25 Albums Turning 25 In 2025: Celebrating Music From The Year 2000

Disturbed: ‘The Sickness’

Selling more than five million copies in the US, Disturbed’s debut album, The Sickness, unleashed a nu-metal a pandemic. Packed with meaty guitar hooks and ear-shredding riffs, it remains a visceral blast of wanton aggression that still holds a special place in every Kerrang! reader’s heart. Breaking out with feverish tribal drumming, the riotously heavy anthem Down With The Sickness famously kicked off with vocalist David Draiman’s primal squawks (“Ooh-wah-ah-ah-ah”), instantly raising the hackles like a feral cat coughing up a fur ball. Well-deserving of a 25th-anniversary spin, The Sickness is still as contagious as ever.

Released: 7 March 2000 (US)

Must hear: Down With The Sickness

Idlewild: ‘100 Broken Windows’

Toning down the hardcore-leaning screamfests of their debut album, Captain, Idlewild’s follow-up, 100 Broken Windows, saw the Scottish indie-rockers take their cues from US alt-rock to adopt a brighter, more melodic sound inspired by Hüsker Dü and R.E.M. Folding jagged riffs into Roddy Woomble’s well-crafted indie-punk tunes, hit singles such as Little Discourage, Actually It’s Darkness and These Wooden Ideas still sound ahead of their time, deploying an angular guitar style that would influence later bands such as Biffy Clyro and even My Chemical Romance. A much-overlooked gem in the post-millennial Britrock canon, 100 Broken Windows should smash its way back into our collective consciousness this year.

Released: 10 April 2000 (UK)

Must hear: Actually It’s Darkness

Papa Roach: ‘Infest’

One of many nu-metal bands who crossed over to the mainstream at the turn of the 21st century, Papa Roach were dead certs for Warped Tour infamy. Chiming with anxieties over the Y2K bug, Infest was as indestructible as the boggle-eyed cockroach that appeared on its cover. Its biggest hit, Last Resort, was a rap-rock call-to-arms (“Cut my life into pieces…”), while Blood Brothers remains as fist-pumpingly nostalgic as doing a kick-flip on Tony Hawk’s Pro Skater 2. Loaded with throat-shredding hissy fits (Between Angels And Insects) and large doses of latchkey-kid ragers (Broken Home), Infest sold seven million copies worldwide, and it still crackles like the charred remains of a fly in a bug zapper.

Released: 25 April 2000 (US)

Must hear: Last Resort

Ween: ‘White Pepper’

Fusing the kaleidoscopic psychedelia of Sgt. Pepper’s Lonely Hearts Club Band with the eclectic variety of “The White Album”, Ween’s seventh studio album, White Pepper, is, in many ways, their most Beatles-indebted effort. Despite swapping out the haphazardly absurdist streak of earlier classics such as Chocolate And Cheese in favour of more straightforward tunes, it’s still bafflingly unpredictable, ranging from country-tinged numbers to soft-rock noodling, jazz-pop wig-outs and even a spot of hardcore punk. Way out and often trippy, White Pepper lacks the bizarro kookiness of Ween’s early albums, but it does showcase how much Aaron Freeman and Mickey Melchiondo had matured as songwriters. Quite possibly their most accessible release, White Pepper didn’t quite ignite Weenmania, but the cultish nature of their fandom means the group probably wouldn’t have had it any other way.

Released: 2 May 2000 (US)

Must hear: Even If You Don’t

Britney Spears: ‘Oops!… I Did It Again’

Twenty-five years on from its release, Britney Spears’ sophomore album, Oops!… I Did It Again, still holds the record for being the fastest-selling album by a female artist. Shifting 1.3 million copies in its first week and going on to sell more than 20 million copies worldwide, it was a phenomenal achievement, largely owing to a trio of world-beating hits co-written by Swedish pop supremo Max Martin. The title track, Lucky and Stronger each blazed a red-hot trail that left scorch marks on the charts for the next ten months. Brilliantly expounding on Spears’ teen-pop formula with molten flashes of funk and R&B, Oops!… I Did It Again did exactly what its title suggests, proving that lightning could, indeed, strike twice.

