Top 10 Opening Tracks From 2010s Rock Albums

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As technology reshaped how music was created and consumed in the 2010s, artists responded with a renewed urgency and defiance, embracing a genre often thought to be in decline. Rock’s leading voices used the era’s upheaval as fuel for creative fire, crafting opening tracks that weren’t just introductions to albums but manifestos for a new age.

David Bowie’s “Blackstar,” released just days before his death in 2016, confronted mortality head-on with an eerie, genre-defying soundscape that felt like a final message from an artist who had always danced on the edge. Joe Bonamassa’s “Evil Mama,” from Redemption, channeled the raw spirit of the blues to grapple with themes of redemption and regret. Sammy Hagar & The Circle’s “Devil Came to Philly” offered a blistering, blues-laden commentary on sin and salvation, while Heart’s “Fanatic” roared with the timeless energy that had defined the Wilson sisters for decades. Deep Purple’s “Time for Bedlam” opened with a dark, confrontational edge, proving that a band with over fifty years of history could still challenge and surprise.

# 10 – “Tattoo” – A Different Kind Of Truth (2012) Van Halen

When Van Halen released “Tattoo,” the opening track from their 2012 album A Different Kind of Truth, it marked a bold return for the band after a 14-year hiatus from releasing new material. With David Lee Roth back on vocals, alongside Eddie Van Halen on guitar, Alex Van Halen on drums, and Wolfgang Van Halen on bass, “Tattoo” captures the essence of Van Halen’s classic sound while introducing a fresh energy to a new decade. The song was recorded at Henson Recording Studios in Los Angeles, California, between 2010 and 2011, under the meticulous production of John Shanks, a seasoned producer known for his work with Bon Jovi and Sheryl Crow.

“Tattoo” is a clever fusion of the band’s trademark hard rock bravado and a lyrical nod to the diverse American landscape of body art culture. The song taps into the playfulness that Van Halen fans had been missing since the band’s early days. Roth’s lyrics weave a tapestry of tattoo imagery — from Elvis tattoos that come alive to the tramp stamps of suburban moms turned “mousewives.” The song serves as a tongue-in-cheek narrative on self-expression and personal freedom, all driven by Eddie Van Halen’s unmistakable guitar riff that is both familiar and innovative. The video for “Tattoo,” directed by the band themselves, shows a stripped-down performance interspersed with close-ups of various tattoos, celebrating the culture in all its colorful glory.

Critically, “Tattoo” sparked varied reactions. Some long-time fans embraced it as a nostalgic throwback to Van Halen’s heyday, while others viewed it as a safe comeback single. Nevertheless, the song achieved notable commercial success. It debuted at number 67 on the Billboard Hot 100, marking the band’s return to the chart for the first time since 1995. “Tattoo” also reached number one on the Billboard Hard Rock Digital Songs chart, reaffirming Van Halen’s enduring appeal in the rock genre. The song’s charm lies in its blend of infectious hooks, cheeky lyrics, and a dynamic performance that proves the band could still pack a punch, even in the second decade of the 21st century.

Tattoo stands as a confident declaration from a band that was eager to show they still had plenty of fuel in the tank. It’s an ode to the power of personal storytelling, much like tattoos themselves—marking moments in time with a sense of both permanence and pride. As the opening track of A Different Kind of Truth, “Tattoo” doesn’t just set the tone for the album; it reestablishes Van Halen’s place in rock’s evolving narrative, proving that even after decades, they remain a formidable force in the genre.

# 9 – “Jefferson Jericho Blues” – Mojo (2010) Tom Petty And The Heartbreakers

“Jefferson Jericho Blues,” the opening track from Mojo (2010), finds Tom Petty and the Heartbreakers diving deep into their roots, drawing on blues influences to craft a gritty, yet hauntingly melodic introduction to their twelfth studio album. Recorded at The Clubhouse, a private studio in Los Angeles, Mojo marked a stylistic shift for the band. The album was produced by Tom Petty and Mike Campbell, capturing the raw, live-in-the-room feel that the band had honed through decades of touring. “Jefferson Jericho Blues,” with its swampy, foot-stomping rhythm and unmistakable harmonica blasts, showcases the band’s desire to reconnect with the organic and spontaneous energy of their earlier days.

