What exactly defines a “dance song”? It’s a question that opens up a vast musical landscape. In a broad sense, any song that inspires movement could be considered danceable – from The Beatles to Slayer. Hip-hop and reggae are almost inherently dance music. However, when we curate a list of the Best Dance Songs Ever, we delve into a more specific and culturally rich world. This realm, evolving for nearly half a century and continuing to innovate today, is “dance music culture.”
Our exploration of this culture, after acknowledging the foundational influence of James Brown, begins in the mid-1970s with the rise of disco. From there, we trace its evolution into early 80s club sounds like electro and Latin freestyle. Disco’s spirit is reborn in the Chicago house and Detroit techno scenes, exploding into the 90s rave era, spawning genres from jungle to trance, gabba to garage, and eventually leading to the EDM and dubstep phenomena of the 2000s. While these genres have had their moments in the spotlight, they remain vital: drum ‘n’ bass is currently experiencing a resurgence, and contemporary house tracks stand alongside classics on today’s dance floors.
This list isn’t meant to capture every nuance within this ocean of subgenres. We’ve focused on tracks that transcend specific scenes, achieving a universal and canonical feel. We’ve particularly highlighted moments where dance music intersects with broader musical styles – synth-pop, hip-hop, funk, Miami bass, R&B, indie-rock, Latin music, and pop. This is why you’ll find artists like Prince, Robyn, Britney Spears, and Shakira alongside pioneers like Adonis, Frankie Knuckles, Moodymann, Goldie, and SOPHIE.
If you’ve ever wondered how we arrived at a point where artists like Drake and Beyoncé are releasing house-influenced records, this list tells that story – or at least, our version of it, showcasing some of the best dance songs ever created.
Donna Summer, ‘Last Dance’ (1979)
Donna Summer performing Last Dance, highlighting her iconic status in disco music.
Image Credit: Redferns
While the film Thank God It’s Friday might be seen as a commercial for Casablanca Records, signaling disco’s peak and potential decline, “Last Dance” stands as a masterpiece, rightfully earning an Oscar for Best Original Song. Beginning at a pace slower than many ballads, it gradually builds into a thrilling disco anthem. The tempo shift, conceived by Casablanca’s producer Bob Esty, is the song’s defining stroke of genius. This track remains one of the best disco dance songs and a testament to Summer’s vocal power.
Fatboy Slim, ‘The Rockafeller Skank’ (1998)
Fatboy Slim performing live, showcasing his energetic stage presence and contribution to best dance songs.
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Norman Cook, a.k.a. Fatboy Slim, humorously recalled the first play of “The Rockafeller Skank” at the Brighton club, Boutique. The crowd’s immediate recognition confirmed its signature Fatboy Slim sound. His formula of breakbeats and guitar riffs reached its apex with “Skank.” Fueled by a surf-rock guitar riff and the iconic Lord Finesse vocal sample (“Right about now, the funk soul brother/Check it out now, the funk soul brother”), it became omnipresent. Despite the “Frat-Boy Slim” jokes, “Rockafeller Skank” became an anthem, cementing its place among the best big beat dance songs.
Mescalinum United, ‘We Have Arrived’ (1991)
Techno’s equivalent to heavy metal is “gabber,” a Dutch word for “buddy,” reflecting the Netherlands’ strong gabber scene. Marc Acardipane, known by around 90 aliases, is gabber’s leading figure. His early track, “We Have Arrived,” under the name Mescalinum United, is a defining moment. Built on relentless drums and piercing air-raid sirens, it became the foundation of gabber music. At Brooklyn raves, fueled by Lenny Dee’s sets and label, crowds would mosh to this pioneering track, recognizing it as one of the best hardcore techno dance songs.
Oliver Heldens, ‘Melody’ (2016)
Oliver Heldens DJing, representing the evolution of EDM and best modern dance songs.
