ALL Arcade Fire Songs Ranked

History notes progress slowly, and math class is boring. So I spent the school day ranking all 78 songs by the Canadian, Grammy award-winning rock band, Arcade Fire, because what else would you expect me to be doing in high school?

As with my other ranking lists, any covers or singles not included on studio albums have been exempt. B-sides and Arcade Fire EP, however, are fair game — excluding “No Cars Go,” as the EP and studio album versions are too structurally similar to compare.

78. Flashbulb Eyes (Dennis Bovell Remix) (Reflektor)

This may be a big cop-out, but I don’t think this choice needs much of an explanation. The male voices clash with each other and destroys what is normally a pretty decent song.

77. Everything_Now (continued) (Everything Now)

I can’t think of a good reason why I would ever want to listen to this song. It is short, so at least it’s not torture, but the static is annoying and it can’t even last long enough to explain why it exists or even got onto the album in the first place.

76. Supersymmetry (hidden track) (Reflektor)

Another cop-out, but the closing track from Reflektor is already long enough without its hidden bit.

75. Awful Sound (Oh Eurydice) (Reflektor)

This song beat out “Supersymmetry?” That is a shock. But then again, after listening to this track again, it isn’t. It is uneventful, boring, and makes me want to fall asleep or turn on a better song.

74. Supersymmetry (Reflektor)

I’ve never been one for long songs, especially not those clocking in at over 11 minutes including its hidden track.

73. Chemistry (Everything Now)

This song from Everything Now is so irritating, I was shocked to be able to find five songs worse than it. It sounds okay for the first two minutes, but after a devastatingly few listens, it just bleeds into the pop ear pollution.

72. Everything Now (continued) (Everything Now)

“Everything Now (continued)” may seem extremely similar to “Everything_Now (continued),” but at least this version has the strings at the end to make it playable.

71. Here Comes the Night Time II (Reflektor)

There isn’t anything terrible about this track, but it is dull. As much as I’d like to put it higher than a few of these other tracks, I just don’t listen to it enough to place it any higher.

70. Sprawl II (Mountains Beyond Mountains) (The Suburbs)

I may be being a bit too harsh on the second Sprawl track, but I’ve never enjoyed this song unless I wasn’t paying attention. I’ve never liked Butler’s wifeas a lead vocalist, anyway. I don’t hate her voice, but front and center, it is (most of the time) screech-y and unpleasant.

69. I’m Sleeping in a Submarine (Arcade Fire EP)

This is a quirky little song, but as with most other tracks from the band’s EP, it sounds less quality and distant, making me less inclined to enjoy it.

68. In the Backseat (Funeral)

This is one of the rare few Arcade Fire songs that I find myself loving the female vocals as the lead. But this song is waaaayyyy tooooooo looooooong. Even trying to listen to write good commentary, I am skipping across the song. I don’t feel compelled to want to understand the lyrics, and while it is pretty, it’s one of those songs that was meant to put you to sleep, like a child in the backseat of a long car ride.

67. Good God **** (Everything Now)

I don’t think I meet with much opposition when I say that Everything Now is the worst Arcade Fire album yet. This song is a prime example of why. You want to hear Butler repeat the same curse word over and over and over again? You want some static dynamics in the verses and a song that barely changes chord progressions if at all? No one does. These are my main complaints with this track.

66. Vampires/Forest Fire (Arcade Fire EP)

This song is just laughable. Is there a reason the vampire speaker has an American country accent? It gets muted as the song goes on, but the song just rambles on about who knows or cares what.

65. Headlights Look Like Diamonds (Arcade Fire EP)

Similar to “Vampires/Forest Fire,” “Headlights Look Like Diamonds” has the same accent at the beginning, except less prominent. What makes this song better is the “oohs” that make it a bit more whimsical and charming.

64. Black Wave/Bad Vibrations (Neon Bible)

This song, like many others before it, fades into the background. And it’s simply that — background noise.

63. Haiti (Funeral)

I love the guitar in this song and distorted vocals and other sounds. But it’s still too long and commonly seen as the worst song on the album.

