition of bands like the Jon Spencer Blues Explosion and Ween and helps pave the way for early electro-house acts like Justice and Simian Mobile Disco — Ratatat delivers a catchy, wild ride, foisting shreds of dirty riffs and drum machine beats into the earlobes of listeners who don’t take themselves too seriously. — DAVE BROOKS
Beyoncé, "Me, Myself & I"
The third hit single from Beyoncé’s debut solo albumDangerously in Love further cemented the foundation for her post-Destiny’s Child future as a visionary singer, songwriter and producer. This soulful, mid-tempo missive about finding the inner strength to leave a cheating partner still hooks you right from the start as Beyoncé’s lilting, harmonizing vocals invite “All the ladies, if you feel me, help me sing it out.” The song’s subtle artistry and hard-won, empowering lesson — “Me,myself, and I/That’s all I got in the end” — continues to resonate.— GAIL MITCHELL
t.A.T.u., "All the Things She Said"
The promotional elements behind t.A.T.u. may have been a virtually unparalleled mix of wildly ahead of their time and abhorrently regressive, but no one needs be conflicted over their spellbinding breakout hit, “All the Things She Said.” A deliriously over-the-top love song with emotions and synth hooks both pushed dangerously into the red, the song would feel equally at home amidst the irony-free theater-pop of decades earlier or the confessional emo-pop of decades later; either Bonnie Tyler or Halsey could’ve absolutely killed a cover. — A.U.
Beck, "Lost Cause"
This glorious, melancholy gem — taken from Beck’s Grammy-nominated 2002 album, the appropriately namedSea Change — was released as a promotional single, becoming a minor hit on Billboard‘s Alternative Airplay chart in 2003. This acoustic, shimmering beauty showed a deeper, more contemplative side ofBeckthat drew upon feelings of loneliness, regret and resignation and left his sonic experimentation temporarily behind. He’s never sounded so achingly poignant before, in a song that still resonates today. — MELINDA NEWMAN
Sheryl Crow, "The First Cut Is the Deepest"
A simple acoustic guitar duet, with just a hint of strings, introduces Crow’s unabashed declaration, “I would have given you all of my heart/ But there’s someone who’s torn it apart,” and we’re led into this tale of a heartbroken soul who will “try to love again.” Written by Cat Stevens in 1967 and a No. 21 hit on the Hot 100 a decade later for Rod Stewart, Crow’s version of “The FirstCutIs the Deepest” builds with John Shanks’ slow-burning, big-ballad production into a vocal tour de force, which she took to No. 1 on Billboard‘sAdult Alternative Airplay chart for four weeks in 2003, as well as to No. 14 on the Hot 100. — T.D.
Eminem, "Superman"
This catchy anti-love hit off The Eminem Show climbed all the way to No. 15 on the Hot 100, fourth of the five top 20 singles the eventually Diamond-certified album produced. We can all agree the more misogynistic lyrics have certainly not aged well, but what has endured is one line in particular, the subject of which still fuels what feels like a never-ending feud: “What, you Mariah? Fly through twice.” It was the first of two hints on the album that the rapper dropped about their rumored romance – complete with a likeness of Mimi in the video —but it kicked off what is now two decades of beefing between the two, which also reeled in Nick Cannon, Carey’s now ex-husband, for 10 years.— ANNA CHAN
The Shins, "So Says I"
The thoughtful indie power-pop stylings of The Shins made the band a sensation on their 2001 debut album Oh Inverted World, and the even brighter (and perhaps bigger-budget) productions brought them even closer to the mainstream. The searing guitars, cymbal-heavy drums and yelped vocals of lead single “So Says I” took a lyric that abstractly compares communist and capitalist societies and made it into something that could plausibly soundtrack a spring break party scene on a teen TV drama. (OK, maybe only Gilmore Girls. But still.) — A.U.
Chingy, "Right Thurr"
St. Louis slang went worldwide with this No. 2-peaking Hot 100 smash — stuck in the runner-up slot for five nonconsecutive weeks, four of those behind a pick you’ll see much, much higher on this list.Chingyintroduced his regional vernacular – or “Chinglish,” as he called itin a2018 Billboard interview– in the bouncy, Trak Starz-produced debut single, launching him to rap stardom at 23 years old and setting the stage for a string of three consecutiveJackpottop five hits. –K.A.
Hilary Duff, "So Yesterday"
TheLizzie McGuirestar reintroduced herself as more than just a Disney Channel sweetheart when she unveiled her fittingly titled debut 2003 album,Metamorphosis. As its standout single, “So Yesterday” captured the then-15-year-oldDuff’s soothing vocals over a breezy pop-rock melody, encouraging teenagers across the country to let go of an old relationship that feels “so yesterday,” and launching herself as pop’s newest it girl.— R.A.