Released: 15 May 2000 (UK)

Must hear: Oops!… I Did It Again

Phish: ‘Farmhouse’

Ruling the roost when it comes to jam bands, Phish worked up a rustic conglomeration of catchy folk-rock songs, freewheeling Americana and mellow country workouts for their ninth studio album, Farmhouse. Recorded at The Barn, in Vermont, it yielded the group’s biggest radio hit, Heavy Things, a summery outpouring of drive-time hookiness that flexed Trey Anastasio’s impeccable guitar chops. Co-produced by Bryce Goggin, the album truly allowed the band’s improvisational spirit to shine. Weaving in and out of intricate grooves, Phish exhibit a relaxed charm and organic feel while staying firmly rooted in their jam-band ethos. Musically instinctive and inherently soulful, Farmhouse sounds just as fresh and lively as it did all those years ago.

Released: 16 May 2000 (US)

Must hear: Heavy Things

Eminem: ‘The Marshall Mathers LP’

With unapologetically shocking lyrics and an abundance of darkly poetic wit, Eminem’s second studio album, The Marshall Mathers LP, revelled in courting controversy for controversy’s sake. Provoking outrage among parents across the land, Eminem’s brutal skewering of squeaky-clean pop shills (The Real Slim Shady) and his horrorcore glimpse into the murderous mindset of an obsessive fan (Stan) held a mirror up to society in all its ugliness. Though no one could deny his lyrical dexterity, what fans heard as a thrilling lashing-out at all and sundry was a nightmare for censorship bureaus, who were ill equipped to deal with Eminem’s jester-like enthusiasm for grappling with thorny topics such as gun violence and drug use. Marking a seismic culture shift, this was the moment the Detroit rapper became a folk devil, dead set on upsetting the moral majority. Its aftershocks can still be felt to this day.

Released: 22 May 2000 (UK)

Must hear: The Real Slim Shady

Uncle Kracker: ‘Double Wide’

Bolstered by the success of the US Top 10 hit Follow Me, Uncle Kracker’s debut studio album, Double Wide, sold more than 2.1 million copies following its release in May 2000. Surprisingly ahead of its time, Double Wide’s eclectic recipe of diesel-guzzling country, rap and rock was largely recorded on the road. Co-produced by Kid Rock, it set new horizons for singer-songwriters, broadening the scope of country-pop as it mashed the laidback feel of the Upper Midwest with the immediacy of hip-hop. Signposting the highway down which many Southern artists would later follow (see Tim McGraw’s collaboration with Nelly, or Jason Aldean’s Dirt Road Anthem), Double Wide emboldened country musicians to experiment with different genres and embrace pop-friendly hooks.

Released: 30 May 2000 (US)

Must hear: Follow Me

Queens Of The Stone Age: ‘Rated R’

Queens Of The Stone Age’s second album, Rated R, is an ultra-heavy desert ramble that revels in the sand-strewn chaos of hard-rock excess. With both Josh Homme and former member Nick Oliveri sharing frontman duties, the band delivered a ferocious blend of twisted Black Sabbath-style riffs and tight robotic rhythms, with contributions from Mark Lanegan and Judas Priest’s Rob Halford adding to the inebriated stew. Opening with the rock’n’roll drug-cocktail anthem Feel Good Hit Of The Summer, the album takes us from The Lost Art Of Keeping A Secret’s vibey observance of discretion through to the brass-laden freak-out of I Think I Lost My Headache. Celebrated by Dave Grohl of Foo Fighters, Rated R is an audacious, electrifying statement from a band hailed as the finest purveyors of modern-day stoner rock.

Released: 5 June 2000 (UK)

Must hear: The Lost Art of Keeping A Secret

Deftones: ‘White Pony’

Marking the moment when Deftones truly came of age, White Pony catapulted the Sacramento-based quintet beyond their rap-metal origins, combining nu-metal with elements of shoegaze, post-rock and even trip-hop. Tackling sinister themes of sex, drugs and psycho-sexual power games, Chino Moreno’s menacing lyrics transcended nu-metal’s often surface-level anger with haunting allusions to pulpy thrillers and art-house cinema. From the insectoid paranoia of Back To School (Mini Maggot) to the unsettling imagery of Change (In The House Of Flies), White Pony marked Deftones out as genre-defying visionaries. Twenty-five years later, it remains a landmark record that broke free of nu-metal’s commercial straitjacket in order to stand universally exalted.

