Jack White’s Solo Singles: All 25 Songs Ranked

See where the rocker's biggest hits and latest additions fall. 7/17/2026 DETROIT, MICHIGAN - NOVEMBER 27: Jack White performs during a halftime show during a game between the Green Bay Packers and the Detroit Lions at Ford Field on November 27, 2025 in Detroit, Michigan. Gregory Shamus/Getty Images When Jack White performed as musical guest on Saturday Night Live this April, during which he live debuted two new songs — the two-pack of “G.O.D. And The Broken Ribs / Derecho Demonico” — there was no buzz of a new project on the way. Even when he was added to Coachella’s 2026 weekend one lineup as a surprise performer, during which he played these two songs again, there was no mention of a new album. Instead, there was just a subtle nod by way of a lifesize statue — a casually-posed body in white wide leg pants and a shirt with an oversized blue skull for a head. This figure ultimately became the album art for White’s seventh solo album, Frozen Charlotte, that arrived July 10 on White’s Third Man Records. All six of White’s solo albums so far have debuted on the Billboard 200, with all but the loosely-marketed No Name entering the chart’s top 10. His first three — Blunderbuss, Lazaretto and Boarding House Reach — all debuted at No. 1. Meanwhile, “G.O.D.” debuted at No. 2 on both the now-defunct Rock Digital Song Sales and Alternative Digital Song Sales charts — blocked from the top spot by Tame Impala and JENNIE’s “Dracula” remix. On the all-genre Digital Song Sales chart, it reached a No. 21 peak. White is currently on tour, which kicked off July 10 in Washington, D.C. and extends through Nov. 21 when the trek wraps in Atlanta. Since he’s known to never play the same setlist twice — and to always include hits across his various projects including The White Stripes, The Raconteurs or The Dead Weather — the 13 new tracks courtesy of Frozen Charlotte‘s 13 will surely help White continue to switch it up every night. In celebration of his seventh solo album, Billboard ranked all 25 of White’s solo singles below. “Hi-De-Ho” White throws the kitchen sink at it on this the third single from 2022’s Fear of the Dawn. The song opens with sludgy, chthonian guitar, onto which White layers an operatic vocal sample from early 20th century jazz vaudeville star Cab Calloway. To that is added thundering chords, with the song then picking up in tempo as Q-Tip saunters on to deliver verses that reference Calloway’s 1943’s “Hi De Ho Man.” A sort of Frankenstein’s monster of elements if Frankenstein was a sort of turn-of-the-century musical bon vivant, “Hi-De-Ho” herks and jerks around, and while its unusualness certainly doesn’t make it a bad song, it’s maybe the strangest of all of White’s solo singles. — KATIE BAIN “Queen of the Bees” The White Stripes will always be associated with the garage-rock revival above all else, and with good reason. But the duo also found room for twee, childlike deep cuts on each of its records. White’s other projects have mostly eschewed that aesthetic, but on the jaunty “Queen of the Bees,” he channels that legacy with playful instrumentation (clock the sound effect that sounds like an elephant’s trumpet) and colorful, straightforward lyrics (“I wanna hold you like a sloth hugs a tree”). — ERIC RENNER BROWN “Ice Station Zebra” White has always been a master of delivering a pick up line that might not actually be a pick up line but sure seems like a pick up line (“soon enough you will care, by the time I’m done,” from “Ball & Biscuit” comes immediately to mind) and here on the fourth single from 2018’s Boarding House Reach, he advises that “I’ll lay low and turn off the lamps/come over, you can lick the stamps” over a simmering jazz funk arrangement. These and all the other lyrics on “Ice Station Zebra” are a rare instance of White rapping, as he evangelizes out-of-the-box thinking and how “anyone creating is a member of the family!” If “Ice Station Zebra” is, as such, an ode to being different, the song certainly achieves its goal. — K.B. “Fear of the Dawn” The second song on White’s 2022 Fear of the Dawn is the sound of all hell breaking loose, as the artist packs every heavy impulse into a tight and rowdy two minutes. The song gallops along as the guitars scream and White basically spits out lyrics that simultaneously land like a threat and a promise: “No more than two cigarettes/ Or the light from the match will betray us/ But in the dark, I can bet/ You and I won’t