20 Greatest New Wave Bands

The phrase was first coined in the late ‘70s as a way to describe a burgeoning sonic style that strayed from punk rock’s heavy-handed sound. The genre that emerged maintained some of punk’s energy, but smoothed over the rough edges with pop sensibilities, dance rhythms and a quirky disposition.

Early on, new wave acts were portrayed as artsy, experimental and even weird. Early leaders included Elvis Costello and Blondie, two acts whose roots were planets in punk before evolving their own sound. As the new wave phrase caught on, many used it as a catch-all for any act that didn’t have a clearly defined genre. As such, bands labeled new wave could have a broad scope of sounds, ranging from aggressive to poppy, and gloomy to sunny.

As the ‘80s dawned, technology became an important factor in music’s evolution. Keyboards and synthesizers became prominent, and those artists who capitalized on these new tools – such as Duran Duran, Depeche Mode and the Cure – were often lumped in with the new wave crowd. The era also saw a rise in female-fronted acts, as the Pretenders, the Go-Go’s, Eurythmics and the B-52’s all came to prominence.

New wave eventually became the dominant style in music, before hair metal and, later, grunge, sufficiently subdued the genre's impact. Still, new wave ushered in an incredible array of legendary acts. We've highlight our favorite below in our ranking of the 20 Greatest New Wave Bands.

With androgynous lead singer Boy George front-and-center, Culture Club burst onto the world’s stage in the early ‘80s. Their pop sound borrowed elements from soul, funk, rock and reggae, while also embracing a heavy dose of synthesizers. Hits included such memorable tracks as “Do You Really Want to Hurt Me,” “Time (Clock of the Heart),” “I'll Tumble 4 Ya” and “Karma Chameleon.” Part of what was dubbed the “Second British Invasion,” Culture Club enjoyed massive commercial success, selling more than 50 million albums globally and winning Best New Artist at the 1984 Grammy Awards.

Sometimes overshadowed by other new wave titans, Siouxsie and the Banshees was nevertheless a hugely influential band. Trailblazing frontwoman Siouxsie Sioux pushed the boundaries of both gender and genre, while the band’s lyrical content delved into darker territory rarely covered by other acts. The band landed 18 singles in the U.K. Top 40, but struggled to find mainstream success in America. Though college rock fans and underground music scenes embraced the group, Siouxsie and the Banshees didn’t land a true U.S. hit until 1988’s “Peek-a-Boo.” “Kiss Them for Me,” released three years later, would mark their commercial peak, but the band’s impact on new wave, goth rock and alternative continued to resonate long after their heyday.

The warped imagination of Danny Elfman gave birth to Oingo Boingo, one of new wave’s most eclectic acts. The Los Angeles band – which started as a street theater group – blended a wide range of influences, including pop, jazz, ska and art rock into their sound. A propulsive horn section added flair to their tunes, which included the hits “Weird Science,” “Dead Man’s Party” and “Just Another Day.” Though massive mainstream success eluded the band, Oingo Boingo developed a passionate following, especially in their Southern California home. Elfman would later go on to great success as a film composer, including a long history of work alongside director Tim Burton.

Roxy Music’s groundbreaking use of electronic music was imperative to the growth of new wave. The group, made up of singer Bryan Ferry, keyboardists Brian Eno, saxophonist Andy Mackay, guitarist Phil Manzanera and drummer Paul Thompson, carved a singular niche somewhere between glam, art rock and avant-garde. Never afraid to experiment, the band pioneered new production techniques, while their artistry extended to the stage, with elaborate visuals and costumes. Ferry’s distinctive croon made Roxy Music’s material instantly recognizable, while songs like “Love Is the Drug, “More Than This” and “Avalon” brought them mainstream success.

Armed with quirky and eccentric songs, coupled with a colorful and engaging stage presence, the B-52’s forged a totally unique musical trail. Formed in Athens, Georgia in 1976, the group – featuring a classic lineup of of Fred Schneider (vocals), Kate Pierson (vocals, keyboards), Cindy Wilson (percussion), Ricky Wilson (guitar) and Keith Strickland (drums) – blended retro ‘50s influences with then-modern ‘80s sounds. The fusion of these styles resulted in some of the catchiest songs of the era, including "Rock Lobster," "Love Shack" and "Roam."