62. Ocean of Noise (Neon Bible)

The first decent song on this list, not only are Butler’s vocals and lyrics powerful and actually make a statement, but the horns at the end add an extra punch to the end.

61. Women of a Certain Age (Reflektor)

I commend Butler’s vocal style that makes you question at times which gender is singing. it adds a humorous quality to the song, but otherwise it’s a throw-away track that gets annoying and uninteresting very quickly.

60. Soft Power (Reflektor)

The song itself is okay, but it takes too long to get to the meat, your interest is long gone before you can reach a point where it gets the slightest bit interesting — and even then, it’s barely even worth it.

59. Half Light I (The Suburbs)

The first “Half Light” pales in comparison with its second counterpart for being nullified and more acting as a precursor to the more prominent “Half Light II.” It’s enjoyable, but another one of those songs meant to put you at peace or to sleep rather than keep your brain occupied.

58. My Heart is an Apple (Arcade Fire EP)

Ugh this EP is already slow enough for this song. I can barely stomach the other dragged out tracks, there’s no way I can ever listen to this one the full way through without fighting the urge to change the song.

57. Electric Blue (Everything Now)

Hey, Butler, the Bee-Gees called. They want their sound back. What is she even singing? Who knows and who cares? Near the middle of the song as the pitch shakes, I don’t even want to bother letting it play the rest of the way through.

56. It’s Never Over (Hey Orpheus) (Reflektor)

The lyrics, “Wait until it’s over” are catchy and get stuck in your head, but the rest of the song is dull and those lyrics are really the only redeeming quality of the entire song.

55. Apocrypha (Reflektor)

What was Butler thinking when this song was released? It is so out of place with the rest of the album. It’s not so bad I want to pull my hair out, but it’s so out there that I couldn’t place it any higher on the list. It only got this high because of the chorus; the melody and the guitar riff.

54. We Exist (Reflektor)

I want to love this song. I dig the first few lines, but then it drags out too long with little structural differences to offer.

53. Infinite_Content (Everything Now)

The less exiting version; “Infinite_Content” seems lazy and is mainly an instrumental track either meant to stay in the elevator or the background of a movie. There isn’t anything special about it, and the lyrics simply gave up trying.

52. Woodlands National Anthem (Arcade Fire)

The instruments set the scene for the woodlands, I’ll give them that. The vocals aren’t terrible, but her voice blasts at unpleasant intervals — with better production it would have sounded way better, but this entire EP just sounds so low-budget and effortless.

51. Flashbulb Eyes (Reflektor)

I have a love/hate relationship with this song. It’s super catchy, but it’s also somewhat annoying and gets old after a while.

50. Old Flame (Arcade Fire EP)

Arcade Fire EP may have been a bit of a train wreck, but “Old Flame” is the closest song that comes to the greatness that is Arcade Fire. The guitar riffs are decent, and the vocals sound slightly less like they were recorded in a closet in the couples’ bedroom.

49. Everything Now (Everything Now)

I can’t stand how this song was arranged instrumentally. It starts off sounding like the next four and a half minutes are going to be peppy and empowering, and it makes me hate it even more. But for what it’s worth, it did make for the perfect song to title the rest of the album that is otherwise a load of crap.

48. Black Mirror (Neon Bible)

It may surprise (or anger) you to know that this song ended up so low on the list than I initially expected. This was one of the first songs suggested to me, but it didn’t age well. I’m not too keen on the distant-sounding vocals, and the lyrics don’t interest me enough, either. As for the instrumentals, they sound like they were a byproduct of yesterday’s acid trip. The Beatles may have been able to pull that off, but with Arcade Fire, we are stuck with something seeming more of a mistake rather than a masterpiece. I may be being too harsh on the song, but compared with the good half of their discography, it falls too short.

47. Empty Room (The Suburbs)

Fast paced, progressive, and short, this song is somewhat good but lacking in interesting lyrics or guitar licks.

46. Half Light II (The Suburbs)

As stated earlier, “Half Light II” is the better, more interesting “Half Light II.” I like the instrumentals between lyrical stanza breaks, and Butler’s voice is sweet and soothing. But it’s not memorable enough to be placed any higher.