regret that it saved us.” This is perhaps a deep cut despite its title track status, so if you’ve been sleeping on it, wake up. — K.B. “That Black Bat Licorice” You can always rely on Jack White to relay some level of jauntiness, a mode he conveys on this Lazaretto single. Shimmying, heavy and just a little bit silly, “That Black Cat Licorice” is at once about a good woman and the nastiness of its titular food item. “I never liked it, I never will!” White proclaims, before commanding the band to “state the same damn thing with the violin!” in what’s altogether perhaps the grandest song ever written about hating licorice. — K.B. “If I Die Tomorrow” The title sounds like a James Bond movie — and that’s a bit fitting for this rumination on mortality and what the dead leave behind. “I begged and I borrowed/ Everybody’s love and they gave for free,” White sings, “And I wish that I could give it back to them.” But while it’s White at his most reflective, the song is also subtly a sonic marvel: its superficially simple acoustic guitar line is undergirded by a wistful Mellotron lick, and when the instrumental bridge blossoms, its unusual star is a Septavox synthesizer, designed specifically for White’s Third Man Records. — E.R.B. “Taking Me Back (Gently)” “Taking Me Back (Gently)” is what happens when White doesn’t release a second Acoustic Recordings compilation album – with his first and only being Acoustic Recordings 1998-2016. Released as a B-side companion to “Taking Me Back” (the lead single from 2022’s Fear of the Dawn), this softer take helped usher in White’s next album, Entering Heaven Alive that arrived just three months later. Yet, “Taking Me Back (Gently)” is more than just an acoustic take, it’s a jazzy bluegrass reimagining that replaces all its fuzzy distortion with violins and finger picking, resulting in a bouncy-bordering-on-broody melody. If the original is demanding, this version is rooted in acceptance – surely a more gentle approach toward getting a second chance. — LYNDSEY HAVENS “Dollar Bill” In the early days of The White Stripes, the band began performing live – and eventually recorded for release – a garage rock version of Bob Dylan’s take on Scottish folk song “Blackjack Davey.” More than 20 years later, listeners will hear the influence of that interpretation on one of the repeated guitar riffs in 2026’s “Dollar Bill.” But the track is overflowing with guitar runs that only a devout player of White’s caliber could fit into less than three minutes. The fury with which White blazes through “Dollar Bill” is why he continues to make the best rock albums every year despite being nearly three decades into his career. — TAYLOR MIMS “Connected By Love” One of the most admirable elements of White’s entire catalog is its overt sincerity, an element no more obvious than when he’s singing about love. On this the opening track from 2018’s Boarding House Reach, he sounds like he’s pulling his big feelings from the core of the Earth, demanding that “I KNOW we’re connected by love” as a cacophonous half time arrangement, with its intensity and grandeur, emphasizes this same point. — K.B. “What’s the Trick?” Fear of the Dawn-era White packed a particular punch, as if the blue hair dye was a reminder and recommitment to his sound – and fourth album single “What’s the Trick?” is classic White, bluesy and urgent with razor-sharp spoken-word delivery that feels refined yet frantic all at once. As White repeatedly asks, “What’s the trick? To making my love stick,” it becomes less clear if he’s asking the listener or himself – and neither party seems to know the answer. — L.H. “High Ball Stepper” “High Ball Stepper” is an absolute piledriver of a track — and White doesn’t say a word on it. Released as a the first promotional teaser for Lazaretto, the song struts from badass riff to eerie piano lick to screeching guitar solo, seemingly united by the mission statement “How about some more cool s–t?” It’s the type of wild flex that only a studio whiz like White can pull off. — E.R.B. “Over and Over and Over” White tapped into Greek mythology for his 2018 single “Over and Over and Over,” leading the song with “The Sisyphean dreamer,” a reference to the tale of King Sisyphus who drew the ire of the vengeful god Zeus. In the afterlife, Sisyphus faces the eternal punishment of pushing a boulder up a hill just to have it fall as he reaches the top. A few lines later, White sings, “My shoulder holds the weight of the world,” alluding