Spoon, "The Way We Get By"
It was never totally clear if “The Way We Get By,” released as a 2003 single from the band’s acclaimed 2002 album Kill the Moonlight, was a celebration or a cynical takedown of post-millennium slackerdom. Like many of Spoon frontman Britt Daniels’ tracks, “The Way We Get By” is more a clever portrait of Generation X entering its early-to-mid-thirties than it is a commentary on the apathy and disconnectedness of young people, with lines like “we believe in the sum of ourselves” delivered deadpan over a hopping piano melody, drenched in shrill catchiness and obscure Iggy Pop references. It’s not great, but it’s a living. — D.B.
Zoé, "Soñé"
The 2003 album Rocanlover is home to some of Zoé’s most emblematic tunes, including the closing track “Soñé” (I dreamed). Vocalist León Larregui penned it with a hopeless romantic in mind, narrating the story of a person who’s constantly thinking and dreaming about that special someone. “I want to be air/ And that you breathe me forever/ Well I have nothing to lose,” the melodramatic lyrics proclaim. Its synth-packed, dreamscape-like melodies have maintained a fresh sound throughout the years — as has the acoustic version with Hello Seahorse! — J.R.
DMX, "X Gon' Give It to Ya"
If you can find a song selection that more instantaneously energizes the room, we’re all ears. “This rap s–t is mine, motherf–ker!”DMXshouts, mere seconds after barking and growling at his listeners — and proceeds to rap his face off for the next three and a half minutes, with a chorus that sounds equally perfect whether chanted in a crowd-packed venue or blasted from floor-shaking speakers in your home. His declaration holds up 20 years later, just as it will 20 more from now and 200 after that. — J.G.
Death Cab for Cutie, "Title and Registration"
In pop music, cars generally represent freedom and liberation. Not forDeathCabfor Cutie, whose prosaically gutting “Title and Registration” remains one of the grimmest automobile odes in rock history. With methodical lyrical detachment, Ben Gibbard establishes the bleak scene: a brokenhearted narrator rifling through his glove compartment for a document, finding “souvenirs from better times” and arriving at the place “where disappointment and regret collide.” Maybe society will get around to renaming the damn thing one of these days. — E.R.B.
Lumidee, "Never Leave You (Uh Oooh, Uh Oooh)"
Picture this: you’re at the club in 2023. You hear a wildly popular dancehall riddim. Is it Wayne Wonder,Lumidee, Sean Paul or Nicki Minaj? Well, first it was “Diwali Riddim” by Lenky, before morphing into the objectively pitchy yet eternally catchy and unshakeable “Never Leave You,” from East Harlem singerLumidee. From the graffiti-coated white tees, bamboo earrings, seven-sizes-too-big denim and bucket hats, the accompanying video featuring rapper Busta Rhymes serves as a historic artifact, forever immortalizing nearly every praise- (and cringe-) worthy early-’00s trend. — N.R.
Coldplay, "The Scientist"
Despite its methodical title, “TheScientist” has very little to do with science. This beloved piano ballad off ofColdplay’sA Rush of Blood to the Headcharts a course out of the “numbers and figures” that Chris Martin’s protagonist cannot seem to stop thinking about, and “back to the start” of a relationship at its end. It’s simple, sentimental and emotionally resonant — everything you could hope to expect from a love song in 2003 — while also maintaining a detached passivity that makes “TheScientist” all the more interesting to hear two decades later. — STEPHEN DAW
Panjabi MC, "Mundian to Bach Ke" / "Beware of the Boys"
British-Indian producer Panjabi MCthoroughlyexecutedhis signature fusion ofbhangraand hip-hopon his single“Mundianto BachKe,” originally released in 2002Thehypnotic ting-titing-titing-titingtuneof the tumbianddholpatternmixed with the record scratchingandbasslinesampleofBusta Rhymes’ 1998 hit “Turn It Up” (Remix) / “Fire It Up” (and its Knight Rider-borrowed hook)spread like wildfire throughout the globe.But the 2003 “Beware of the Boys” remix withJay-Zcomplementeditsone-of-a-kindsonic DNAandcatapultedthe songtonew heights(including the Hot 100’s top 40), cementing it as one of the year’s most prominent cross-cultural hits. — H.M.
Celine Dion, "I Drove All Night"
This was the third significant interpretation of this sturdy Tom Kelly/Billy Steinberg song, following versions by Roy Orbison (recorded in 1987, a year before his death) and Cyndi Lauper (1989). Dion’s towering recording of the urgent pop evergreen was featured in a Chrysler commercial, for which the automaker paid the diva a reported $14 million. The ad was great exposure for Dion’s single, herOne Heartalbum and her Las Vegas show. There was just one problem with it: It didn’t sell many cars and was quietly pulled. – P.G.