By the mid-2010s, the repetitive build-and-drop structure of mainstream EDM was losing its appeal for even festival headliners. Oliver Heldens’ “Melody” signaled a shift. Released when he was only 18, this Dutch producer crafted a track with dramatic string swells and an uplifting piano melody, embodying a more refined dance music classicism. While retaining a powerful bassline, “Melody”’s sophisticated sound marked it as one of the best future house dance songs, paving the way for a more nuanced era in EDM.
Kerri Chandler, ‘Rain’ (1998)
New Jersey house producer Kerri Chandler’s deeply soulful and buoyant tracks have made him a key influence on younger producers and DJs. Chandler, describing himself as a “vocalist” rather than a “singer,” pours his life stories into his music. “Rain” exemplifies this. His heartfelt plea, punctuated by the repeated word “rain,” evokes a sense of near-tears vulnerability. Yet, the music, particularly the playful xylophone solo, is more teasing than melancholic, making “Rain” one of the best soulful house dance songs.
Detroit Grand Pubahs, ‘Sandwiches’ (2000)
Paris the Black Fu of Detroit Grand Pubahs performing live, known for their quirky and best electro dance songs.
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Andy Toth and Mack Goudy (a.k.a. Dr. Toefinger Paris the Black Fu) of Detroit Grand Pubahs met while working in a Michigan restaurant. Their shared love for whiskey and music led to “Sandwiches.” Toth created a buzzing electro track, and Paris spontaneously improvised lyrics about a risque dance floor encounter. This impromptu recording became a global club hit and a defining moment of Detroit’s electro renaissance at the turn of the century, solidifying their place among the creators of best quirky electro dance songs.
Black Box, ‘Everybody Everybody’ (1990)
Sometimes, great records emerge from questionable circumstances. “Everybody Everybody” is one such example. Martha Wash of the Weather Girls was hired to record demos for Italian house producers Groove Groove Melody. Despite being told the songs were for other singers, they were released under the name Black Box with her uncredited vocals. Adding insult to injury, a model was hired to lip-sync in the music videos. Wash successfully sued. Daniele Davoli of Black Box later expressed remorse, acknowledging their mistakes. Regardless of its controversial origins, “Everybody Everybody” became a massive hit and remains one of the best early 90s house dance songs.
Big Freedia, ‘Azz Everywhere’ (2010)
Big Freedia performing at Essence Festival, representing bounce music and best New Orleans dance songs.
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Big Freedia has been instrumental in spreading the infectious energy of New Orleans bounce music globally. “Azz Everywhere” was the track that broke bounce into the mainstream. This chaotic explosion of snares, samples, and the shouted title phrase perfectly embodies the genre – the soundtrack to twerking. Big Freedia also conducts workshops, educating people about bounce music’s history, describing it as “uptempo, heavy bass, holler-response music,” intrinsically linked to “azz shaking!” “Azz Everywhere” is undoubtedly one of the best bounce dance songs.
Joy Orbison, ‘Hyph Mngo’ (2009)
In the late 2000s, dubstep producers were pushing boundaries, resulting in a wave of innovative tracks. Joy Orbison’s debut, “Hyph Mngo,” became the defining dubstep track of 2009, capturing the scene at its peak. The track’s smooth bassline and plastic-sounding synths are juxtaposed with a ricocheting snare and fragmented vocal samples (“Ooh!” and “I do”). This combination created a surprisingly emotional feel rare in dubstep, propelling it into mainstream recognition as one of the best emotional dubstep dance songs.
ESG, ‘Moody’ (1981)
ESG performing Moody, showcasing their influential no-wave sound and best post-punk dance songs.
The Scroggins sisters from the South Bronx, forming ESG, left a lasting mark on New York dance music in the late 1970s. While rooted in funk and disco, their minimalist sound and emphasis on percussion resonated with post-punk and no-wave scenes, especially after collaborating with Joy Division producer Martin Hannett for their debut EP. “Moody,” the EP’s centerpiece, remains timeless. Its slinking bassline, bongo rhythms, and Renee Scroggins’ ethereal vocals create a sound that still feels futuristic, marking it as one of the best no-wave dance songs.
