Lim Sek, Music & Movement founder and CEO:

"Of all the songs that I can recall singing in primary school, the only one that stood out even more than the school anthem, is this Malay song that celebrates Children’s Day.” It was composed by Zubir Said, who in his lifetime wrote more than 1,000 songs including Singapore’s national anthem, Majulah Singapura.

The joy of children’s day in school started and ended with this song. Nothing is more familiar than its opening lines of ‘Sama sama maju ke hadapan / pandai cari pelajaran’. It doesn’t matter if we didn’t know the meaning of the words. It was just a happy song that brings back a piece of happy memory.”

Eddino Abdul Hadi, The Straits Times music correspondent and member of the band Force Vomit:

“The Quests are one of the most significant bands to emerge from Singapore from the golden age of local pop in the 1960s. Shanty is special because it was the first original composition by a local act to hit No. 1 on the music charts here.”

Haryani Ismail, Berita Harian chief digital sub-editor & entertainment writer:

“This song is one of many Malay songs which express love and adoration for Malay women, using their names as the title of the song. A breakthrough song released during Singapore’s independence, it was composed and written by Salamah Basiron, who was one of the very few Malay women working as a composer and lyricist during the 1960s. It remains an evergreen masterpiece, soothing to the ears.”

Ananthan Karapaya, Mediacorp OLI 968 DJ:

“Nostalgic! I grew up listening to Munnaeru Vaaliba at the various National Day Parades! It’s amazing how the music composition has been revised to suit the current trends! (In 2020, Munnaeru Vaaliba was given an update by rapper Yung Raja). In no time, it entered the realm of public consciousness by being the default Tamil song of choice at big and small scale celebrations, inspiring students with its message of hope, progress and youthful vitality.”

From Lim Sek, “Singapore’s best known Tamil song was originally composed to celebrate Raffles Institution’s Founder’s Day. Written by their Tamil teacher, S. Jesudassan, this song found its way into Singapore’s school music curriculum after it was endorsed by David Lim, the Education Ministry’s music director."

Dick Lee’s expansive catalogue ranges “from the super innovative tunes with ethnic mish-mash of Asian sensibilities to super lum (heart-melting in Cantonese lingo) ballads”, says Lim Sek.

“But my favourite is one from the start of his career in 1974 when he was still finding his way in the labyrinth of pop music. This song became the title song of his very first album and, raw as it may sound, it beautifully captured the rumination of a young artist on life and its purpose.”

“All of us share these sentiments as we navigate our own uncertain waters to look for answers that are not always apparent to us.”

As voted by the public, along with Art Fazil, singer-songwriter and former member of Rausyanfikir:

Di Tanjong Katong is composed of a set of pantuns—a form of Malay poetry where ideas and emotions are expressed by rhyming language—and set to music in the 1930s by Singaporean composer Ahmad Patek.

Its poignant lyrics coupled with its lilting melodies has made it a timeless folk song that many generations of Singaporeans have grown up with. One of its most popular versions was sung by the queen of keroncong, Kartina Dahari, though many notable artists have put out their own renditions, namely Saloma, Francis Yip and Sakura Teng, among others.

Joe Ng, composer, sound designer & former member of The Padres:

“Chris Ho’s Zircon Lounge started at the turn of the '80s and culminated with the 1983 album Regal Vigor. Groundbreaking. The first alt rock, new wave, alternative, you name it, a brand new sound never uttered and played before by Singapore sons.

But to me, it is Guide These Hands (from the Class Acts compilation album) that cuts through with the band peaking top form, with some of Chris’ best inspired wisdom—“So guide these hands / These hands that take / These hands that give / That they should learn to hold / What is meant to remain”—something which, till today, I still hold dearly in my heart.”

During their brief time in the limelight, The Lizards’ Convention—a pop rock group comprising guitarists Leon Lim and Adrian Loo, along with vocalist Kristine Oehlers—released their sole full-length album Here’s a Funny Fish, Hurrah!. Notably, it was their cover of Elvis Presley’s Wooden Heart that earned them chart success in the Philippines.

Pleasant Song, a cut from Here’s a Funny Fish, Hurrah!, is honoured by Kathir, member of Rudra in this special mentions list:

“This song boasts an irresistibly infectious melody that had me hitting the repeat button on this CD album time and again. Its captivating tune effortlessly lingers, making each listen as enjoyable as the first.”

Choy Siew Woon, choral director, music educator and singer:

“Originally commissioned as the set piece for the 1997 Singapore Youth Festival Central Judging (Junior College Choirs), this piece shows how Leong was truly ahead of his time—this is an East-meet-West collection of nostalgic Asian street food calls, contextualised by chords that reflect our current modernity and Western influences.

My colleagues who grew up singing in school choirs all remember this piece fondly, and we are all in agreement that this piece reminds us of the standard of choral music (both singing and writing) that Singapore choirs are capable of executing, even at the school choir level. I selected a clip of a choir from Hong Kong singing this piece, to show how this work has also travelled beyond our shores as representation of Singapore choral music.”

Lim Sek, Music & Movement founder and CEO:

“In 2001, Corrine walked into my office and asked if I was interested in releasing her debut album which she had just recorded in the US. I liked Corrine’s unassumingly down-to earth-nature and I was extremely impressed with her beautiful melodies and sensitive heartfelt lyrics. There were so many wonderful songs on the album and it was greeted with overwhelming support from fans of her style of folk-pop repertoire.

Fly Away, the album’s title track, is a pure work of fiction but Corrine was able to inject such an abundance of cinematic storytelling—the languid unfolding of the mother-daughter relationship never fails to bring tears to the eyes.”