Good Charlotte, "The Anthem"
OK, so maybe Good Charlotte at the peak of their pop-crossover powers weren’t the best possible messengers for an anti-conformity screed that purported to speak for the losers of the world. But they were exactly the right band to smack MTV audiences with an absolutely massive-sounding pop-punk singalong that kicked off with a stuttering hip-hop break, quoted Jay-Z in the chorus, made a cheap masturbation joke on the bridge and ended with an undeniable whoa-oh call-and-response. Because even the world’s truest insiders still occasionally need to shout about how they don’t wanna be just like you. — A.U.
Yeah Yeah Yeahs, "Date With the Night"
“Date With the Night” was the first official single from YeahYeahYeahsdebut albumFever to Tell,and aboisterous first impression for anyone outside of the New York or London indie rock scenes.From Nick Zinner’sgrungy guitar riff to Brian Chase’s first knock on the drums, “DateWiththe Night” is a relentlessrock banger that builds tension for a relentless two and a half minutes. Joined by Karen O’searsplitting vocals and sexual innuendos, the track is a chaotic, sensual, cathartic exultation of pureecstasy. Whether you were in sweaty clubs watching Karen O throw herself across sticky stagesin 2003orthe song smashes its way into your earbuds for the first time in 2023,it’simpossible notto feelthe urgency toget up on your feet and thrash. — T.M.
Lil Kim feat. 50 Cent, "The Magic Stick"
Instant combustion. That’s what happened when two of hip-hop’s most fun and formidable talents joined forces on this seductive track, aided by a percolating beat and sexual prowess-touting lyrics. “When it come to sex, don’t test my skills/ ‘Cause my head game have you head over heels,” a confident Lil’ Kim sensuously raps as she stands toe-to-toe with then-newcomer 50 Cent. Long before Cardi B’s “WAP” with Megan Thee Stallion, “MagicStick” helped Kim lay the hip-hop blueprint for women’s sexual empowerment.— G.M.
Shakira, "Que Me Quedés Tu"
It’scrystal clearthat Shakira has a knack for writing heartbreak songs that really tug at your heartstrings andmake you feel for the Colombian star.“Que MeQuedesTú”is no exception.It’s actually a masterclass in songwriting,with powerfullyricsabout all the things she’s willing to sacrifice before losing the love of her life.In thisquintessential can’t-live-without-you love song,which starts off with a sitar-like riff that instantly hooks you,Shakira boldly declares,“IfI have you, I have life.” — G.F.
Liz Phair, "Why Can't I"
When the patron saint of guitar girls who DGAF released this unabashedly poppy track (and eventual top 40 Hot 100 hit), itwasn’texactly greeted warmly: critics lambasted it as at best “basic,” at worst a “cookie-cutter” facsimile of what Avril and Michelle were doing at the time (it did have the stamp of pop-punkproducers The Matrix all over it).But in the end,those solid pop underpinnings may account for whyit’saged surprisingly well— and 20 years later, withcreative left-turnsmore often applauded than antagonized, plenty ofPhairfans happily wave the “Justice for ‘Why Can’t I?'” flag. — R.M.
50 Cent feat. Nate Dogg, "21 Questions"
50 Cent’s breakout LP was calledGet Rich or Die Tryin’, but the album’s second single approachesintimacy from the perspective of someone already rich enough to be wary of gold diggers. “If I went back to a hoopty from a Benz/ Would you poof and disappear, like some of my friends?” 50 queries, adding a dash of vulnerability to his gangster persona. Meanwhile, hip-hop hook GOAT NateDoggsing-songs, “It’s easy to love me now, but would you love me if I was down? And out?” over the song’s stuttering guitar riff — made from a sample of Barry White’s 1978 panty dropper “It’s Only Love Doing Its Thing.” — K.B.
Michelle Branch, "Breathe"
For someone who spent much of her earlier hit singles venting her heartbreak and/or frustration, perhaps the time really had come for Michelle Branch to remind herself to take a beat. In any event, “Breathe” was both the most cathartic and the most centering Minivan Rock staple of Branch’s ’00s hitmaking run, with a chorus that feels like the light bursting through a long-dark room — as directly illustrated by the song’s video, which grants the singer-songwriter the release she seems to so desperately need. — A.U.
Freeway feat. Jay-Z and Beanie Sigel, "What We Do"
The “Across 110th Street” of ’00s hip-hop, “What We Do” is one of this century’s most soulful portraits of inner city folks doing what they do to get from one day to the next — robbing, hustling, dealing, grinding — while doing whatever they can to keep their souls straight. The rappers in question are so pressed that they never even have time to break for a chorus; the only interjected refrain comes courtesy of a breathless (and breathtaking) Creative Source sample that admits the wrongfulness of the trio’s actions, but doesn’t express regret or ask for forgiveness. After all, you don’t know what you’ll do until you’re put under pressure. — A.U.