La Roux, ‘In for the Kill (Skream’s Let’s Get Ravey Remix)’ (2009)
La Roux performing In for the Kill, highlighting the impact of Skream's remix on best remix dance songs.
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Artists sometimes have mixed feelings about remixes, but La Roux’s Elly Jackson praised Skream’s remix of “In for the Kill.” She credited the London producer with capturing the song’s original essence even more effectively than the original mid-tempo synth-pop version. Skream’s remix stripped away the original beat and Kanye West’s rap, creating a tense atmosphere that explodes into drum-and-bass breaks. Jackson felt Skream’s version was bolder and more aligned with their initial artistic vision, making it one of the best remix dance songs that surpassed the original.
Double 99, ‘RIP Groove’ (1997)
Double 99 DJing, representing UK garage and best speed garage dance songs.
London producers Tim Deluxe and DJ Omar, formerly known as RIP, became Double 99 to commemorate a double-pack vinyl EP. “RIP Groove,” a tribute to their previous name, was conceived and named before the music was even fully produced. Cleverly sampling Armand Van Helden’s remix of CJ Bolland’s “Sugar Is Sweeter,” Kenny Dope, and Tina Moore, it took just three hours to create. “RIP Groove” became a massive hit in 1997, catapulting UK garage (then called “speed garage”) into the pop charts and establishing a new sound, solidifying its status as one of the best UK garage dance songs.
Snap!, ‘The Power’ (1990)
“The Power” is a quintessential dance-music archetype. German producers sampled American rapper Chill Rob G and R&B vocalist Jocelyn Brown to create a club hit. Major label Arista picked it up and re-recorded it with Turbo B, an American G.I. based in Germany. Chill Rob G then re-recorded it as Power Jam feat. Chill Rob G. Both versions became club hits, but Snap!’s “The Power” became a blueprint for Europop. Michael Muenzing of Snap! noted its influence: “Now you have 50 or 60 groups singing this way — rapping, singing the chorus, and going back to the rap.” It remains one of the best Europop dance songs and a landmark in genre blending.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth, ‘Ride That Wave (Remix)’ (2010)
DJ Frosty performing, representing Jersey club and best club anthems dance songs.
Jersey club, originating in Newark, New Jersey (initially Brick City club), is characterized by syncopated rhythms, clipped vocal samples, and a visceral yet non-violent energy, akin to hip-house in a blender. DJ Frosty’s “Ride That Wave” perfectly exemplifies this sound. This relentlessly catchy chant-along track emerged as Jersey club began gaining international attention, influencing EDM producers and eventually reaching Drake’s Honestly, Nevermind. The remix features Fatman Scoop, known for his 90s hip-hop cut-ups, further solidifying its status as one of the best Jersey club dance songs.
Todd Terje, “Inspector Norse” (2012)
Todd Terje performing, known for nu-disco and best instrumental dance songs.
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Norwegian nu-disco producer Todd Terje created “Inspector Norse” entirely using a vintage ARP synthesizer. He didn’t anticipate the laid-back track’s popularity. While expecting DJ support, Terje was surprised to hear crowds singing along to its melodies. The track’s infectious tune became irresistible. Terje acknowledged its significant boost to his DJ career. “Inspector Norse” is celebrated as one of the best nu-disco dance songs, particularly for its instrumental appeal.
The Rapture, ‘House of Jealous Lovers’ (2002)
The Rapture performing live, pioneering dance-punk and best indie dance songs.