The song is a bluesy romp that cleverly melds historical references with personal angst. Petty’s lyrics play with the idea of a love affair gone wrong, set against the backdrop of Thomas Jefferson’s rumored relationship with a slave, adding layers of irony and wit. Driven by Scott Thurston’s spirited harmonica and Mike Campbell’s electric slide guitar, “Jefferson Jericho Blues” feels like a spirited jam session brought to life. Benmont Tench’s piano provides the song with a rollicking backbone, while Steve Ferrone on drums and Ron Blair on bass lay down a tight, propulsive groove that is both infectious and urgent.

“Jefferson Jericho Blues” is more than just an opening track; it is a statement of purpose. With its stripped-down production, bluesy inflections, and historical allusions, it serves as a reminder that Tom Petty and the Heartbreakers were always a band unafraid to explore new territory while staying true to their roots. The song stands out as an energetic, no-frills declaration that the Heartbreakers were far from ready to fade quietly into the sunset, making “Jefferson Jericho Blues” an essential inclusion in any discussion of standout opening tracks from the 2010s.

# 8 – “Devil Came to Philly” – Space Between (2019) Sammy Hagar & The Circle

“Devil Came to Philly” opens Sammy Hagar & The Circle’s 2019 album Space Between with a gritty, hard-hitting blues-rock riff that immediately draws listeners into its world of temptation and moral conflict. Recorded at Sunset Sound Recorders in Hollywood, California, and produced by the band alongside engineer and co-producer Jaimeson Durr, the track showcases the tight chemistry between Hagar and his bandmates: Michael Anthony on bass, Vic Johnson on guitar, and Jason Bonham on drums. The recording sessions, conducted in the latter half of 2018, aimed to capture the raw, live energy of the band, and “Devil Came to Philly” sets the tone for an album that explores the themes of greed, desire, and redemption with a fresh perspective.

Musically, the song is anchored by a thumping rhythm section, with Bonham’s powerful drumming and Anthony’s deep, rumbling bassline creating a thick, driving groove. Vic Johnson’s bluesy guitar licks punctuate the track, weaving in and out of Hagar’s gravelly vocals. Lyrically, “Devil Came to Philly” tells a classic tale of a Faustian bargain in a modern setting. The song’s narrative unfolds like a gritty urban legend, with Hagar channeling a seasoned storyteller’s voice as he sings of a shadowy figure arriving in Philadelphia, offering fame and fortune in exchange for the soul. The devil, in this case, is a metaphor for the darker side of ambition and the lengths people will go to achieve their desires.

Critically, “Devil Came to Philly” received praise for its unapologetically raw sound and its nod to classic blues-rock influences while maintaining a contemporary edge. The song did not chart as a single, but Space Between reached number four on the Billboard 200, underscoring the band’s ability to connect with a wide audience. The track’s accompanying music video, shot in black and white, features shadowy, stylized imagery that complements the song’s themes of darkness and temptation, showcasing the band performing in a gritty urban setting interspersed with dramatic visual metaphors.

Within the context of this list of top opening tracks from 2010s rock albums, “Devil Came to Philly” shares a thematic kinship with “Jefferson Jericho Blues” by Tom Petty and the Heartbreakers. Both songs explore the darker sides of human nature and use historical or mythological references to ground their stories in a rich, evocative narrative. However, while “Jefferson Jericho Blues” leans into a rootsy, Americana-infused sound, “Devil Came to Philly” opts for a more straightforward rock approach, characterized by its punchy production and gritty blues-rock aesthetic. Compared to “Tattoo” by Van Halen, which opens with playful, colorful storytelling, “Devil Came to Philly” is a stark contrast, leaning heavily into darker, more foreboding imagery.

“Devil Came to Philly” stands out as a bold and memorable opening track that perfectly encapsulates the spirit of Space Between. Its blend of blues-rock swagger, lyrical storytelling, and modern production demonstrates Sammy Hagar & The Circle’s commitment to keeping rock alive in the 21st century, making it a worthy inclusion in any discussion of the top rock tracks of the 2010s.

