Soundtrack Of A Generation: The Honorable Mentions (Part 2)

By: Ben Levi

Last week, I introduced a project where over the coming weeks, I’ll be counting down what I believe are the most iconic Jewish songs released since 2000. Not a single ranking has been published up to now. Still, I heard more than a few conversations in shul this past Shabbos over what songs deserved to make the countdown. Before we get started, two disclaimers: First, my list is unapologetically subjective. There is no mathematical formula for determining the impact of a Jewish song. Second, the word “iconic” meant something very different in 2001 than it does today. Many of the songs on this list were released years before Spotify, YouTube, Instagram, and social media algorithms determined popularity. Back then, a song went “viral” because every wedding band played it, every yeshiva sang it, every camp adopted it, and before long, it found its way into homes and simchas across the Orthodox world. Looking back, one thing became abundantly clear: true classics don’t simply become popular: They endure.

Before we get to the Honorable Mentions, there are two songs that deserve to be recognized, yet are not part of the competition for various reasons. “One Day” (2008) by Matisyahu found its way into stadiums, schools, political rallies, and the playlists of people who had never heard of Shabbos or kumzits. This song actually became much bigger than the world of Jewish music to become part of the cultural narrative. But this countdown is looking for songs that are inextricably woven into the fabric of Orthodox Jewish life, while “One Day” followed a different trajectory. And for that reason, it sits outside the rankings. The second song in this category is “Candlelight” (2010) by the Maccabeats. Candlelight is here for the opposite reason. Unlike “One Day,” it wasn’t excluded because it reached outside the world of Jewish music. It was excluded because “Candlelight” will never be remembered as a wedding song, a kumzits staple, or a modern Jewish anthem. It’s remembered as one of the funniest, smartest, and most successful musical parodies the Jewish world has ever produced, and it generated millions of views. It also deserves credit for starting a trend. Today, no Chanukah seems complete without at least one polished musical parody video making the rounds. Fifteen years ago, that wasn’t a given. “Candlelight” helped turn it into a tradition.

{Honorable Mentions

“Veafilu Behastara” (2014) by Yoeli Klein. Some songs become popular because they’re catchy. Others because they give voice to something people desperately need to hear. “Veafilu Behastara” belongs in the second category. Built around Rebbi Nachman’s timeless teaching that even in the deepest concealment Hashem is present, composer Shaya Gross created far more than a beautiful niggun. He gave thousands of Jews a melody for one of the most comforting ideas in Jewish thought. Producer Eli Klein first heard the niggun being sung at a simcha and immediately recognized it was something special. He brought it into the studio, where Yoeli Klein recorded it together with the magnificent Malchus Choir and the remarkable child soloist Nussi Fuchs. It was never meant to be loud. It was written as a slow, haunting niggun, and that’s exactly what made it so powerful. Whenever it was sung, conversations stopped. People listened. People reflected. Few contemporary songs have created that kind of atmosphere. Some songs are remembered because of the excitement they generate. “Veafilu Behastara” is remembered because of the peace it brings.

“Veahavta” (2016) by Meilech Kohn. Every generation seems to produce an artist who doesn’t quite fit anyone else’s mold. Meilech Kohn is that artist. You didn’t need to hear the title; the minutes someone began, “Yeder einer….” everyone knew exactly what was coming. That was the magic of “Veahavta.” The song perfectly reflects the man singing it. There was an infectious joy about Meilech that couldn’t be manufactured; he simply radiated simcha. You believed every word he sang because you believed the person singing it. Then, in the middle of the song came the moment that caught everyone by surprise. “Halo!” wasn’t part of the lyrics. It wasn’t part of the composition. It was simply Meilech being Meilech. Somehow, that playful interruption didn’t distract from the singing; it became part of the charm. It was unexpectedly jarring and utterly delightful. Before long, listeners couldn’t imagine “Veahavta” without it.

“Ivri Anochi” (2017) by Benny Friedman. As the nephew of Avraham Fried, Benny Friedman had an early introduction to Jewish music, but the consistent career he built over the past 15 years was entirely his own doing. From the very beginning, Benny brought something that couldn’t be taught: infectious joy. Whether he was performing before thousands or leading an intimate gathering, he always looked like he was having the time of his life. It never felt rehearsed. It felt genuine. Audiences didn’t simply watch Benny Friedman. They smiled with him. Benny transformed the ancient words of “Ivri Anochi” into an anthem of modern Jewish pride. The brilliance of the song lies in its simplicity; there is no complicated message to unpack. In a world that often pressures Jews to explain who they are, Benny Friedman reminded us that sometimes it’s enough simply to sing it.

“Mama Rochel” (2008) by Yaakov Shwekey. By 2008, Yaakov Shwekey wasn’t just the biggest star in Jewish music. He was the standard. Albums were measured against his. Concerts aspired to match his. New singers were compared to him. If Shwekey recorded a song, the Jewish world stopped to listen because experience suggested it was worth listening to. Then “Mama Rochel” came out. Instead of relying on vocal fireworks and soaring orchestral finales, Shwekey chose restraint. The result was one of the most heartfelt recordings of his career. Part of what made the song so unique was its seamless blend of Hebrew, Yiddish, and English. It felt as though every segment of the Jewish world had been invited into the conversation with Rochel Imeinu. That multilingual approach gave the song its uncommon warmth and helped it resonate across communities. Every year, as Rochel Imeinu’s yahrzeit approaches, the song quietly returns. It has become almost inseparable from the occasion, reminding listeners that some melodies don’t fade. They simply become part of the calendar. Perhaps that’s the greatest compliment any Jewish song can receive. Nearly twenty years later, Mama Rochel still reminds us that Rochel Imeinu never stopped crying for her children.

“Ochila” (2008) by Hillel Paley. There are very few contemporary Jewish songs that evoke an emotion within the first three notes. “Ochila” is one of them. Composed by Hillel Paley and first introduced to the wider Jewish music world on Lipa Schmeltzer’s 2008 album “A Poshiter Yid,” this niggun has that rare quality of timelessness. It’s hard to believe someone actually sat down and wrote it because it sounds as though it has always existed. While it can be sung throughout the year, Ochila has become almost inseparable from the Yamim Noraim. For many, those opening notes immediately signal that the season has arrived. Few contemporary niggunim have become so closely associated with a particular time on the Jewish calendar. Perhaps the greatest compliment comes each Elul from Ishay Ribo. Despite possessing one of the richest catalogs in Jewish music, Ribo regularly opens his Elul concerts with “Ochila.” That tells you something. An artist whose own songs have become modern classics chooses someone else’s song to set the tone for one of the most anticipated concert tours of the year. A composer doesn’t receive much higher praise than that. Had this countdown measured the most beautiful niggunim of the past twenty-five years, Ochila would have comfortably made the Top 10. But this series is measuring something slightly different, which songs became the soundtrack of everyday Orthodox Jewish life. As beloved as “Ochila” is, it never quite reached that level.

So, there they are. Five songs that deserve honorable mention. If you’re already wondering which songs made our top ten, stay tuned for next week.