For a period in the ‘80s, Australia inundated worldwide pop-culture, and no band epitomized the Aussie invasion more than INXS. Fronted by dynamic lead singer Michael Hutchence, the group offered sexy, funky dance rock, powered by an array of unforgettable choruses. Hits included “What You Need,” “New Sensation,” “Need You Tonight” and “Devil Inside,” while their 1987 LP Kick sold more than 6 million copies in the U.S. alone.

Formed in 1978, the Go-Go’s became one of the ‘80s biggest acts on the strength of hits like “Our Lips Are Sealed” and “We Got the Beat.” They made history in 1981 when their debut album, Beauty and the Beat, reached the top of the Billboard chart. In doing so, the Go-Go’s became the first all-female band in history to write and play their own instruments on a No. 1 LP. Success was bright for the band, but also fleeting. Ensuing albums failed to commercially live up to their debut, and drug use and infighting took their toll on the group. The Go-Go’s broke up in 1985 but have reunited at various points ever since, including their induction into the Rock & Roll Hall of Fame in 2021.

Beloved, yet misunderstood. Respected by many, but ignored by others. Devo was – and may even still be – a peculiar case study. The Akron, Ohio, group turned heads with their 1978 debut album Q: Are We Not Men? A: We Are Devo! Produced by Brian Eno, the LP featured the band’s quirky reimagining of the Rolling Stones’ “(I Can't Get No) Satisfaction,” the first song that grabbed mainstream audience’s attention (thanks largely to a performance on Saturday Night Live). From there, Devo – with their iconic energy dome hats – became rock’s favorite weirdos. Fans saw them as champions of the outsiders, happily skewering things like American optimism (“Whip It”) or mindless consumerism (“Freedom of Choice”).

After the death of frontman Ian Curtis, the members of Joy Division could have easily gone their separate ways. Instead, they mourned and regrouped, returning as a new band: New Order. The group maintained some elements of their previous outfit, but also explored new sounds. Post-punk sensibilities were combined with drum machines and dance beats, creating a merger of rock and electronic elements. New Order enjoyed more commercial success in the U.K. than America, though tracks like “True Faith” and “Blue Monday” were hits on both sides of the pond. Still, their impact on the era was significant, and their groundbreaking style influenced artists in both the alt-rock and dance music worlds.

Chrissie Hynde got indoctrinated in rock by some of punk’s greatest acts, including the Sex Pistols and the Clash. When she founded her own group, the Pretenders, in 1978, she took much of the punk ethos with her, but added a new layer of pop sensitivity to the sound. Their 1980 self-titled debut album produced such memorable singles as “Brass in Pocket” and “Precious,” while later hits included “Back on the Chain Gang” and “Don’t Get Me Wrong.”

Led by Roland Orzabal and Curt Smith, Tears for Fears crafted lush, synth-heavy songs that were often poppy and melancholy all at once. Their crowning achievement was 1985’s Songs From the Big Chair, a multi-platinum triumph that featured such timeless tunes as “Shout,” “Head Over Heels” and “Everybody Wants to Rule the World.” Tears for Fears' time at the top was brief – by the end of the ‘80s, their popularity was already starting to fade. Still, the group’s pop hooks and introspective lyrics proved influential, as they’ve remained a highly respected act among generations of musicians and fans alike.

The combination of musician/producer Dave Stewart and powerhouse vocalist Annie Lennox proved to be a match made in heaven. Formed in 1980, Eurythmics offered a rare blend of styles, including rock, synth-pop and soul. Lennox’s transcendent voice and bold fashion sense made her an icon of the era, while Stewart’s innovative production helped Eurythmics stand above many of their peers. Hits such as “Sweet Dreams (Are Made of This),” “Here Comes the Rain Again” and “Would I Lie to You?” brought the duo mainstream success, while critics hailed Eurythmics for their distinctive sound. The group sold more than 75 million albums worldwide and took home a Grammy Award (out of 8 nominations).