Maroon 5, "Harder to Breathe"
Looking back, it’s hard to believe Maroon 5’s Songs About Jane took such a long time to break out — it was released in June 2002 but didn’t hit the Billboard 200 for the first time until May 2003 (or reach its eventual No. 6 peak until Sept. 2004). It should’ve been obvious from the first listen to the pulverizing opening drums of lead single “Harder to Breathe” that big things were afoot here, and even moreso by the time of the George Michael-worthy panting and growling of the chorus. Regardless, after one listen through Maroon 5’s “Matchbox Twenty, but sexy” formula, if you were told that it would be just the beginning of a 20-year run of hits from the pop-rock outfit, you’d probably go, “Yep, sounds about right.” — A.U.
Beyoncé feat. Sean Paul, "Baby Boy"
“Baby Boy” is all about lust, baby! WithDangerously in Love, her first solo album after Destiny’s Child, 21-year-old Beyoncé wanted to prove she was all grown up — and “Baby Boy” did just that. With Bey’s breathy R&B vocals and moans and a dancehall flair (largely thanks to its Sean Paul assist), the collaboration was so effortlessly sexy and captivating that it topped the Hot 100 for an impressive nine weeks in 2003.— R.A.
Radiohead, "There, There"
Even staunch defenders of Hail to the Thief will likely admit that the 2003 album is Radiohead’s most discombobulated album, with alternate song titles, electro-jazz freakouts that lead into piano ballads, thinly veiled political statements and a whole lot of fuzzed-out instrumentation. Much of the noise works and some doesn’t, but “There, There” cuts through all of it. One of the band’s most magnetic singles ever, it’s a lurching rocker with haunted harmonies meant to evoke unavoidable temptation, with a sinister underbelly that’s fully realized, from the distorted guitar solo to that iconic double drum fill. — J. Lipshutz
Jarabe de Polo, "Bonito"
Seventeen years before his passing, Spanish singer/songwriter Pau Donés of Jarabe de Palo released “Bonito” — an up-tempo, feel-good alternative track charged with all sorts of positive affirmations much-needed in 2003, today, and beyond. “Bonita la vida, respira, respira, respira,” goes part of the motivational lyrics, which remind fans about the beauty of life, the importance of breathing — and above all, enjoying the simple things in life. Donés died on June 9, 2020, as a result of cancer he battled since August 2015, but ”Bonito” endures one of the frontman’s many timeless tracks. — J.R.
Missy Elliott, "Pass That Dutch"
The Timbaland-co-produced lead single fromThis Is Not a Test!is, in the grand Missy tradition, a million different things: a paean to hip-hop’s godfathers (with lifts ranging from War to De La Soul and A Tribe Called Quest) firmly placing Elliott in their line of succession; a tribute to Aaliyah; a handclap-powered rumpshaker; a showcase for Elliott’s lyrical gymnastics; and of course a vehicle for a wild Dave Meyers video (Missy as scarecrowandGodzilla? Sure!). And like any Elliott classic, it all somehow adds up to a track that still feels futuristic and visionary — and is a lasting dancefloor magnet. — R.M.
The Darkness, "I Believe in a Thing Called Love"
Ask Dan Hawkins, lead guitarist of British rock revivalists TheDarkness, andhe’ll tell youthat the band’s global breakout hit “I Believe In A Thing Called Love” started with a simple question: “Why don’t we just write the stupidest song ever?”Indeed, those looking for a carefully thought-out cultural thesis may find “Thing Called Love” somewhat lacking. But this incredibly fun rock song embodies the maximalist, cheesy, campy energy that the early ’00s brought to all of our lives, from the ridiculous falsetto chorus down to the chunky guitar riffs to the nonsensical lyrics, here for a good time only. — S.D.
Foo Fighters, "Times Like These"
The propulsive, melodic track fromFooFighters’ fourth studio album,One by One, is a lyrically contemplative, redemptive tale about rising from life’s ashes to learn to live and love again — though there’s an anxious tinge to the song that makes the hoped-for grace far from a certain achievement. Bolstered by one of Dave Grohl’s more restrained-but-passionate vocals and the late Taylor Hawkins’ aggressive drumming, “Times” reached No. 5 on both Billboard’s Alternative Airplay and Mainstream Rock charts and became a highlight of the band’s live shows. — M.N.
Kelly Clarkson, "Miss Independent"
It was staid ballad “A Moment Like This” that launched Clarkson’s career immediately following American Idol in 2002, but it was this feisty pop track — the first single from Clarkson’s 2003 debut album,Thankful — that became Clarkson’s first global hit, also reaching the top 10 on the Hot 100. The track became an anthem for self-sufficient, strong-willed women who were also brave enough to face their romantic trepidations. It’s the sheer attitude in Clarkson’s delivery that keeps lines like “By changing her misconceptions/ She went in a new direction” inspiring two decades later.— J.N.
Alan Jackson & Jimmy Buffett, "It's Five O'Clock Somewhere"
There’s a good reason they call it “happy hour.”Jackson opens this rollicking ode to pushing the clock hands to quitting time and ordering “somethin’ tall an’ strong”with brilliant wordplay from songwriters Jim “Moose” Brown and Don Rollins — “I’m getting paid by the hour, an’ older by the minute” — until Buffett joins after the bridge for one of the most inspired duets in country music.With its solid lock on the top of Hot Country Songs for eight weeks in the summer of 2003, it’s no wonder that the workplace kiss-off phrase “It’s Five O’Clock Somewhere” has become an enduring part of popular culture. — T.D.