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James Murphy of DFA Records, co-producer of “House of Jealous Lovers,” recalled the then-radical idea of merging rock and dance music. The Rapture’s debut single combined Gang of Four-esque guitar riffs, manic vocals, and a powerful beat engineered for dance floors. It succeeded. The song became the pinnacle of the early 2000s “dance-punk” movement, influencing countless New York bands and transforming indie bars into DJ venues, marking it as one of the best dance-punk dance songs.
TNGHT, ‘Higher Ground’ (2012)
TNGHT performing, known for trap-influenced EDM and best trap dance songs.
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Hudson Mohawke described TNGHT’s 2012 EP with Lunice as “our take on big American rap beats, with a little bit of cheekiness.” The five-song EP propelled them to the forefront of EDM with its trap-infused sound. “Higher Ground,” a monumental and intricate track, gained rapid recognition. Within a year, Kanye West enlisted TNGHT to produce “Blood on the Leaves” for Yeezus, cementing their influence and “Higher Ground” as one of the best trap EDM dance songs.
Roni Size and Reprazent, ‘Brown Paper Bag’ (1997)
Roni Size Reprazent performing Brown Paper Bag, pioneering drum and bass and best jazz-infused dance songs.
In the late 90s, drum and bass was becoming increasingly fragmented. Bristol’s Roni Size and Reprazent fused frenetic beats with jazz-funk influences, maintaining the genre’s Black roots while exploring new sonic territories. Roni Size described “Brown Paper Bag,” from their album New Forms, as divisive due to its jazz elements, attracting a different audience while remaining a drum and bass classic and one of the best jazz-drum and bass dance songs.
Soul II Soul, ‘Back to Life (However Do You Want Me)’ (1989)
Led by Jazzie B and Nellee Hooper, Soul II Soul began as a London sound system specializing in reggae and soul. Their records blended these genres with effortless grace. Initially intended for their own parties, tracks like “Back to Life” resonated widely. Jazzie B stated they weren’t focused on external trends, yet everyone became interested in them. “Back to Life” topped the Billboard R&B chart and reached the Hot 100’s Top Five, establishing itself as one of the best soulful R&B dance songs.
Felix da Housecat, ‘Silver Screen Shower Scene’ (2001)
Felix Da Housecat DJing, known for electroclash and best electro house dance songs.
Chicago house veteran Felix Stallings Jr. (Felix da Housecat) had already created the acid house classic “Fantasy Girl” as Pierre’s Pfantasy Club in 1987. His career went global with the album Kittenz and Thee Glitz, featuring collaborations and a concept around celebrity and artifice. “Silver Screen Shower Scene” became an instant anthem. Its lyrics and music satirizing celebrity culture seemed to define the electroclash era itself. Jacques Lu Cont’s “Thin White Duke Remix” became even more popular among DJs, cementing its place as one of the best electroclash dance songs.
Dntel feat. Ben Gibbard, “(This Is) The Dream of Evan and Chan (Superpitcher Kompakt Remix)” (2001)
In 2000, Ben Gibbard of Death Cab for Cutie had a surreal dream involving Evan Dando and Chan Marshall (Cat Power). He turned it into a song with Dntel (Jimmy Tamborello) before their Postal Service collaboration. Dntel set Gibbard’s vocals to electronic beats, but Superpitcher’s remix, from Kompakt, elevated it further. The remix’s hazy synths and echoing bells created a dreamlike atmosphere that complemented the lyrics, making it one of the best ambient electronic dance songs.
Patrick Cowley feat. Sylvester, ‘Do Ya Wanna Funk?’ (1982)
Sylvester performing, a disco icon and collaborator on best Hi-NRG dance songs.
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Patrick Cowley, a synth innovator, pioneered Hi-NRG, a gay-club staple, through his solo work, collaborations with Sylvester, and his extended version of Donna Summer’s “I Feel Love.” Diagnosed with AIDS in late 1981, before the term was widely known, Cowley continued creating music in his final months. “Do Ya Wanna Funk?” remains a landmark of Hi-NRG – with soaring synth riffs and Sylvester’s stratospheric falsetto. It also featured in the movie Trading Places, solidifying its place as one of the best Hi-NRG dance songs.