Fronted by bombshell lead singer Debbie Harry, Blondie was one of the American forebearers of new wave. The New York group boasted punk attitude wrapped in a radio-friendly package. Much of that could be attributed to Harry, whose disarming good looks were only surpassed by her electric stage presence. Blondie could get crowds dancing at one point and whipping up a frenzy at another. Hits such as “Heart of Glass,” “One Way or Another,” “Call Me” and Rapture” made them superstars, but drug addiction and Chris Stein’s life-threatening disease brought the band to an end after only 8 years.

When Duran Duran first arrived in the early ‘80s, much was made of the band’s style and glamor. Yet, hidden behind the boy band good looks were some of the decade’s most infectious hooks. With a steady diet of synthesizers and dance beats, Duran Duran delivered an unrivaled array of hits, including “Girls on Film,” “Hungry Like the Wolf,” “Save a Prayer” and “The Reflex.” Still, arguably their most beloved tune was “Rio,” the title track from their 1982 LP and one of the most enduring and ingenius hits of the era.

Prior to his own career, Elvis Costello was heavily influenced by a wide range of artists. Some you’d expect, like the Beatles and the Kinks. Others were less predictable, like his interest in reggae and Motown acts. Early on, Costello seemed destined for a folk rock career, but the punk movement caught his attention and changed his perspective. All of these influences would eventually converge in the rocker’s material, beginning with his acclaimed debut album, My Aim Is True. The 1977 LP announced Costello as one of rock’s rising stars, and his next two albums – This Year's Model (1978) and Armed Forces (1979), recorded with his backing band the Attractions – brought further success. With introspective lyrics and a distinctive vocal style, Costello was one of new wave’s early pioneers. As a 1978 article in New Wave Rock magazine noted, Costello brought “a kind of sensibility and attitude which had previously existed mostly in literature into the bright, bouncy context of commercial pop.”

Arguably no new wave act harnessed the strength of power-pop hooks better than the Cars. Led by singer Ric Ocasek, the band delivered some of the most polished hits of their era, including “Just What I Needed,” “My Best Friend’s Girl” and “Good Times Roll.” However, there was depth and nuance to their material that went far beyond the shimmering production. The Cars imbued many of their tunes with a wry sense of humor and quirky lyrical wordplay. Their genius was finding the balance between this intellectual side and the pop package in which it was presented.

As new technologies began influencing music in the ‘80s, many artists tried to figure out how computers and synthesizers could brighten their material. Depeche Mode took things in a different direction, exploring the dark, seedy underbelly of these new sounds. Lyrics covered such taboo topics as sadomasochism, race relations and drug abuse. Yet Depeche Mode’s songwriting was so sophisticated that the material could still be embraced by mainstream audiences. See “Never Let Me Down Again” – a song about drug-induced euphoria – or “Personal Jesus” – which chronicles an attempted suicide – as examples of the band’s ability to wrap dark subject matter with catchy production.

The Police started out with dreams of becoming a punk rock group, but found unexpected depth and musicality along the way. The band’s energy remained, but they began mixing in outside influences, including elements of reggae and jazz, to create a sound all their own. Each member of the trio brough something distinct to the table – Sting with his engrossing vocals and profound lyrics, Andy Summers with his memorable guitar riffs and Stewart Copeland with his bombastic back beats. Together, their songwriting offered equal balance of rock and sophistication, delivering such classic hits as “Every Breath You Take,” “Walking on the Moon,” “Don’t Stand So Close to Me,” “Message in a Bottle” and “Roxanne.” Artistic differences – and clashing egos – eventually led the band to breakup in 1986, but for a while there was no bigger act in the world.