45. Porno (Reflektor)

The sound effects like the steam puffs make the beginning of this song desirable, but the rest of the song fails to live up to the premise set up by the first few measures. It is long, dull, and overall, uninteresting.

44. Signs of Life (Everything Now)

The hand-claps and saxophone were an interesting addition to this song. And if I were to say that the chorus or verses were annoying, I would be lying to myself. Nevertheless, it is not a very good example of an Arcade Fire song, and it recycles so many lyrics it’s as if it is trying to be a hit.

43. Keep the Car Running (Neon Bible)

An Arcade Fire classic off the Neon Bible record, there is no denying the impact of “Keep the Car Running.” But likemost band’s classic hits, with so many plays, it is overplayed and starts to get annoying.

42. Culture War (The Suburbs)

The distorted guitar of this track is a different but awesome sound from Arcade Fire. The melodies work hand-in-hand with it to make an addictive song, but it remains fairly static with few changes in progression.

41. Speaking in Tongues (The Suburbs)

One of my favorite bonus tracks from the band’s greatest album yet, “Speaking in Tongues” keeps up the fast pace of the rest of the album, and the echoes of the backing vocals only add to an illusion that you are hearing another language in your ears.

40. We Don’t Deserve Love (Everything Now)

The latest album by the band was a huge flop, as they even admitted themselves. But we are rewarded with a few gems, including this jewel of a tune. The chorus tingles like bells and offers a pleasant tone shift to the numbed tone of the beginning. “Officer, please don’t check my breath/That ain’t my only sin,” Butler whispers, sending shivers down your spine with his sweet, almost sexual tone of voice.

39. Put Your Money on Me (Everything Now)

This song barely beat out “We Don’t Deserve Love,” mainly because of its consistency. I’m the kind of girl that loves songs like “Infinite Content,” so while “Put Your Money on Me” is repetitive, I am still able to enjoy it. And though I did condemn Regine’s voice earlier, I love her harmonics on this track. Probably the best part about the song is how it seems to change the key as it progresses.

38. Crucified Again (Reflektor)

I really wanted to put this song higher, but I couldn’t deny the other their respective spots. I love how barren the song is, creating a sense of loneliness and humility (a trait often associated with Christ, and the melody slowly ascends as if reaching a higher or more divine perspective. But besides that, there isn’t too much else vouching for it.

37. Une Annee Sans Lumiere (Funeral)

“Une Annee Sans Lumiere” is the most forgettable yet underrated song in Arcade Fire’s discography. Heck, I even forgot about it, myself, coming back to write commentary for it. But it isn’t a difficult song to love. It is a sweet one, with a nice chord progression and simple melodies. And similar to Kula Shaker’s songs in Sanskrit, the French lyrics add a special, unique spice to it that makes it stands out compared to the rest of the Funeral album.

36. No Cars Go (Neon Bible)

Similar to “Keep the Car Running,” “No Cars Go” has been overplayed to the point one too many times for me. But it is an “OG,” catchy Arcade Fire hit, and you can’t deny how it rose to such a place of fame in the first place. It is easy to remember, but has a more varied lyrical structure than “Keep the Car Running.”

35. Rococo (The Suburbs)

I heard someone tell me that this song is the most annoying track they’ve heard from the band. I, however, really dig it, as you can tell by its placement in relation to the previous songs discussed. The chorus is soft and trips over itself, sounding less like a repeated word and more like a sound created by a musical instrument. It blends in with the steady downbeats of the song and is a great example of what Arcade Fire is, despite being one of their lesser-known numbers.

34. Wasted Hours (The Suburbs)

This song has a nice groove to it, makes you sway back and forth, but then hits off in the chorus, forcing you to reflect on what you’re doing right now: probably on your phone scrolling mindlessly through Twitter or another social media platform for the past few hours with no specific purpose.

33. Afterlife (Reflektor)

The ohs at the beginning of this track were the best introduction to “Afterlife.” You can’t forget the chorus, repeating the lyrics, “Can we just work it out?/Scream and shout/’Till we work it out.” There are a lot of long tracks from the Reflektor album, but “Afterlife” is so varied you barely notice the time passing.