Released: 19 June 2000 (UK)

Must hear: Change (In The House Of Flies)

Lil’ Kim: ‘The Notorious K.I.M.’

The best-selling female rap record of the year 2000, Lil’ Kim’s no-holds-barred second record, The Notorious K.I.M., undoubtedly paved the way for contemporary boss girls such as Nicki Minaj and Cardi B to strut their stuff. Selling more than 1.4 million copies in North America, the album honed Kim’s raunchy persona of sexually provocative grandstanding (How Many Licks?) and gangsta-rap-inspired bravado (Suck My Dick). Its lead single, No Matter What They Say, found Kim confidently brushing off her critics, while Lil’ Drummer Boy draws up her mission for female liberation by forcibly demanding respect from a male-dominated music industry. A true pioneer among the best female rappers, Lil’ Kim ensured her powerful manifesto was writ large with a fierceness that remains unmatched.

Released: 26 June 2000 (UK)

Must hear: No Matter What They Say

Coldplay: ‘Parachutes’

Haunted by the spectral presence of Jeff Buckley and the acoustic-folk intimacy of Nick Drake, Coldplay’s debut studio album, Parachutes, needs no introduction. Selling more than 13 million copies across the globe, it’s a polished and deeply affecting work of homespun introspection, all wrapped up in achingly melancholic lo-fi touches. Blessed with some of the best Coldplay songs, among them Yellow and Trouble, the album gives voice to that sinking feeling we all experience, while Chris Martin’s vulnerable falsetto is still capable of pulling at the heartstrings more than two decades on. Instantly establishing Coldplay as one of the best British bands of their era, Parachutes remains a phenomenal debut for a group forever wedded to naked emotionality and gorgeously sentimental melodies.

Released: 10 July 2000 (UK)

Must hear: Yellow

The Corrs: ‘In Blue’

Boasting slick production from Robert “Mutt” Lange, The Corrs’ third studio album, In Blue, leaned into a decidedly more mainstream pop sound, downplaying the group’s Irish folk roots in favour of delectable radio hooks. From buoyant pop hits such as Breathless and Irresistible to the emotional soft-rock ballad Radio, the Corr siblings’ undeniable chemistry made In Blue a delicious fondue of sugary indulgence, with Andrea Corr’s syrupy voice remaining as appetising as ever. Twenty-five years on, it still goes down as smoothly as honey, and with more than five million copies sold to date, the album proves that The Corrs could find commercial success without sacrificing their signature charm.

Released: 17 July 2000 (UK)

Must hear: Breathless

Madonna: ‘Music’

Marking Madonna’s return to the top of the Billboard 200, Music found the “Queen Of Pop” swapping her jewelled crown for a Stetson as she set about blending disco, pop and EDM music in collaboration with French producer Mirwais Ahmadzaï. With a promo video that featured her riding a limo chauffeured by wannabe gangsta Ali G, the album’s lead single, Music, became a global smash, topping the charts in 25 countries. Winning plaudits for infusing a subtle twang of country-pop into her bold and futuristic vision of the dancefloor, Music not only reaffirmed Madonna’s status as a pop innovator but also laid the groundwork for the unstoppable rise of dance-pop in the early 21st century.