Dido, "White Flag"
The cheesy video for this global hit may be firmly rooted in 2003, but lyrics such as “I’m in love and always will be” seamlessly translate across decades. Of course, “White Flag” remains a pop ballad at its core — and the truly stellar ones seem to have little trouble making their way to the next generation. Still, with its interspersed chimes and steady thumping production throughout, a creator in today’s age may entertain the idea of a mid-song genre shift. We’ll stick with the original, however, lest we be deprived of the building bridge that delivers us to that final, climactic chorus. — J.G.
Snoop Dogg feat. Pharrell & Charlie Wilson, "Beautiful"
It sounds like summer and is an immediate mood lifter – two tell-tale signs of a 2003 hit single.SnoopDogg and Pharrell delivered a classic with “Beautiful,” a sunshine-drenched jam centering around the sweet and simple Charlie Wilson-assistedrrefrain, “I just want you to know/ You’re my favorite girl.” Amidst The Neptunes’ unmistakably Y2K production, the duo galavant across Brazil’s lush landscape, paying homage to the South American hotspot and its plethora of equallybeautifulwomen in a Chris Robinson-directed visual that had us all fiending for a one-way ticket. The start to a string of collabs from the iconic duo, Snoop and Pharrell also scored hits together with “Let’s Get Blown” and the 2004 Hot 100-topper “Drop It Like It’s Hot.” — N.R.
Linkin Park, "Numb"
While the band’s nu-metal contemporaries got caught in the undertow of sludgy riffs and shallowly aggressive lyrics,LinkinPark found genre-leading success with its songwriting –and sophom*ore album Meteora‘s poignant closer is its masterpiece. Turntables, samplers, and piano chords propel the power ballad’s unsettling, urgent verses forward before “Numb” erupts with one of rock’s most timeless choruses. But that’s all just window dressing for singer Chester Bennington’s universal words about exhaustion, conformity, and failure, delivered viahis career’s defining vocal moment. — E.R.B.
Matchbox Twenty, "Unwell"
While theBillboardcharts are filled today with songs that openly address themes related to mental health, matchbox twenty’s “Unwell” arrived at a time when the national conversation surrounding the topic was much more taboo. It resonated then to the tune of a No. 5 high on the Hot 100, and works just as well in 2023, mastering an art that so many have come to practice since: wrapping an easygoing, radio-friendly guitar lick tightly around poignant lyricism worthy of dissection on a granular level. — J.G.
The Strokes, "12:51"
Two years and one album into being the coolest band in America, The Strokes already seemed like they were yearning for simpler times with sophom*ore set Room on Fire‘s lead single “12:51.” An anthem for going out (or not) and hooking up, the song has a young, carefree, almost small-town innocence to it (“Oh really, your folks are away now?/ All right, I’m coming”) that feels more like a nostalgic country throwback than a CBGB’s crowd-pleaser — though the processed guitar hook and chorus handclaps does still make it sound like a lost gem from Blondie’s Parallel Lines. — A.U.
Junior Senior, "Move Your Feet"
It’s impossible not to, well,moveyour feet when this sunshinyJuniorSenior single plays. This song came completely out of nowhere from the rookie Danish pop duo, with its stuttering lyrics, chiming disco production andpixelated music videoall leading to one big musical smile. Just put this record on and, without fail, “all of your troubles are dead and gone.” –K.A.
Jet, "Are You Gonna Be My Girl?"
The bass riff forJet’s “AreYouGonnaBe My Girl?” remains one of the most recognizable intros to an ’00s rock song, akin to The White Stripes’ “Seven NationArmy.”The Australian rockers took inspiration from the enduring sounds of Motown greats like The Supremesfor the rhythm and modernized the track with apre-chorus punctuated byfloor toms, and an anthemic chorus that screams the titular question.The track was taken to new heights in 2004 after Apple featured the jam in one of the company’s iconic silhouetteads for iPods, which were popular digital media…youknow what, never mind. Some thingsdon’tstand the test of time quite as well as “AreYouGonnaBe My Girl?”— T.M.
Ludacris feat. Shawnna, "Stand Up"
Ludacris had the entire world in his call-and-response grip by summer 2003, and “Stand Up” — his first single to top the Hot 100 — was a resounding demonstration of his accumulated power. Helps to have a Bedrock-shaking Kanye West production and a sticky back-and-forth refrain with co-star Shawnna, but as usual with the young man named ‘Cris, the wordplay prowess comes first and most: a mind-boggling assemblage of unforgettable lyrics, from side-splitting couplets (“I’m lit, and I don’t care what no one thinks/ But where the f–k is the waitress at WITH MY DRINK??“) to single-word hooks (“Bucksss-ahh,” “cooorrrrrdinate,” “BLAUGH!!“) that remain just as quotable decades later. “Just like that,” Luda insists on the chorus, as if it’s that easy for everyone. — A.U.