Funkadelic, ‘One Nation Under a Groove’ (1978)
Funkadelic performing One Nation Under a Groove, known for funk and best funk dance songs.
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“One Nation Under a Groove,” featuring a prominent banjo, topped the R&B charts for six weeks in 1978. George Clinton assigned it to Funkadelic, his guitar-heavy project, to give it more weight compared to Parliament’s horn-driven R&B. Clinton described Parliament as “smashing,” but Funkadelic as “the movement,” emphasizing the song’s impact as one of the best funk dance songs.
Evelyn Thomas, ‘High Energy’ (1984)
Evelyn Thomas performing High Energy, defining Hi-NRG and best 80s dance songs.
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Released in 1984, “High Energy” gave Hi-NRG its name. However, it wasn’t the first of its kind. Producer Ian Levine, a Northern Soul DJ who transitioned to disco, signed teenage Evelyn Thomas. Levine blended “gay disco and old Motown,” creating Hi-NRG’s core ingredients. “High Energy,” brash and catchy, reached the UK Top Five and remains a classic, championed by DJs like The Blessed Madonna, confirming its status as one of the best Hi-NRG dance songs and a defining track of the 80s.
Daft Punk feat. Pharrell Williams and Nile Rodgers, ‘Get Lucky’ (2013)
When Pharrell Williams met Daft Punk, he offered to collaborate, even just playing tambourine. In Paris, he expressed his desire to channel Nile Rodgers, and Daft Punk played him a track they’d already created with Rodgers. Williams recorded his smooth vocals during that visit. He praised the music’s vividness, stating, “You don’t need MDMA for this music.” “Get Lucky” became a global phenomenon and one of the best modern disco dance songs.
Mat Zo and Porter Robinson, ‘Easy’ (2013)
Porter Robinson and Mat Zo performing Easy, known for trance-inspired EDM and best progressive house dance songs.
Porter Robinson described “Easy,” his collaboration with Mat Zo, as “an homage to Daft Punk’s Discovery.” It blends disco chords with a “louder, more trance-inspired feel.” This expert update is both glittering and classic. The synth line evokes a Theremin and a Moog, and the sampled vocal from Colourblind’s “Nothing Better” adds emotional depth missing from much stadium EDM. “Easy” is recognized as one of the best progressive house dance songs.
Justice vs. Simian, “We Are Your Friends” (2006)
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In 2003, Parisian duo Justice remixed Simian’s “Never Be Alone” for a contest. Limited by their sampler, they used only the chorus vocal. The result was a jarring track bridging electroclash and EDM. Retitled “We Are Your Friends,” it became a hit in 2006, launching Justice’s career and inspiring Simian to transform into Simian Mobile Disco. “We Are Your Friends” is considered one of the best electro house dance songs and a pivotal crossover track.
Martin Garrix, ‘Animals’ (2013)
Martin Garrix DJing, known for big room house and best EDM anthems dance songs.
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Dance music is often a young person’s domain, exemplified by the early 2010s EDM boom. Martin Garrix’s “Animals,” built around a catchy synth riff, became a global smash when he was only 18. Its popularity led to industry skepticism, with many assuming he didn’t produce his own music. Garrix responded with livestreams and production tutorials to dispel these doubts. “Animals” became one of the best big room house dance songs and a defining EDM anthem.
Debbie Deb, ‘Lookout Weekend’ (1984)
“As far as I know, I coined the phrase. I hadn’t heard anybody call it freestyle music prior to me coming up with the name of the group Freestyle,” said Miami production pioneer Pretty Tony. His airy tracks bridged KC and the Sunshine Band and 2 Live Crew. “Lookout Weekend,” his second single with Debbie Weshoff Lopez, was freestyle at its peak. Like “When I Hear Music,” “Weekend” went triple platinum, enabling Tony to buy “two Porsches,” cementing its place as one of the best freestyle dance songs.