# 7 – “He Did It” – Chills & Fever (2017) Samantha Fish

“He Did It,” the opening track from Samantha Fish’s 2017 album Chills & Fever, sets the stage for a powerful blend of soul, rhythm and blues, and rock that marks a departure from her blues-rock roots. Recorded at the Royal Studios in Memphis, Tennessee, with additional sessions at The 45 Factory in Detroit, Michigan, the album was produced by Bobby Harlow, known for his work with The Go and King Tuff. Harlow and Fish aimed to capture the raw, vintage sound of the ’60s and ’70s, drawing inspiration from Motown and Stax, while pushing Fish’s distinct style into new territory. “He Did It,” a reimagined cover of the Ronettes’ 1964 song, is a vibrant reintroduction to Fish’s artistic range.

With “He Did It,” Fish demonstrates her ability to fuse genres and create something uniquely her own. Backed by the Detroit Cobras’ rhythm section — Joe Mazzola on guitar, Bob Mervak on keys, Steve Nawara on bass, and Kenny Tudrick on drums — along with a robust horn section led by Mark Levi on trumpet and Travis Blotsky on saxophone, Fish delivers a commanding performance. Her raspy, soulful voice infuses the track with both a sense of urgency and empowerment, reflecting the timeless theme of betrayal. The upbeat tempo, marked by a driving rhythm and punchy horns, juxtaposes the song’s darker lyrical undertones, creating a dynamic listening experience that immediately grabs the audience’s attention.

Critically, “He Did It” was praised for its infectious energy and Fish’s vocal delivery, which brings a fresh intensity to the classic tune. Chills & Fever peaked at number seven on the Billboard Blues Albums chart, solidifying Fish’s place in the contemporary blues and rock scene. The song’s music video, shot in a retro, noir style, adds a visual layer to the narrative, featuring Fish performing with her band in a vintage club setting interspersed with dramatic, shadowy scenes that echo the song’s themes of deceit and resilience. The video’s aesthetic complements the album’s overall vibe, a nod to the past while firmly planted in the present.

Within the context of this list of top opening tracks from 2010s rock albums, “He Did It” stands out for its genre-blending approach and emotional depth. While “Devil Came to Philly” by Sammy Hagar & The Circle brings a heavier, blues-rock feel, and “Tattoo” by Van Halen offers a more classic rock energy, “He Did It” pulls from a rich tradition of R&B and soul, adding a layer of sophistication and groove. Much like Tom Petty and the Heartbreakers’ “Jefferson Jericho Blues,” Fish uses the opening track to showcase her versatility and willingness to explore new musical landscapes, making “He Did It” a captivating and essential inclusion in any discussion of the decade’s standout rock tracks.

“He Did It” not only serves as a high-energy opener for Chills & Fever but also encapsulates Samantha Fish’s evolution as an artist. With its bold production choices, dynamic instrumentation, and compelling vocal performance, the track captures the spirit of reinvention, cementing Fish’s status as one of the most exciting talents in the modern blues-rock genre.

# 6 – “Nearly Forgot My Broken Heart” – Higher Truth (2015) Chris Cornell

“Nearly Forgot My Broken Heart,” the opening track of Chris Cornell’s 2015 album Higher Truth, captures the raw introspection and emotional intensity that defined much of his solo work. Recorded at Studio X in Seattle and Henson Recording Studios in Los Angeles during the winter of 2014 and early 2015, the album was produced by Brendan O’Brien, a long-time collaborator known for his work with Pearl Jam, Bruce Springsteen, and, of course, Soundgarden. The song showcases a stripped-down acoustic arrangement that places Cornell’s hauntingly powerful voice front and center, underscoring a lyrical journey of love, loss, and the resilience to move forward.

Musically, “Nearly Forgot My Broken Heart” is marked by its distinctive mandolin riff, played by Cornell himself, which gives the song an unexpected folk-rock twist. The instrumentation is sparse yet purposeful, featuring additional contributions from bassist Jeff Ament and drummer Matt Cameron, who add subtle rhythmic textures that support Cornell’s voice without overpowering it. The song’s structure is deceptively simple, moving from plaintive verses to a soaring chorus that highlights Cornell’s remarkable vocal range. Lyrically, it delves into the complexities of healing from heartbreak, with lines like “Every little word upon your lips / Makes a little cut where blood pours out,” painting a vivid picture of emotional wounds and the painful process of recovery.