Britney Spears feat. Madonna, "Me Against the Music"
The Queen and Princess of Pop made headlines in August 2003 with their infamous onstage kiss at the MTV VMAs, and they kept the buzz going just a few months later with their steamy In the Zone collaboration, “Me Againstthe Music.” As expected from the Royals of top 40, the frisky, upbeat track came alongside a sultry, choreography-heavy music video that distinguished Spears as the dancer of her generation. The song underwhelmed on the Hot 100 at the time, peaking at No. 35 — but 20 years later, the song still encourages club-goers to “grab a partner, take it down” whenever it plays through the speakers. — R.A.
Evanescence feat. Paul McCoy, "Bring Me to Life"
For as many memorable moments as “Bring Me to Life” boasts, from the highly dramatic chorus to the operatic bridge to Paul McCoy’s pummeling rap-rock bridge, nothing can top that opening couplet from Amy Lee — “How can you see into my eyes / Like open doors?” — especially for those of us who remember whenEvanescence’s debut single was unleashed in 2003. In a male-dominated rock landscape, Lee’s crystalline voice was a shock to the system: Nothing on alternative radio (and, eventually, pop radio) sounded remotely close to it, a piercing outlier segueing into a sturdy anthem that matched its intensity. As soon as those first words were uttered, “Bring Me to Life” became a wake-up call, signaling both an enormous crossover hit and a much-needed change of pace. — J. LipshutzPharrell feat. Jay-Z, "Frontin'"
Summer 2003 was in for a treat when Pharrell and Jay-Z connected for the former’s debut solo single, “Frontin’.” Originally written for Prince, The Neptunes-produced pop song saw Pharrell channeling the Purple One himself through high-pitched singing about putting up a facade to impress a girl. Not only did “Frontin’” peak at No. 5 on the Hot 100 chart that year, but its streetwear-clad music video also remains famous for its fashion influence, introducing the world to Pharrell’s now-20-year-old clothing brand, Billionaire Boys Club. — CYDNEY LEE
Alicia Keys, "You Don't Know My Name"
AliciaKeys eloquently captured the hopeful daydreams, periodic angst and should I/shouldn’t I deliberations that come with an unrequited crush with this No. 3 Hot 100 hit. Co-written/co-produced by Keys and Kanye “Ye” West, the spare midtempo track poignantly underscores the emotional lyrics: “Doin’ more than I’ve ever done for anyone’s attention / Take notice of what’s in front of you / ‘Cause did I mention, you’re ‘bout to miss a good thing?” But it’s Keys’ plaintive oohs on the refrain that zero in on the heart of the matter. With this lead single fromThe Diary ofAliciaKeys, the singer-songwriter sidestepped the proverbial sophom*ore jinx and later won the Grammy for best R&B song.— G.M.
Audioslave, "Like a Stone"
The supergroup’s goosebump-inducing second single proved that the band had staying power, peaking at No. 31 on the Hot 100, and eventually racking up over one billion YouTube streams. The haunting melody and lyrics might make it sound like a love song — with lines like “In your house, I long to be/ Room by room, patiently/ I’ll wait for you there,” even bassist Tim Commerford has said he thought it was a tale of romance — but Cornell clarified it’s about dying. “It’s just some guy sitting in a hotel room contemplating death and what it means and all the different possibilities of that,” the singer shared in an interview. Considering that the Soundgarden frontman would go on to die alone in a hotel room 14 years later? Shivers.— A.C.
Ye, "Through the Wire"
Were we ever so young? Was he? The artist formerly known as Kanye West broke out in front of the mic for the first time with late 2003’s exultant “Through the Wire,” an origin story that basically caught you up on Ye to that point — the Chi-town roots, the Roc-a-Fella deal, the game-changing intentions and most of all, the horrific 2002 car accident that forced him to rap his debut single with the titular oral impediment. Pushed on by the chipmunk gospel of a sped-up Chaka Khan sample, the rapper-producer sounded for all the world like the ultimate underdog champion, the kind of guy you’d always want to root for, turning tragedy to triumph and making music that’s fire. We all know how that turned out — but 20 years later, you’d be surprised how easy it still is to listen to “Wire” and pretend that we don’t. — A.U.
Coldplay, "Clocks"
Much like the hands of a clock itself, this immaculate single‘s anchoring piano melody whirs in circles around the listener’s head as Chris Martin grapples with time’s perpetual march forward. It’s still as easy to get starry-eyed amid the sonic beauty of its cascading piano riff and gently chugging bass riff now as it was then, with croons of “Youuuuuu aaaaaaaare” rolling in like waves of bliss — and then subsequently sobered by Martin’s chilling lyricism: “Am I part of the cure?/ Or am I part of the disease?” — J.G.