The former construction site foreman with the husky vocal chops, A-Do made history in 2002 by selling over 1.5 million albums—the cumulative sales of his two releases that year, 《坚持到底》 (Persevering) and 《天黑》 (Nightfall). 《天天看到你》 (See You Everyday) is taken off the latter album.

Yeow Kai Chai, poet, fiction writer and editor:

“Do you know that the song was completely homegrown? With lyrics by Xiaohan, music by Eric Ng, and sung by Tanya Chua with her unmistakable, western-inflected phrasing. There’s a case to be made for Chua as Singapore’s Carole King, or our country’s answer to American folk-rock maestro Jonatha Brooke, in terms of emotional delicacy and compositional gift.”

After Humpback Oak disbanded, frontman Leslie Low sought more sonic experiments, this time with The Observatory, a rock band he formed with multi-instrumentalist Vivian Wang, who was better known to mainstream audiences as an actress from The Teenage Textbook Movie.

Razi Razak, artist, founder of 100 Bands Festival and co-founder of Baybeats festival:

“This track takes me back to 2002 when we were co-programming the first Baybeats festival. The Observatory was a new band, and I vividly remember their soundcheck; their ability to control their sound. I was mesmerised by the band’s ability to combine electronic elements, producing a marvelous collection of ear-catching songs through their performance. Vivian Wang's haunting voice adapted beautifully to the song, giving us goosebumps. It was such a delightful addition to the inaugural festival.

“My main takeaway from that experience was witnessing The Observatory share their creative talents through their performance. They have since become a mainstay in the local scene, pushing boundaries between art and music. This song will always evoke core memories of that time and space for me.”

Here's another fan favourite by the homegrown Mandopop princess of the 2000s. 

Tan XiangHui, Esplanade Senior Producer:

“I think when people think about Singapore music, Mandopop doesn’t usually come to mind because a lot of it is developed in Taiwan or Hong Kong, and that’s where the industry is centred at. But our Singaporean talents do us proud in that industry.”

weish, musician and member of .gif and sub:shaman:

“I say this every year: this should be the NDP song. It’s honestly so emotive and rousing, and no other song has ever made me feel as deeply for Singapore.”

Plainsunset was a Singapore punk rock band beloved by fans in the 2000s, releasing five albums during their lifetime. The band officially called it quits in 2016, and have since reformed for intermittent shows. 

As voted by the public, with words from Esplanade editor Sara Lau:

“You know how some bands have that one song that they absolutely need to play at every gig, lest they face the wrath of their audience? Anchor Forever is that song for emo-pop-punk band Xingfoo&Roy.

This song really hits when it's played live—hearing that opening guitar melody is like a shot of adrenaline, and true joy is screaming “You’ll be my anchor / forever, as always” in chorus with 50 other sweaty people in a studio-turned-gig space. The soundtrack of broke students who drink Anchor Smooth with their friends at a staircase, an alleyway, a void deck, and other liminal third spaces. The quintessential mid-2010s anthem, an irresistibly catchy song about the freedom and folly of youth.”

Joe Ng, composer:

“The opening decade of the millennia brings forth newer, sleeker and leaner music making technology. It enabled cross-pollination of new sounds, throwing up artists like Jasmine Sokko and producer collectives like Syndicate, multi-genre crossovers and exciting ventures.

Along comes weish. A truly remarkable artist who has constructed a formidable body of works whether on her own, or with her band .gif and sub:shaman, or on many collaborations with other musicians. Her songs have always been unmistakably built on exploring darker colours. Her debut tick tick is a marvellous loop-based collage—deceptively simple but complex and soul stirring, so joyous and spontaneously sublime.”

Sai Akilesh, Esplanade Producer:

“To me, this was quite iconic as this was the first-ever piece written for the mridangam (Indian percussion) and orchestra. I was glad to have been part of it.”

Choy Siew Woon, Choral Conductor:

“Tony Makarome is a musician and teacher who inspires me to no end—taking jazz theory classes from him in Yong Siew Toh (Conservatory of Music) was truly an edifying experience. In his music, it is clear how he thoroughly enjoys the cerebral patterns and adrenaline rush that both jazz and traditional music offer. This piece synergises so many influences so well (classical Indian Carnatic music, classical orchestral sounds, tabla and mridangam performance practice, with melodic and improvisational elements), it's such an explosive, mad-hatter scientist representation of his musical influences and Singapore's huge melting pot of musical possibilities."

As voted by the public, with words by Esplanade editors (as they found themselves trudging under the hot sun from Esplanade to Marina Square, repeating the line 'Singapore (so) Bloody hot!'):

100% of the nominations to include this song came from the public. And what's more Singaporean than complaining (and singing) about the ‘bloody hot’ weather. Iconic? We think so, but give it a listen and judge for yourself.

Additional words from Esplanade editor Sara Lau:

“[Hakim] is a truly talented composer and multi-instrumentalist, and the song… it's actually a beautiful melody and composition, but you have this off-tune-like singing/spoken word going on top of it with the most hilariously relatable lyrics.”

Pop artist Shye (real name Shye Anne-Brown) has been one of Singapore’s newest exports—her ascent since winning the 2018 Vans Musicians Wanted competition at age 16 has seen her achieve a full career in a mere matter of years. Shye has since performed around the region, along with introducing herself to mainstream audiences at recent National Day Parades.

Elspeth Ong, member of motifs:

“This song pops up in my head from time to time. It makes me feel like I’m taking a reaaaalllyyyy slow walk at night. It’s dreamy and hazy and it takes me somewhere else and I really like it.”