32. Peter Pan (Everything Now)

This is one of the songs that I understand why people may think it’s annoying. But compared to the other tracks on the record, it’s not terrible by any means. And hey, I happen to like the verses. It’s an interesting song, and though it may not be the best song in the world, it’s one of the few that I can always enjoy by this particular group (and album).

31. (Antichrist Television Blues) (Neon Bible)

This song isn’t a difficult one to like, but it’s somewhat hard to follow, and it sounds a bit raw compared to the full and complex sound of most Arcade Fire songs.

30. Crown of Love (Funeral)

Say what you want about the previously mentioned Funeral tracks, but “Crown of Love” is the bomb. Just try to look me in the eyes and tell me that you can’t dig the chorus at least a little bit within your rock of a heart. The piano/keyboard is addicting, and the orchestra adds an excellent accent to an already brilliant tune.

29. The Suburbs (continued) (The Suburbs)

A sweet reprise of “The Suburbs,” this song is quieter and rocks in a slower pace than its predecessor. It is a short and simple continuation of the beloved song and is easy to appreciate.

28. Neighborhood #4 (7 Kettles) (Funeral)

Obviously, this fourth Neighborhood track isn’t as exciting as the first three, but that doesn’t make it a terrible song. Similar to “Crucified Again,” the melody slowly climbs up in pitch, just like the “water getting hotter” in a tea kettle, while still offering the dynamic contrast of the stronger downstrums in the chorus. Compared to its neighbors, “7 Kettles” is the best example of the peaceful community; focusing more on self-reflection than on the speaker’s surroundings, while still being physically aware with the sound of the screaming kettle in the distance. Furthermore, as an acoustic guitar player, there are few colorful characteristics of music that please me more than the sound of fingers sliding along the fretboard to change chords.

27. Neon Bible (Neon Bible)

This song was a close call with “You Already Know,” but “Neon Bible” won out in the end, mainly due to Butler’s seductive vocals that almost tickle your ears as if it were an ASMR track. The melody is simple but fits well with the lyrics, especially the descending pitch of “Not much chance for survival” in the chorus.

26. Get Right (Reflektor)

This song follows similar characteristics with “You Already Know,” and it is another one of Arcade Fire’s songs that has the potential to be annoying. But the likelihood of this happening is less with this song because of the stronger guitar licks.

25. You Already Know (Reflektor)

There’s something about “You Already Know” that’s addicting. I’m not sure whether it’s it’s the peppy melodies or the articulated pronunciation of “You alrea-ty know!” It tries so hard to be a good song, with relative success, but it does have a low replayability with the repetitive lyrics and structure having the potential to be annoying.

24. City With No Children (The Suburbs)

I can’t get enough of the guitars in this song. The melody is amazing, you can’t help but yell out with the chorus, and it’s by far the best B-side off The Suburbs record.

22. Intervention (Neon Bible)

“Intervention” was one of the first songs I heard by the band, and it was one of the only songs I enjoyed by them at first. It has a beat to it that is hard to resist, and the lyrics are awesome.

22. My Body is a Cage (Neon Bible)

You can’t trash-talk this song. “No cars Go” and “Keep the Car Running” have nothing to say about this song. But it did just barely win over “Intervention.” Its lyrics explain the song perfectly: “It’s a hollow place/But they clap anyway.” The break out of the keyboard and guitars add a stark contrasting mood that houses more anger or determination than the defeated tone of the first half. It is a perfect example of how the instrumentals work together with the vocals to formulate a message or visual, and is the song with probably the best lyrics Arcade Fire has ever written.

21. The Well and the Lighthouse (Neon Bible)

Some of the greatest songs off Neon Bible are severely underrated. The waltz-like pull of the lyrics, “Resurrected/Living in a lighthouse” is irresistible and gets in your head so you want to keep listening and singing along with its continuous loop — similar to The Beatles’ “Hey Jude,” but better.

20. Infinite Content (Everything Now)

I would not be mad if you judged me for the placement of this track. I love this song, mainly because it’s that one song in every band’s discography that is so mundane or silly that it makes me happy when it starts playing.