Justin Timberlake, "Rock Your Body"
The Timbaland-produced “Cry Me a River” brought *NSYNC’s breakout heartthrob to No. 3 on the Hot 100 in 2002, but it took the Neptunes-helmed follow-up single “Rock Your Body” to truly quell the sea of suspicious eye-rolls that greeted Mr. JT’s solo career. Peaking at No. 5 but remaining on the chart longer than “River,” the slinking disco strutter “Body” demonstrated that Timberlake could, like his career icon MJ, casually bump a midtempo groove into the stratosphere without breaking a sweat.— J. Lynch
Kelis, "Milkshake"
The Neptunes originally offered “Milkshake” to Britney Spears, and while its crunchy club production certainly matches the mood of her 2003 LPIn the Zone, it’s hard to imagine anyone owning the song more effectively thanTasty-era Kelis. The singer brings bawdy sexual bravado (“damn right, it’s better than yours”) and pure attitude to the shuffling-and-popping track — making even her wordless “la-la, la-la-la” chant suggestive, and elevating what could have been throwaway pop to a euphemistic sexual liberation anthem for the ultra-low-cut jeans era. — K.B.
Johnny Cash, "Hurt"
To say that septuagenarian country icon Johnny Cash’s Nine Inch Nails cover felt out of place amidst the pop culture of 2003 — nominated for best video at the VMAs alongside Justin Timberlake, 50 Cent, Missy Elliott and Eminem — would of course be a dramatic understatement. But that’s just how undeniable the power of “Hurt” was, a closing statement of sorts from one of the most towering musical figures of the 20th century’s back half, who would die of complications from diabetes that September. As unnerving as Trent Reznor’s original was, hearing lyrics like “You are someone else/ I am still right here” from a one-time peer of Elvis who was now sharing airtime with John Mayer gave it unthinkable new levels of resonance. As the pounding piano of the Rick Rubin production grows louder and louder and Cash warbles, “If I could start again/ a million miles away,” it’s almost too much to bear — but there’s a merciful peace in the a cappella resolution: “I would find a way.” — A.U.
Sean Paul, "Get Busy"
In 2003 Jamaican dancehall rightfully got its breakout moment in the U.S. via two island natives, Sean Paul and producer Steven Marsden. Together, the pair gifted terrestrial radio the simply undeniable “Get Busy,” a shining example of dancehall’s Diwali riddim — made from syncopated handclaps and the hypnotic sound traditionally played during Punjabi Giddha dances — which Marsden was then pioneering. As crucially, it also features Sean Paul just listing a bunch of ladies’ names (Miss Kana Kana, Miss Annabella, Donna Donna) and instructing them to shake that booty non stop when the beat drops. With a flow like that, who could deny him? — K.B.
The Postal Service, "Such Great Heights"
It’s hard to imagine a time when the sanguine beeps-and-boops opening to The Postal Service’s debut single wasn’t permanently branded on our brains — but this early offshoot of indie, emo and synth pop was an against-the-odds hit when it was released in January 2003 on the revered indie label Sub Pop. “Such Great Heights” spent months crawling its way across pop culture thanks to its surprisingly broad musical appeal, it’s lyrical celebration of new romance and its inclusion on the soundtrack of the 2004 film Garden State (in a new version covered by Iron and Wine). The song’s steady climb would eventually land it the No. 27 spot on Rolling Stone’s 100 Best Songs of the Decade list, but also got the duo in hot water: In 2004, the actual U.S.PostalServicesent Gibbard and crew a cease and desist letter over the group’s name, though they would later drop the matter. — D.B.
Lil Jon & The East Side Boyz feat. Ying Yang Twins, "Get Low"
“To the windooowww, to the wall!” Lil Jon and The East Side Boyz brought crunk music mainstream with their Ying Yang Twins-assisted “Get Low.” The hip-hop subgenre emerged in the South in the early ’90s and was popularized in the 2000s, thanks in large part to the artists here. With its up-tempo rhythm, excessive shouting and aggressive delivery, “Get Low” reached No. 11 on Billboard’s Year-End Hot 100 for 2003 and maintains its status as a certified club banger. Despite its twerk-encouraging lyrics, over the years, the track has also become a staple song choice at Black gatherings, from weddings to cookouts and everything in between. — C.L.
Fountains of Wayne, "Stacy's Mom"
Songs didn’t come much more infectious in 2003 than “Stacy’s Mom,” a slice of power-pop heaven that became Fountains of Wayne’s only mainstream hit (and a song that co-writer Chris Collingwood later said he regretted recording because it overshadowed the band’s more serious material). It’s a simple story: Girl likes boy, boy prefers girl’s divorced mom — who, in this case, is a scantily clad MILF played by New Zealand supermodel Rachel Hunter. With its staccato Cars-like guitar riff, hand claps, layered vocals and undeniable chorus, Stacy’s mom isn’t the only one who has it going on: Not to deny Collingwood his feelings, but most bands would sell out their own mothers to have a song that resonated with so many people and made them smile and sing every damn time it comes on the radio, even 20 years later. — M.N.
