While everyone’s busy resurfacing old photos from their 2016 Snapchat archives, I’m peeling back the pages of history a whole decade further. That’s right, it’s somehow been a staggering 20 years since the emo era was prevalent and some of the most iconic music of that genre and generation was released. 

So here’s a short recap of what I consider the top five emo albums turning 20 in 2026. iPods at the ready…

‘Saosin’ — Saosin

I’m not exaggerating when I say this album changed my life. A familiar buoyancy aid to cling to at a time that was tumultuous and unsteady, the self-titled record that formally saw Cove Reber take over the vocal helm from Anthony Green was a huge one for me. So it’s obviously only right to seize the top spot here. 

‘Its Far Better To Learn’ delivered a building, bombastic start to a body of work so grand and thunderous in its sound that I’ve never hung up the boots of this album. It’s one I return to time and time again. I can hardly believe it’s 20 this year! 

While ‘It’s So Simple’, ‘Finding Home’ and ‘Follow And Feel’ are always generally my go-tos, the power and tender weight of ‘You’re Not Alone’ and ‘Voices’ were not only tearjerkers for the masses, but old faithfuls as well. If you can’t have a cathartic, clarity-giving blub to these, then I don’t know what would do the trick. I really grew up with this band, and I’m so grateful to them for producing the songs they did. 

‘The Black Parade’ — My Chemical Romance 

MCR were never my favourite emo band. Shock, horror! They were most people’s, and I am gutted to be missing them play in the UK and in Southeast Asia — my dates just don’t align. But I wasn’t the maniac fangirl so many of my friends were. That said, it doesn’t mean I didn’t appreciate what they did for the whole emo movement, so it would be remiss of me not to cover them second.

The iconic military uniforms they performed in and emblazoned across their marketing changed the course of fashion for a while. Naturally, Gerard Way and his men were everywhere, and they had us all marching to the beat of their parade’s drum. It was — and still is — a true great. The sort of razor-sharp, theatrical, operatic concept album we just don’t get anymore.

‘Welcome to the Black Parade’ remains the obvious hero on the tracklist, though the pacy ‘House of Wolves’, ‘Teenagers’ and ‘Famous Last Words’ formerly dominated my mp3 plays. The whole record is diverse — it’s an emotional rollercoaster yet raucous and rocky. And as I sit, revisiting it with my own earphones in, I also realise how ahead of things it was in the noughties. The sound is far richer than I think I ever recognised. 

‘The Same Old Blood Rush With A New Touch’ — Cute Is What We Aim For

Although they’re the poppiest pick I’m featuring, CIWWAF’s debut was a ground-breaker. Floppy-mop fringes, brightly coloured hoodies, melodic vocals and uber-catchy hooks? Ah yeah, they really had it all nailed — and maybe I’d go as far as to posit they crafted the young emo starter pack. 

Not everyone raves about them, and I appreciate they weren’t the heaviest of heavyweights, but I shall pat their backs. It would be wrong not to in this context — I had posters of them in my room, after all. They really did have “the gift of one-liners”, and we all welcomed ‘The Curse of Curves’ warmly into our ears. It’s like sticky-sweet candy, listening again. And I still reckon ‘There’s a Class for This’ and ‘Risqué’ are ace. 

‘Louder Now’ — Taking Back Sunday

‘MakeDamnSure’ featured on a compilation I got free with a magazine. I can’t actually recall what the publication was, but I know it was the first time I’d listened to the band. I didn’t realise how influential in the emo sphere they were at that stage. And now, it’s a nostalgic, agonising classic. 

‘Up Against (Blackout)’ and ‘Error Operator’ were also massive belters — what would you expect from such a quality group? A fair bit more post-punk and hardcore than some of the other albums on this write-up, Taking Back Sunday weren’t your typical mainstream emo pin-ups. But they rocked, and I’m fervently on the lookout for any new material they drop. 

‘DECEMBERUNDERGROUND’ — AFI

Although the chilling, stomping ‘Prelude 12/21’ kicked off the record, I’d say it’s chiefly led by ‘Miss Murder’, the triumphantly and abundantly catchy track that shot the group to serious fame — at least when I used to see it plastered all over the pages of Kerrang!. Flaunting tatts, bold hair and a vocal range from screamo to eloquently sung harmonies, they were major purveyors of emo quality. 

AFI weren’t typically for the metal fans; you could enjoy their blend of often-synth-tinged rock without being a devout shred head. For me, the main hell-raisers they unleashed were ‘Affliction’, ‘The Killing Lights’ and ‘37mm’. 

And somehow, it’s cheers to 20 years!