Critically, “Nearly Forgot My Broken Heart” was praised for its authenticity and restraint, a departure from the heavy grunge sound that defined much of Cornell’s early career. The song quickly gained traction on the charts, reaching number one on the Billboard Mainstream Rock chart and breaking into the top ten on the Alternative Songs chart. The accompanying music video, directed by Jessie Hill, is a cinematic narrative set in the Old West, featuring Cornell as a condemned prisoner who narrowly escapes execution, only to find himself caught in a new kind of entrapment. The video’s themes of fate, redemption, and the inevitability of heartache align perfectly with the song’s lyrical content, offering a visual metaphor for the song’s exploration of pain and perseverance.

In the context of this list of top opening tracks from 2010s rock albums, “Nearly Forgot My Broken Heart” stands out for its emotional depth and minimalistic approach. While other songs on this list, like Van Halen’s “Tattoo” or Sammy Hagar & The Circle’s “Devil Came to Philly,” lean heavily into their rock and blues roots with dynamic, full-band arrangements, Cornell’s opener is an exercise in quiet intensity. It shares a contemplative spirit with Tom Petty and the Heartbreakers’ “Jefferson Jericho Blues,” but instead of exploring external conflicts, it dives inward, reflecting on personal struggle and introspection. Similarly, it mirrors the soulful narrative style of Samantha Fish’s “He Did It,” but in a far more subdued, melancholic tone.

# 5 – “It It Wasn’t For Bad” – The Union (2010) – Elton John and Leon Russell

“If It Wasn’t For Bad” opens The Union, the celebrated 2010 collaboration between Elton John and Leon Russell, with a soulful groove that captures the essence of both artists’ storied careers. Written by Leon Russell, the track was recorded at The Village Studios in Los Angeles in early 2010, under the keen production of T Bone Burnett, who brought his distinctive touch to the entire album. Featuring a core group of seasoned session musicians, including Jim Keltner on drums, Dennis Crouch on bass, and Marc Ribot on guitar, the song blends elements of gospel, blues, and Americana, setting the tone for an album that is both a homage to and a revival of classic rock and roll.

Musically, “If It Wasn’t For Bad” is driven by a rolling piano line, played with characteristic flair by Russell, and complemented by John’s harmonies, which weave in and out of the melody, adding depth and texture. The lyrics are sharp and sardonic, reflecting on a relationship filled with deceit and disappointment, yet tempered by a sense of acceptance. Russell’s raspy vocals deliver the lines with a world-weary honesty, while John’s backing vocals add a layer of melancholy, creating a dynamic interplay that feels both fresh and timeless. The production is warm and organic, emphasizing live instrumentation and capturing the immediacy of a performance between two old friends rediscovering their musical chemistry.

Critically, “If It Wasn’t For Bad” was met with widespread acclaim for its elegant simplicity and authenticity. The song was nominated for a Grammy Award for Best Pop Performance by a Duo or Group with Vocals, underscoring its impact in a year crowded with notable releases. The Union itself reached number three on the Billboard Top Rock Albums chart and number seventeen on the Billboard 200, a testament to the enduring appeal of both Russell and John. The track’s accompanying video is an understated, intimate studio performance that highlights the camaraderie and mutual respect between the two musicians, capturing the spirit of collaboration that defines the album.

Among the top opening tracks from 2010s rock albums, “If It Wasn’t For Bad” stands out for its unique blend of storytelling and musical craftsmanship. Unlike the gritty, blues-infused “Devil Came to Philly” by Sammy Hagar & The Circle or the folk-rock introspection of Chris Cornell’s “Nearly Forgot My Broken Heart,” this song leans into its roots, embracing a classic, laid-back style that harks back to the golden age of rock and roll while sounding entirely contemporary. It shares a sense of nostalgia and reflection with Tom Petty and the Heartbreakers’ “Jefferson Jericho Blues,” but where Petty’s track explores darker, historical themes, “If It Wasn’t For Bad” is more introspective, offering a poignant commentary on personal relationships and the human condition.