Released: 18 September 2000 (UK)

Must hear: Music

Kylie Minogue: ‘Light Years’

Reintroducing the Australian pop princess to a new generation, Kylie Minogue’s seventh studio album, Light Years, blew a hole in the firmament with classy disco grooves and playful Euro-pop – and that’s before we get to the golden hot pants Kylie sported in the now-iconic music video for its lead single, Spinning Around. As the twanging Balearic house hooks of On A Night Like This bumped hips with the campy fanfare of Your Disco Needs You, the record ignited Kylie’s jet-propelled ascent into superstardom. Positively glowing with charisma, Light Years injected a joyous sense of fun back into clubland.

thanks her

Released: 25 September 2000 (UK)

Must hear: Spinning Around

Mark Knopfler: ‘Sailing To Philadelphia’

Still his biggest-selling solo record, Mark Knopfler’s second album, Sailing To Philadelphia, took a mellow journey into easygoing Americana, selling more than 2.5 million copies in the US along the way. Despite his fondness for Southern roots-rock, the former Dire Straits frontman hadn’t quite lost his geographical bearings, kicking things off with a spirited homage to Edinburgh on the folky opener What It Is. Weaving a historical narrative about the formation of the Mason-Dixon line, the album’s title track finds Knopfler duetting with James Taylor to tell the tale of two British immigrants, Charles Mason and Jeremiah Dixon, who crossed an ocean in order to resolve a boundary dispute. Elsewhere, Baloney Again is a bluesy meditation on Black Americans’ struggle against racism, while Van Morrison’s guest performance on The Last Laugh adds extra pathos to the song’s tear-jerking brass arrangements. With Knopfler’s guitar playing on achingly beautiful form throughout, Sailing To Philadelphia pulls into the dock like a schooner full of untold riches.

Released: 25 September 2000 (UK)

Must hear: What It Is

Radiohead: ‘Kid A’

Believe it or not, Radiohead was the band that everyone expected to become the new saviours of rock’n’roll. The follow-up to their guitar-driven masterpiece, OK Computer, the group’s fourth studio album, Kid A, upended all expectations by kicking their stadium-rock destiny into the long grass. Diving headlong into electronic experimentalism, Kid A’s embrace of ambient synthscapes (Everything In Its Right Place) and the glitchy rhythms of IDM (Idioteque) was a defiantly anti-commercial gambit, which makes its transatlantic chart-topping success all the more impressive. Not since The Beatles had a band so bravely brought cross-genre experimentation to the mainstream. This is how Radiohead have built their legacy: not through playing by the rules, but through fearlessly taking risks under the auspices of their creative muse.

Released: 2 October 2000 (UK)

Must hear: Idioteque

Green Day: ‘Warning’

Adding a power-pop flair to their ultra-hooky brand of 90s punk, Green Day’s sixth album, Warning, found the Bay Area punks broadening their horizons, incorporating elements of acoustic-folk, surf-rock and 60s sunshine-pop into their sound. Whether building an answer to Oasis’ Wonderwall, in the shape of the prom-dance ballad Good Riddance (Time Of Your Life), wearing outsiderdom like a badge of pride on Minority or displaying further Britrock influences with the Kinks-ian opener, Warning, Green Day’s frontman, Billie Joe Armstrong, displayed just how much he’d begun to develop as a songwriter. Flowing freely with nostalgia-filled blasts of harmonica and accordion, and going on to sell more than 3.5 million copies, Warning remains a vibrant and colourful record that served notice of Green Day’s genre-hopping ambitions.

Released: 3 October 2000 (US)

Must hear: Minority

Limp Bizkit: ‘Chocolate Starfish And The Hot Dog Flavored Water’

A sure-fire recipe for nu-metal success, Limp Bizkit’s second studio album, Chocolate Starfish And the Hot Dog Flavored Water, was impossible to avoid in the year 2000. Twenty-five years on, the thought of Fred Durst sporting a backwards baseball cap and guitarist Wes Borland’s alien-like stage masks reminds us just why Limp Bizkit’s delightfully puerile rap-rock was so popular during the WWF Attitude era. Selling more than a million copies worldwide, this album found the group channelling adolescent fury like rowdy truants gobbing on passers-by, flipping the bird on Rollin’ (Air Raid Vehicle) and transforming Mission: Impossible’s spy theme into a wild frenzy of frantic pistol-whipping on Take A Look Around. Weaponising toilet humour, Chocolate Starfish… caught high-school jocks in its crosshairs on My Generation and made no apologies whatsoever on the uncompromising My Way, resulting in an unruly record that sent Limp Bizkit down a road of unrepentant miscreancy.