19. Suburban War (The Suburbs)

The best part about “Suburban War” — and any other Suburbs track, really — is the guitar riff that continues through most of the track. Most of the lyrics kind of fade into the background, but it doesn’t matter because it sounds so good and relaxing it doesn’t matter what Butler is saying. But then the lyric, “I search for you/In every passing car” adds some kind of meaning to the cover art of its album.

18. Here Comes the Night Time (Reflektor)

More hollow than “Reflektor,” “Here Comes the Night Time” shares an interesting view on religion. Arcade Fire is great because of their instrumental arrangements, but this song is a pure lyrical genius. Of course, that’s not to say that the instruments sound bad — anything but — but this is one of the few songs where they are seen as a backup or foundation rather than a lead “vocal.”

17. Normal Person (Reflektor)

As a person who focuses the most on vocals to judge the value of a group, Arcade Fire is a special band. Across most of their songs, the instruments hold a lot more volume and spotlight than many other bands I enjoy. But for Arcade Fire, the instruments have their own voice on top of the vocals. “Normal Person” from the band’s fourth album is a perfect example of this. There are few songs with central guitar riffs that I find myself enjoying.

16. Windowsill (Neon Bible)

There aren’t many Arcade Fire fans I know that even remember this song. But “Windowsill” has by far the best melodies on Neon Bible (except for “My Body is a Cage,” of course). Similar to “The Well and the Lighthouse,” this is one of those songs you never want to end. It’s one of the only ones on the record I rarely ever skip if at all, so obviously it would make it to the top of the list compared to the other tracks. But at the same time, its placement not even making the top 15 says something about the quality of the album as a whole, at least in my opinion.

15. Neighborhood #1 (Tunnels) (Funeral)

“Tunnels” has the best instrumental arrangement out of all four of the Neighborhood tracks. And who doesn’t love Butler’s “window-ee-ohs?” His voice is beautiful in this neighborhood, and you gotta love his high vocals.

14. Month of May (The Suburbs)

I can’t think of a reason not to like “Month of May.” It’s fast, catchy without being annoying, and lines that are easy and fun to sing along and dance to.

13. Modern Man (The Suburbs)

An easy gem of a tune to love, “Modern Man” is another song from Arcade Fire driven by strong melodies. It is sweet and somber, and probably the easiest to digest for the prospective listener — just as it was for me back in 2018 hearing them for the first time with my head literally stuck between the cushions of the couch.

12. Neighborhood #3 (Power Out) (Funeral)

“Power Out” is one of the more bombastic tunes in the band’s discography. The lyrics are interesting, in a similar way to “Wake Up” with energy comparable to “Laika.” It may not be the most varied Neighborhood lyrically, but it certainly is one of the best stories/experiences Butler has shared in his writing.

11. Deep Blue (The Suburbs)

One of Butler’s statements about technology overuse, “Deep Blue” not just raises a lifestyle question, but sets the scene for a nostalgic childhood trip. You don’t need to be offended by these lyrics; the controversies are subtle in the undertones and is more inviting than aggressive in its delivery. Simple, beautiful, iconic.

10. Sprawl I (The Suburbs)

Who remembers this song? I certainly didn’t. But I let it play with the artist on shuffle one day, and the last two stanzas particularly stood out as special to me:

Well sir, it’s the first time I’ve felt like something was mine
Like I have something to give
…Well sir, if you only knew what the answer was worth
‘Been searching every corner of the earth.

I cried hearing it that day, and it stills never fails to make me emotional.

9. Creature Comfort (Everything Now)

Hate what you want from Everything Now, but “Creature Comfort” has some of the best lyrics the band has written since The Suburbs. Returning back to the time of their full-length album, Funeral, Butler is almost screaming on this track, especially in the second verse: “She filled up the bathtub and put on our first record.” The song explores the nature of suicidal/self-harming tendencies, and the band’s first record was titled Funeral. Once that realization hit me, the entire song took on a whole new meaning. Every line from “God, make me famous/If you can’t, just make it painless” to “She was a friend of mine/We’re not nameless” is gut-wrenching yet sweet and sincere at the same time. It may not be the best song musically, but the intensity of the vocals and words Butler is singing makes “Creature Comfort” easily one of the most emotionally captivating songs from the band.