Ultimately, “If It Wasn’t For Bad” is a powerful opener that not only sets the tone for The Union but also serves as a reminder of the timeless qualities of great songwriting and the magic that happens when two legends come together. The track is both a celebration of Leon Russell’s profound influence on music and a testament to Elton John’s willingness to honor his heroes while continuing to evolve as an artist. It’s a song that bridges the past and the present, making it an essential listen in any discussion of the decade’s finest opening tracks.

# 4 – “Evil Mama” – Redemption (2018) Joe Bonamassa

“Evil Mama,” the blistering opening track from Joe Bonamassa’s 2018 album Redemption, is a bold declaration of intent, setting the tone for a record that grapples with themes of heartache, personal demons, and the pursuit of redemption. Recorded over several sessions in 2017 and early 2018 at the prestigious Blackbird Studios in Nashville, Tennessee, and produced by long-time collaborator Kevin Shirley, the song showcases Bonamassa’s signature blend of blues-rock with a modern edge. Co-written by Bonamassa, Kevin Shirley, and Tom Hambridge, the track taps into the raw emotionality that has defined Bonamassa’s career while pushing his sound into new, more dynamic territories.

“Evil Mama” begins with a driving guitar riff that immediately commands attention, merging the hard-hitting blues elements Bonamassa is known for with a distinctly rock-oriented swagger. The track is powered by a muscular rhythm section featuring Michael Rhodes on bass and Anton Fig on drums, while Reese Wynans’ keyboards and Lee Thornburg’s trumpet add a rich, soulful depth. Bonamassa’s vocals, gritty yet soulful, convey a sense of defiance and determination as he sings about breaking free from a toxic relationship. The lyrics paint a vivid picture of a manipulative, deceitful figure—the “evil mama”—whose lies and greed have finally reached a breaking point. Bonamassa’s guitar work is, as always, impeccable, delivering sharp, fiery solos that reflect the song’s emotional intensity.

Critically, “Evil Mama” received praise for its infectious energy and the deft blend of blues, rock, and soul influences. The track quickly became a staple of Bonamassa’s live shows, showcasing his ability to marry technical prowess with genuine emotional depth. Redemption itself reached number two on the Billboard Blues Albums chart, further cementing Bonamassa’s status as one of the most significant contemporary blues-rock musicians. The music video for “Evil Mama,” directed by Philippe Klose, is a visually striking affair that mixes live performance footage with surreal, abstract imagery, capturing the song’s dark, rebellious spirit.

Among the top opening tracks from 2010s rock albums, “Evil Mama” distinguishes itself with its seamless fusion of traditional blues foundations and modern rock sensibilities. While other tracks on this list, such as Chris Cornell’s “Nearly Forgot My Broken Heart” and Tom Petty and the Heartbreakers’ “Jefferson Jericho Blues,” delve into themes of personal turmoil and introspection, Bonamassa’s opener leans more heavily into a narrative of confrontation and liberation, making it a dynamic and energizing entry. Compared to the reflective storytelling of Elton John and Leon Russell’s “If It Wasn’t For Bad,” “Evil Mama” is an explosive, no-holds-barred assertion of independence and self-worth.

Read More: Top 10 Joe Bonamassa Songs

# 3 – “Fanatic” – Fanatic (2012) Heart

“Fanatic,” the electrifying opening track from Heart’s 2012 album of the same name, bursts with the kind of passion and energy that has defined the band’s sound for over four decades. Recorded at multiple locations, including Henson Recording Studios in Los Angeles and Studio X in Seattle, Fanatic was produced by Ben Mink, a frequent collaborator known for his ability to harness Heart’s signature rock intensity while also introducing fresh, modern elements. Ann Wilson’s powerful vocals and Nancy Wilson’s dynamic guitar work are front and center, driving a song that is both a tribute to the band’s roots and a declaration of their enduring relevance in contemporary rock music.