Tate Kobang, ‘Bank Rolls’ (2015)
Tate Kobang performing, representing Baltimore club and best underground dance songs.
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Tate Kobang’s remix of Tim Trees’ Baltimore club track “Bank Roll” is a modern tribute to Baltimore club music, its energy, and its people. Kobang shouts out K-Swift, a legendary Baltimore club DJ who helped popularize the genre before her passing. Kobang saw K-Swift as an enduring figure in their culture. “Bank Rolls (Remix)” introduced Baltimore club to a wider audience, making it one of the best Baltimore club dance songs.
Soft Cell, ‘Tainted Love/Where Did Our Love Go?’ (1981)
Soft Cell performing Tainted Love, known for synth-pop and best new wave dance songs.
Marc Almond of Soft Cell explained their love for Northern soul, 60s music, and 12-inch records, which they combined in “Tainted Love/Where Did Our Love Go?”. Their synth-pop version of Gloria Jones’ “Tainted Love” was a hit. For the extended version, they seamlessly merged it with The Supremes’ classic. Initially intended as a brief interlude, the “Where Did Our Love Go?” section was expanded due to its effectiveness. This nine-minute medley became a New Wave disco classic and one of the best new wave dance songs.
The Orb, ‘Little Fluffy Clouds’ (1990)
Alex Paterson of The Orb, known for ambient house and best chill-out dance songs.
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Alex Paterson of The Orb received a tape with a note suggesting it for a new single. Side A contained an interview with Rickie Lee Jones describing Arizona skies. Side B was Steve Reich’s Electric Counterpoint. Combining them created “Little Fluffy Clouds,” a defining track of the acid-house era. Reich approved of the track, which Paterson noted introduced Reich’s music to a wider audience and made “Little Fluffy Clouds” one of the best ambient house dance songs.
Polygon Window, ‘Quoth’ (1993)
Richard D. James, a.k.a. Aphex Twin, is known for more cerebral dance music, but in the early 90s, he produced rave anthems. “Quoth,” under the moniker Polygon Window, is a prime example. A percussion-heavy track, it became a rave favorite, particularly in the American Midwest, making it one of the best IDM dance songs that can still get people moving.
Skream, ‘Midnight Request Line’ (2005)
Skream DJing, known for dubstep and best early dubstep dance songs.
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Shortly after releasing “Midnight Request Line,” London dubstep producer Skream discovered it was DJ Magazine‘s Record of the Month. The track, with its synth line, bass, and heavy claps, propelled Skream and dubstep into the spotlight. “Midnight Request Line” is considered one of the best early dubstep dance songs and a genre-defining track.
Paul Johnson, ‘Feel My M.F. Bass’ (1994)
“Ghetto house” was house music’s equivalent to gangsta rap, a raw, sample-based style from Chicago producers like those on Dance Mania. Paul Johnson, a wheelchair-bound producer, was a key figure, known for his unique style and DJ mixtapes. “Feel My M.F. Bass” is his signature track – a powerful kick drum with Johnson’s playful vocal sample, “Feel my motherfuckin’ bass in your face.” It’s a raw and impactful track, solidifying its place as one of the best ghetto house dance songs.
Ten City, ‘That’s the Way Love Is’ (1989)
Ten City performing That's The Way Love Is, known for vocal house and best soulful house dance songs.
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Marshall Jefferson, producer of Chicago vocal trio Ten City, aimed to expand house music by writing proper songs while exploring abstract sounds. “That’s the Way Love Is” epitomized their style – Philly-soul strings, lush love songs, and Byron Stingily’s falsetto. It reached the UK Top 10 and topped the Billboard dance chart. Jefferson noted its significance, with South Africans sharing stories of the song representing liberation, making it one of the best vocal house dance songs.