Like many of the acts on this list, the Cure started off as a punk rock group. Their sound quickly began to evolve, largely due to the artistic ambitions of frontman Robert Smith. The singer credited a brief period performing with Siouxsie and the Banshees for broadening his musical horizon. “I was blown away by how powerful I felt playing that kind of music,” he recalled. “It was so different to what we were doing with the Cure [at that time].” Smith’s band soon began mixing electronics into their sound, adding atmospheric textures and deeper lyrical content. The moves paid off as the Cure gradually ascended to become one of the ‘80s biggest bands. Hits like “Lovecats,” “Close to Me,” “Lovesong” and “Friday I’m in Love” made them radio and MTV mainstays. The Cure also heavily influenced a new generation of rockers, many of whom came to prominence during the alt-rock wave of the ‘90s.

There may have been more commercially successful artist within the new wave movement, but none were as artistically celebrated as Talking Heads. Led by idiosyncratic frontman David Byrne, the innovative New York group pushed every boundary imaginable. Their style refused to be pigeonholed, with elements of punk, funk, art rock, jazz and world music infused throughout their material. Their groundbreaking work won over a legion of fans without ever sacrificing artistic integrity for mainstream appeal. Yes, there were hits, including “Psycho Killer,” “Once in a Lifetime” and “Burning Down the House,” but their impact went far beyond album sales or song charts. Decades after their 1991 breakup, generations of musicians are still being influenced by the band’s work, a testament to both Talking Heads’ impact and the timelessness of their material.

2 posted on 09/13/2024 5:41:33 PM PDT by Gary from Dayton (Army Vet 1986-1991 unburdened by what I was burdened by before.)

Joy Division, Stranglers, Echo and the Bunnymen, New Order, Gary Numan, the Clash, Jesus and Mary Chain, Galaxie 500,

4 posted on 09/13/2024 5:43:48 PM PDT by thegagline (Sic semper tyrannis! Trump & Vance, 2024! (Formerly) Goldwater & Thomas Sowell in 2024)

Anyone remember “New Wave Theater” late at night on Nightflight hosted by Peter Ivers in the early 80’s? That was one strange dood but they had all the upcoming New Wave bands. One was ‘Fear’ and they were nuts.

6 posted on 09/13/2024 5:50:03 PM PDT by Macho MAGA Man (The last two wen't balloons. One was a cylindrical objecwhots Trump is being given the Alex Jones tr)

Roxy Music was not new wave. As the article admits, Roxy was art/glam rock. And awesome.

The Police were borderline punk. And awesome.

(That was one strange dood)

Meand dude! Dang autocorrect.

8 posted on 09/13/2024 5:51:25 PM PDT by Macho MAGA Man (The last two wen't balloons. One was a cylindrical objecwhots Trump is being given the Alex Jones tr)

I’ve been to many many concerts in my youth, I forget half of them..
The only band on that list that I remember seeing was Oingo Boingo.
I begged a girl from work to go with me..it was the day before Christmas eve 1985 I believe in Boston.
They were backing up Squeeze.
That was a great concert.
I remember a giant Christmas tree up on stage.
Back in the day we’d always get loaded before the show..I have so many ticket stubs of concerts I barely remember lol.
I may have also seen INXS..I dunno.

Glad to see Devo on the list.

The name itself copies a French film making movement from the early 1960s called nouvelle vague. I saw 7 of the 20 listed live in their heyday. Talking Heads were probably the weirdest and experimental so I guess that earns them the number one spot.

Yeah.
Where’s Gary Numan on the list?
He’s STILL making music, BTW. It’s pretty dern good, too.

13 posted on 09/13/2024 5:54:29 PM PDT by RandallFlagg (Democrats should have been barred from elections since The Battle Of Athens.)

14 posted on 09/13/2024 5:57:10 PM PDT by RandallFlagg (Democrats should have been barred from elections since The Battle Of Athens.)

I was I jr/high school during the entire first half of the 80’s.....A GREAT era to to be a teen.
MISS those days....

You've Got Your Baby Back--The Mystic Knights of Oingo Boingo (1976)

This sounds like something from the 1950s. Dr. Demento played it on his Sunday night show on KLOS (before it went national). Later, the group shortened its name.

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