Musically, “Fanatic” is an intense, driving rock anthem that captures the raw spirit of the Wilson sisters. The song opens with a ferocious guitar riff from Nancy Wilson, layered over a pounding rhythm provided by drummer Ben Smith and bassist Ric Markmann. Ann Wilson’s voice, still a force of nature after all these years, soars above the heavy instrumentation, delivering lyrics that explore the dualities of love—its pleasures and pains, its obsessions and desires—with a fervor that only she can muster. The chorus, with its chant of “I’m just a fanatic,” becomes a mantra of unapologetic passion, a celebration of giving in fully to the highs and lows of emotion. Ben Mink’s production enhances this rawness with a mix that keeps the song’s energy front and center, refusing to let the listener off the hook for even a second.

Critically, “Fanatic” was lauded for its no-holds-barred approach and its ability to channel Heart’s vintage sound while remaining contemporary and relevant. The track perfectly encapsulates the album’s overall mood—a gritty, intense exploration of life’s extremes, both musically and lyrically. Fanatic debuted at number twenty-four on the Billboard 200, marking Heart’s highest charting album since 1990, and at number four on the Billboard Rock Albums chart. The accompanying music video for “Fanatic,” directed by Travis Shinn, is a stark, performance-driven piece that emphasizes the band’s commanding stage presence, intercut with surreal imagery that mirrors the song’s themes of passion and obsession.

Within the context of the top opening tracks from 2010s rock albums, “Fanatic” holds its own through its ferocity and commitment to authenticity. Unlike the reflective melancholy of Chris Cornell’s “Nearly Forgot My Broken Heart” or the blues-infused swagger of Joe Bonamassa’s “Evil Mama,” “Fanatic” is relentless in its delivery, combining a punk-like urgency with Heart’s classic hard rock sound. It shares a sense of raw energy and unapologetic emotion with Van Halen’s “Tattoo” but with a fiercer edge that speaks to the band’s hunger and relevance, even after decades in the business.

Read More: 10 Most Underrated Heart Songs

# 2 – “Time for Bedlam” – Infinite (2017) Deep Purple

“Time for Bedlam,” the powerful opening track from Deep Purple’s 2017 album Infinite, serves as a fierce proclamation from a band that, even after five decades, continues to evolve while staying true to their hard rock roots. Recorded at the state-of-the-art NRG Studios in Los Angeles under the direction of veteran producer Bob Ezrin, who previously worked with the band on their 2013 release Now What?!, “Time for Bedlam” exemplifies Deep Purple’s ability to fuse heavy, progressive rock with a lyrical depth that captures the anxieties of the modern world. Written by the band members themselves—Don Airey, Ian Gillan, Ian Paice, Roger Glover, and Steve Morse—alongside Ezrin, the track is a sophisticated blend of musical prowess and thematic boldness.

The song begins with an eerie, robotic chant from vocalist Ian Gillan, immediately creating a haunting and dystopian atmosphere that sets the tone for what follows. As the song unfolds, it erupts into a thunderous riff by guitarist Steve Morse, with Don Airey’s keyboards weaving an intricate tapestry of sound that recalls the band’s classic era while still sounding fresh and contemporary. The rhythm section, anchored by Roger Glover’s deep bass lines and Ian Paice’s precise, powerful drumming, drives the track forward with relentless energy. Gillan’s vocals are as sharp as ever, delivering lyrics that delve into themes of institutional oppression and personal rebellion, adding a narrative complexity that elevates the song beyond a standard rock anthem.

“Time for Bedlam” was met with critical acclaim, praised for its raw energy and the band’s ability to balance their iconic sound with innovative elements. The song captures Deep Purple at a creative peak, demonstrating their refusal to simply rest on their legendary status. The album Infinite debuted at number six on the UK Albums Chart and climbed to the top ten across multiple European countries, further solidifying the band’s enduring relevance in the rock world. The music video for “Time for Bedlam,” directed by Craig Hooper and Collin Games, amplifies the song’s dystopian themes, blending live footage of the band with stark, monochrome imagery that reflects the song’s narrative of entrapment and defiance.