Nitzer Ebb, ‘Join in the Chant’ (1987)
Nitzer Ebb performing Join in the Chant, known for industrial dance and best EBM dance songs.
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Industrial groove unit Nitzer Ebb, from England’s Midlands, drew danceability from their local club scene, influenced by disco and funk. “Join in the Chant,” their anthem, became a techno crossover hit, especially in Detroit where techno artists had industrial roots. Richie Hawtin included it in his Decks, EFX & 909 mix, and Andrew Weatherall called listening to it a near-spiritual experience, recognizing it as one of the best EBM dance songs.
Bronski Beat, ‘Smalltown Boy’ (1984)
Soft Cell performing Tainted Love, known for synth-pop and best new wave dance songs.
Bronski Beat’s Jimi Somerville joked about vocal training by singing along to Donna Summer and Sylvester. Driven by experiences of abuse and heartache as a gay man in a restrictive environment, he channeled his emotions into “Smalltown Boy.” Its poignant lyrics, vocal hook (“Run away, run away, run away”), and synth arrangement became a gay club anthem, reaching Number One on the Billboard club chart and UK Top Three, making it one of the best LGBTQ+ dance anthems and synth-pop classics.
LFO, ‘LFO (Leeds Warehouse Mix)’ (1990)
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LFO, kings of Sheffield’s “bleep” scene and Warp Records’ initial sound, focused on bass. Steve Beckett of Warp emphasized that the “bleeps” were secondary to the bass for the creators. Their self-titled track, “LFO,” got them signed. Icy synths and bleeps set the stage for layers of low-end. The bassline moves the body, while the sub-bass shakes the foundations, making it one of the best bleep techno dance songs.
Drake, ‘Sticky’ (2022)
Drake performing Sticky, known for house-influenced hip-hop and best contemporary dance songs.
Drake’s foray into dance music, Honestly, Nevermind, explores Jersey and Baltimore club music and deep-house. “Sticky,” produced by Gordo and Ry X, is a standout track. Drake raps about personal topics over a dance beat, deviating from the album’s subdued vocals. It’s seen as a successful example of a mainstream artist incorporating subcultures and evolving their sound, making “Sticky” one of the best contemporary house-hip-hop dance songs.
Roland Clark, ‘I Get Deep (Shelter Mix)’ (2000)
“The love of house music started when I went to Club Zanzibar in lieu of my prom,” Roland Clark recalled, referencing the Newark club where Tony Humphries was resident DJ. “I Get Deep” expresses this deep passion. Over driving beats and a keyboard line, Clark delivers a monologue capturing a rapturous dance floor experience – “All the sweat just goes down my face/And I pretend that there’s nobody there but me in this place.” The a cappella version was sampled by Fatboy Slim, solidifying its status as one of the best vocal house dance songs.
Aly-Us, ‘Follow Me’ (1992)
Aly-Us performing Follow Me, known for uplifting house and best gospel house dance songs.
Early house music often had a raw, lo-fi charm. Aly-Us’ “Follow Me” exemplifies this. A gospel-infused anthem (“We must stop fighting/To achieve the peace”) from a New Jersey trio recorded in a basement with basic equipment. Its roughness and vocal imperfections enhance its urgency and emotional impact, making it one of the best gospel house dance songs.
George McCrae, ‘Rock Your Baby’ (1974)
In summer 1974, two songs originating in clubs reached Number One on the Billboard Hot 100. One was “Rock the Boat,” the other was “Rock Your Baby.” These were early disco hits. The track for “Rock Your Baby” was created by Henry Wayne Casey, Richard Finch, and Jerome Smith. George McCrae, present at TK Records, was given the song. After its success, Casey, Finch, and Smith formed KC and the Sunshine Band. “Rock Your Baby” is recognized as one of the best early disco dance songs.
El General, ‘Perezosa’ (1995)
El General performing Perezosa, pioneering reggaeton and best Latin dance songs.