8. We Used to Wait (The Suburbs)

I had completely forgotten about this song until I sat down to write this list. I don’t know what it is about this song that makes it so good. The keyboard’s rhythmic sequence of eighth notes gives the track a steady foundation carrying the instruments and vocals from start to finish. The lyrics are reflective, a trend that has pursued across most (if not all) of the band’s greatest hits. The repetitive syntax that the lines follow make you want to sing along and are easy to understand without needing the words in front of you. Arcade Fire has always been the band famously drive by their instrumental arrangements, but this is one of the rare few tracks that house strong lyrics and vocals paired with immersive, yet simplistic instrumentals to make “We Used to Wait” both relatable and iconic.

7. The Suburbs (The Suburbs)

The title track and arguably the most praised song on its album, “The Suburbs” is another example of the ingenious storytelling-style that many great Arcade Fire songs follow. It may be interpreted in multiple different ways, but it is interesting to note tha way it explores the different stages of life. The war where “by the time the first bombs fell, we were already bored” represents the teenage years; trends changing quickly, always chasing down whatever is “hip” or “in” to be part of the cool kids. And then in adult life, settling down:

I want a daughter while I’m still young
I wanna hold her hand
Show her some beauty before all this damage is done.

6. Rebellion (Lies) (Funeral)

“Sleeping is giving in/No matter what the time is.” A very clever thought to start a very related song. “Every time you close your eyes (Lies! Lies!)”; the song seems to be a warning against life in oblivion — be informed so you can speak out against what you believe is wrong or a mistake. Fun to sing and easy to remember — a top-tier track.

5. Ready to Start (The Suburbs)

Easily the greatest song off The Suburbs record. Hands down. Fast-paced, memorable chorus, great guitars and melodies; there is nothing to hate about “Ready to Start.” The best songs are the ones that sound full, and while it is obvious that is one skill set Arcade Fire has down, this song has so many things going on at once, it’s next to impossible to soak up everything at once. You just keep going back to it to discover something new to focus on that you hadn’t before.

4. Reflektor (Reflektor)

I’ve been dancing around “Reflektor” the entire list, and now we’ve finally the slot where it sits at number four. I have never been so invested in a song this long. In a way, the trippiness of the sounds, vocals, and instruments used in the track sucks you in, just like the effect of social media on your brain. “Reflektor” is the closest song we have to a psychedelic Arcade Fire, and if they decide to take that route with their next album, I will be the first critic to say they have high hopes ahead of them.

3. Joan of Arc (Reflektor)

This is another song that has an immediate hook — from the moment the intro starts to the solo at the end. It slows down in pace dramatically between the first stanza and verse, like going from jumbled confusion and chaos to a clearer mind, steady rhythm, and deeper meaning. The way he sings “Joan of Ark” is juicy and impossible not to sing along with. The French lyrics were a nice touch, and I can’t think of a better reason to put it at number three except that it’s just a darn good-sounding song.

2. Wake Up (Funeral)

“Wake Up” is the first song I and many other fans heard from the band, and with good reason. This song defines the standard structural composition of Arcade Fire’s songwriting: no clear chorus or verses, repetitive lines, slight alterations of wording across similar verses, and all-around brilliant storytelling. So many great lines in the song, but none compare to the ending, “With my lightning bolts a’glowing/I can see where I am going/…You better look out below!” I can’t think of a better punchline than that to end off a song, and you leave feeling energized and empowered, ready to face whatever challenges or stress may come your way.

1. Neighborhood #2 (Laika) (Funeral)

And at the top spot, we have yet another song no one expected. “Laika”: the second neighborhood from the debut album, Funeral, and my all-time favorite Arcade Fire avant-garde rock song. It has undertones left over from Arcade Fire EP with its rash vocals, but with a story backed up by powerful guitars that compare to no other. Most of the song follows one key, but come the bridge, the descending melody reaches down to minor-sounding accidentals briefly before returning back to the precedent. And this is one of the few songs where I love the female vocals, ringing out like the lull of a violin. “Laika” would absolutely occupy a spot on my best songs list, and it tops the Arcade Fire discography with little competition.