Christina Aguilera, "Fighter"
In the early 2000s, being a pop star still tended to mean sticking to one particular sound, at least for a full album cycle. That was not something ChristinaAguileracould abide — for her 2002 albumStripped, the “Genie in a Bottle” singer jumped between sentimental pop ballads, feminist hip-hop anthems and, in the case of third single “Fighter,” rock songs dedicated to no one but herself. The song’s bold guitars and clashing drums brought a new flavor to the pop diva’s discography, but never took away from the true star of the track: Xtina’s singular voice. On “Fighter,” all the vocal growls and cries feel earned through the sheer grit of what’s being sung — and it’s part of why this ode to the self stands as one ofa*guilera’s best songs to date. — S.D.
50 Cent, "In da Club"
So much of 50 Cent’s origin story involves unspeakable violence — the record studio stabbing, the shooting outside of his house, the dissolved label deal due to continued threats — and the beat for “In DaClub,” courtesy of Mike Elizondo and 50’s mentor Dr. Dre, is packed with a sense of grandiose danger, all high-wire strings and tingly rhythms. Yet in the context of 50 Cent’s ascent to the top of the Hot 100 (where “In DaClub” spent nine weeks) and the pinnacle of commercial success (with mega-selling debut album Get Rich or Die Tryin’), the song is a celebration: he raps about joining rap’s elite, experiencing nightlife without a care, about sex and drugs, about partying like it’s your birthday. The beat is still scorching-hot 20 years later, but that tension between subject and sound — toasting to the good life, with a feeling of menace always lurking underneath — is what makes “In DaClub” a truly timeless classic. — J. Lipshutz
The White Stripes, "Seven Nation Army"
“Seven NationArmy” couldn’t have come out in 2003. The White Stripes’ unrelenting signature song seems like it’s been the backdrop to bases-loaded at-bats, tense political protests, and flashy commercials since the dawn of time — since before the 21st century, at least. It’s folk music now, a melody that has transcended the circ*mstances of its recording and release. But stripping back what “Seven NationArmy” became reveals simple, cathartic elegance. As Jack and Meg White expanded past their most rigid sonic strictures on their fourth album, Elephant, the simplicity of the set’s opening song captured what made the duo so special in the first place: Jack’s iconic pitched-down guitar riff and elliptically ominous lyrics, Meg’s lonely drum thump, the duo’s drive from simmering boil to caustic climax. Those fundamentals opened the door for “Seven NationArmy” to achieve anthemic ubiquity. “I’m sure many people [who] are chanting the melody have no idea what the song is or where it came from,” Jack told Conan O’Brien in 2022. “It doesn’t matter anymore –and that’s just amazing.” — E.R.B.
OutKast, "Hey Ya!"
After a near-decade of rap domination, Outkast’s Andre 3000 proved what he could do if he set his sights on power-pop instead — creating this instantly infectious, nine-week Hot 100 No. 1, a song that both critics and fans adored for its multi-layered production and call-and-response lyrics. To this day, it’s an all-ages wedding dancefloor filler, feeling equal parts classic (thanks in part to itsEd Sullivan Show-referencingmusic video) and of its time (thatCharlie’s Angels/“Independent Women Part 1” call-out to Beyoncé and Lucy Liu). The song was so impactful, in fact, that it briefly brought the beleaguered Polaroid company out of its 2001 bankruptcy filing, thanks to Andre’s emphatic “shake it like a Polaroid picture!” instruction. If anyone was in doubt, this undeniable hit – universally appealing but not sacrificing Andre’s signature eccentricity – cemented Outkast’s genre- and generation-spanning musical genius. –K.A
Beyoncé feat. Jay-Z, "Crazy in Love"
“You ready?”The world certainlywasn’twhenBeyoncébroke outfrom Destiny’s Child to deliver what would becomeone ofthe most iconic collabs in pop music history.Thevictorious hornline– borrowedfrom The Chi Lites’1970 track “Are You My Woman (Tell Me So)” –sets up Bey’s deliciously delirious antics, and the irresistible oh-oh, oh-oh, oh-oh, oh-no-no refrainandimpassioned runsshowcaseher vocal talent when she stands on her own.But her futurehusband Jay-Zsealed the deal by delivering his guest verse in theeleventh hour,boasting, “History in the making, part two!” (followingtheir “’03 Bonnie and Clyde”collabthe previous year) — andit’sundeniably becomeone for the books.“Crazy in Love”not onlymarkedBeyoncé’sgrandiose, chart-toppingintroductionas a solo superstar, butalso foreshadowed aprodigiouslove story between two of the most powerful artists of this century — one that’sstill being writtentwo decades latter.— H.M.