Panamanian pioneer El General laid the foundation for reggaeton in the 80s and 90s. His experimental approach and influence on club music are often overlooked. “Perezosa,” from Club 555, showcases his range. This empowering dance anthem features high-voltage electronic sounds capturing the energy of Latin American parties, making it one of the best Latin dance songs and a reggaeton precursor.
Tom and Jerry, ‘Maximum Style’ (1994)
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4Hero (Marc Mac and Dego MacFarlane) are drum and bass stalwarts, evolving from early hardcore to neo-fusion. Tom and Jerry, an alias of 4Hero, created “Maximum Style” as jungle’s popularity grew in the UK. This smooth track, with a guitar melody and cartoon effects, balances playfulness with a serious groove, making it one of the best jungle dance songs.
LCD Soundsystem, ‘Losing My Edge’ (2002)
LCD Soundsystem performing Losing My Edge, known for dance-punk and best ironic dance songs.
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LCD Soundsystem’s debut single, “Losing My Edge,” is both a dance track and a stand-up routine. James Murphy plays an aging hipster humorously confronting his fading relevance. The track satirizes hipster culture while being incredibly danceable. Its FOMO theme resonates universally, making “Losing My Edge” one of the best dance-punk dance songs and a uniquely ironic anthem.
Shakira, ‘Ojos Asi (Thunder Mix)’ (1999)
Shakira performing Ojos Asi, known for Latin pop and best global dance songs remixes.
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Pablo Flores, a key figure in Latin pop, worked with Emilio Estefan and artists like Gloria Estefan and Ricky Martin. He and Javier Garza helped Shakira create “Ojos Asi,” blending her Lebanese roots with global Latin music sounds. His extended “Thunder Mix” amplified these elements, creating a dance floor hit worldwide. “Ojos Asi (Thunder Mix)” is one of the best Latin pop dance songs remixes with global appeal.
Squarepusher, ‘My Red Hot Car’ (2001)
Squarepusher performing My Red Hot Car, known for experimental electronic and best complex dance songs.
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Squarepusher (Tom Jenkinson) twisted drum and bass into complex, less danceable forms in the mid-90s. Seeking a change, he aimed for spontaneity. “My Red Hot Car” features cut-up vocals and glitchy production, alternating abstract sections with a powerful groove and Jenkinson’s bassline, appealing to adventurous DJs and making it one of the best experimental electronic dance songs.
Moloko, ‘Sing It Back (Boris Musical Mix)’ (1997)
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Moloko’s “Sing It Back,” with Róisín Murphy’s distinctive vocals, was initially a downtempo track that didn’t achieve mainstream success. Boris Dlugosch’s remix transformed it into a crisp house track, with Chic-style rhythm guitar and bass. This remix reached the UK Top Five and launched Murphy’s successful solo career, making “Sing It Back (Boris Musical Mix)” one of the best remix dance songs that revitalized an artist’s career.
The Human League, ‘Don’t You Want Me’ (1981)
The Human League performing Don't You Want Me, known for synth-pop and best 80s synth-pop dance songs.
Human League’s “Don’t You Want Me” was inspired by A Star Is Born and My Fair Lady, telling a story of a transformed superstar and her mentor. Despite initial doubts within the group, its structure and catchy riff proved highly appealing. It became their first Number One in the UK and US and a Top Three hit on the Billboard Dance Club chart. “Don’t You Want Me” marked a key moment in the fusion of UK synth-pop, club music, and mainstream pop, solidifying its status as one of the best 80s synth-pop dance songs.
Dance music’s journey is a constantly evolving narrative, reflecting societal shifts, technological advancements, and the enduring human need for rhythm and movement. These songs, spanning decades and genres, represent just a glimpse into the vast and vibrant world of dance music culture, each contributing to the soundtrack of countless nights and the ongoing evolution of the best dance songs ever made.