In the context of the top opening tracks from 2010s rock albums, “Time for Bedlam” stands out for its intensity and intricate musicianship. While songs like “Tattoo” by Van Halen or “Fanatic” by Heart bring their own distinct energies to this list, Deep Purple’s opener is notable for its progressive structure and thematic ambition. It shares a thematic depth with Chris Cornell’s “Nearly Forgot My Broken Heart,” but where Cornell’s track is introspective and mournful, “Time for Bedlam” is outwardly defiant, confronting societal ills head-on. Similarly, it matches the raw power of Joe Bonamassa’s “Evil Mama,” but with a more complex, layered approach that reflects Deep Purple’s status as pioneers of hard rock.

“Time for Bedlam” is not just an introduction to Infinite; it is a statement of purpose from a band that has refused to be pigeonholed or constrained by time. Its blend of classic rock motifs with modern sensibilities makes it a compelling listen and a deserving entry on any list of the decade’s standout rock tracks.

# 1 – “Blackstar” – Blackstar (2016) David Bowie

“Blackstar,” the haunting opening track of David Bowie’s final album, Blackstar (2016), is a fitting culmination to a career defined by perpetual reinvention, artistic courage, and profound introspection. Recorded at The Magic Shop and Human Worldwide Studios in New York City between early and mid-2015, the album was produced by Bowie and his longtime collaborator Tony Visconti. The track features an ensemble of jazz musicians, including Donny McCaslin on saxophone, Jason Lindner on keyboards, Tim Lefebvre on bass, and Mark Guiliana on drums. Together, they bring an avant-garde jazz sensibility to Bowie’s final statement, resulting in a sound that is as enigmatic as the man himself.

Musically, “Blackstar” is a sprawling, genre-defying piece that unfolds over nearly ten minutes, shifting from eerie, minimalist beginnings into an otherworldly jazz-fusion soundscape, punctuated by McCaslin’s saxophone improvisations and Guiliana’s polyrhythmic drumming. Bowie’s vocals are spectral and commanding, moving between a plaintive falsetto and a spoken-word incantation that references mortality, transformation, and the celestial unknown. The lyrics are dense with imagery: a solitary candle in the “villa of Ormen,” an execution scene, and a declaration of identity — “I’m a blackstar, I’m a blackstar” — all of which contribute to the song’s deep sense of mystery and foreboding. It is a track that invites, almost demands, multiple listens, each time revealing new layers of meaning and nuance.

Upon its release, “Blackstar” was hailed by critics as a bold and challenging artistic statement, one that served as both a continuation of Bowie’s experimental impulses and a poignant farewell. The song was praised for its audacious blend of styles — from art-rock and electronic music to free jazz — and its daring lyrical themes, which many interpreted as Bowie’s meditation on his own impending death. The track set the stage for an album that would ultimately become Bowie’s epitaph, released just two days before he succumbed to liver cancer. Blackstar debuted at number one on the UK Albums Chart and the Billboard 200, becoming Bowie’s first album to top the chart in the United States, and the song itself won the Grammy Award for Best Rock Performance in 2017.

The accompanying music video, directed by Johan Renck, is a surreal and unsettling visual journey that matches the song’s complex themes. Featuring a space-suited figure discovering a jewel-encrusted skull, shadowy figures engaged in ritualistic movements, and Bowie himself as a blind prophet, the video is both a riddle and a revelation, further enhancing the enigmatic aura of “Blackstar.” It is a visual encapsulation of Bowie’s career-long fascination with the mystical, the avant-garde, and the unknown.

As the closing entry on this list of top opening tracks from 2010s rock albums, “Blackstar” serves not only as a compelling introduction to Bowie’s final work but also as a profound farewell from an artist who, until his very last breath, defied convention and pushed the boundaries of music and art. While other tracks on this list, like Deep Purple’s “Time for Bedlam” or Heart’s “Fanatic,” showcase their own unique strengths, “Blackstar” is unparalleled in its depth and scope, an audacious masterpiece that reflects Bowie’s complex understanding of life, death, and everything in between.

“Blackstar” is more than just an album opener; it is a final bow from one of music’s greatest innovators, a haunting and beautiful reminder of Bowie’s unparalleled ability to transform, challenge, and inspire. In the end, it is fitting that the album — and this list — closes with a track that encapsulates not just a decade of music but a lifetime of artistic exploration.