Released: 16 October 2000 (UK)

Must hear: Rollin’ (Air Raid Vehicle)

PJ Harvey: ‘Stories From The City, Stories From The Sea’

With her siren-like voice crashing over you like a tidal wave flooding downtown Manhattan, PJ Harvey’s fifth album, Stories From The City, Stories From The Sea, let loose a deluge of obsessive storytelling. This electrifying punk-blues album finds Harvey reveal her love of New York City, exploring its darker underbelly with pistol-packing pleas for escapism (Big Exit) and gasping for air amid metropolitan love-trysts (Good Fortune). From examining the urban decay lurking in the red-light district (The Whores Hustle And The Hustlers Whore) to needling away at city-dwellers’ self-destructive impulses (We Float), Stories From The City, Stories From The Sea is a sublimely poetic work of alt-rock that paints a warts’n’all picture of New York’s grit and glamour.

Released: 23 October 2000 (UK)

Must hear: Good Fortune

Linkin Park: ‘Hybrid Theory’

Kicking off the 2000s with what would become one of the biggest-selling albums of the decade, Linkin Park sold more than 27 million copies of their debut album, Hybrid Theory. Rescuing rock from redundancy, its turbo-charged synthesis of alt-metal and rap came to define the incendiary sound of nu-metal, with singles such as One Step Closer, Crawling, Papercut and In The End becoming generational rallying cries of post-millennial distress. Thanks to Chester Bennington’s ear-shredding vocals and Mike Shinoda’s hip-hop-inspired digressions, Linkin Park’s thunderous collision of whiplash-inducing metal riffs and looping turntablism tore open a chasm in the mainstream. Easily one of the most important rock records since Nirvana’s Nevermind, Hybrid Theory sent shockwaves through the music industry like nothing else since.

Released: 24 October 2000 (US)

Must hear: One Step Closer

U2: ‘All That You Can’t Leave Behind’

Re-applying for the job of best band in the world, U2 displayed every facet of their stadium-rock résumé with their tenth album, All That You Can’t Leave Behind. From the sun-worshipping splendour of opener Beautiful Day to the gospel-tinged entreaty of Stuck In A Moment You Can’t Get Of, the record was U2’s baptismal act of salvation, reasserting the group’s standing as lay preachers of uplifting rock sermons. Sanctifying souls with Elevation and marching ahead into the promised land with Walk On, All That You Can’t Leave Behind sold 12 million copies and saw U2 welcome the masses into their cathedral of anthemic glory.

Released: 30 October 2000 (UK)

Must hear: Beautiful Day

OutKast: ‘Stankonia’

A groundbreaking embellishment of their Southern rap roots, OutKast’s fourth album, Stankonia, cavorted with futuristic sounds that melded funk and electronica to redefine the boundaries of hip-hop. The contrasting personae of Big Boi and André 3000 – street-savvy mover and eccentric misfit, respectively – anchor this swampy masterclass of funkadelia, juxtaposing playful, imaginative rhymes with refreshingly unconventional beats. The international hit single Ms Jackson explores a fractious family rift over a baby mama, while songs such as B.O.B. toy with rave and drum’n’bass influences. Challenging the then prevalent stereotypes of the South as a countrified backwater, Stankonia delivered a hot’n’nasty pop-rap fusion of genre-hopping Afrofuturism that guaranteed OutKast’s place as madcap pioneers in hip-hop history.

Released: 31 October 2000 (US)

Must hear: Ms Jackson

Enya: ‘A Day Without Rain’

Returning after a five-year hiatus, Enya unleashed a deluge of symphonic new-age pop with her fifth album, A Day Without Rain, which quickly became the Irish singer-songwriter’s best-selling release. Enriching her ethereal harmonies with a string section, Enya ensured that her angelic voice never sounded more soothing than it does on the album’s psalm-like lead single, Only Time. An otherworldly beacon of solace and beauty, A Day Without Rain remains the Celtic icon’s most spiritually resplendent record: a work that eases sorrow like a gentle shower over parched earth.

Released: 20 November 2000 (UK)

Must hear: Only Time

Check out the best albums of the 2000s.