to the Greek myth of the Titan Atlas who was forced to carry the world on his shoulders as punishment for his rebellion. The song’s drums come crashing down as White sings on the chorus, “over and over,” commenting on how the gods have scorned and relentlessly punished him for his passion. — T.M. “Corporation” White might be one of the most celebrated and successful rock stars of a generation with a dozen Grammy awards to his name and a lauded record label, but he remains a punk rock upholster at heart. On 2018’s “Corporation,” White has mocking words for the corporate sell outs who are garnering praise from their business and marketing practices. The Detroit native practically spits out the lines “Yeah, I’m thinking about starting a corporation/Who’s with me?/Nowadays, that’s how you get adulation” over a grove that ushered White into an entirely new sonic realm of synthesizers and congas that still feel defiantly punk. — T.M. “Derecho Demonico” After live debuting this track alongside “G.O.D. and the Broken Ribs” as musical guest on Saturday Night Live this April – and performing both as a surprise performer at Coachella later that month – they became the official lead singles of White’s seventh studio album, Frozen Charlotte. And while “G.O.D.” is lyrically seething, “Derecho” – which translates to “demonic right” – is sonically wicked, with its first winding and electrifying instrumental break coming in at the 1:30-minute mark. Underlined by a steadying riff, White lets it rip on this track, making “Derecho” not just the perfect companion to a song like “G.O.D.” but also the perfect way to introduce a classically sharp White album like his latest. — L.H. “Archbishop Harold Holmes” Spend some time at one of White’s revival-like live shows and it becomes obvious: in another life, he could’ve been a preacher — or a convincing snake oil salesman. So in a way, No Name standout “Archbishop Harold Holmes” is him achieving his final form. Undergirded by a devilish riff, White delivers a fiery sermon — albeit, one critiquing the opportunism and deception of religious ideologues. — E.R.B. “Taking Me Back” The first single from White’s two 2022 albums, “Taking Me Back” is either the last gasp of his late 2010s prog adventures or the first hint of his recent pivot back to more tried-and-true garage rock. White dips into his sonic bag of tricks plenty here — but strip away all the aural bells and whistles, and it’s easy to imagine “Taking Me Back” as a simple, scuzzy White Stripes song. (In a testament to the song’s malleability, White later reimagined the song as a gypsy jazz ditty, “Taking Me Back (Gently).”) — E.R.B. “Would You Fight For My Love?” With seven solo studio albums to his name, a piano-driven Jack White song still feels like a rarity and “Would You Fight For My Love?” stands out even more as a single off White’s 2014 album Lazaretto. As his second solo album (after six with The White Stripes, two with the Raconteurs and two with the Dead Weather), Lazaretto marked White’s most exploratory collection at the time and “Would You Fight For My Love?” taps into a haunting melody that could double as a music sync for a funeral procession. In this case, the deceased is a relationship that White feels one person was fighting enough to save, singing “And so there I am, the caretaker of sin/ To your abandoned and malignant heart.” — T.M. “Love Is Selfish” Released as the official lead single from the contemplative Entering Heaven Alive, “Love Is Selfish” is like the sonic sibling of “Love Interruption” – a bit older, a bit wiser, and with a learned cynicism in matters of the heart. As such, the stripped down “Selfish” is another obvious contender for a second Acoustic Recordings album, as the song blends folk, rock and blues while White contemplates the cost of love, singing: “I’ve been trying over the years to/ Try and overcome these fears, but/ Nothing I come up with proves I can.” — L.H. “G.O.D.” And The Broken Ribs” “G.O.D. And The Broken Ribs” is like a time machine, taking listeners back to late 1990s and early 2000s White Stripes. White even drops of morsel of band lore with the line “But you know we can’t live like a sister and a brother” for loyal fans, but, as one of the lead singles off his seventh solo studio album Frozen Charlotte, “G.O.D. And The Broken Ribs” still feels fresh. Where the White Stripes excelled in their minimalism, this new track brings in White’s garage rock roots of fuzzy guitars and adds a fuller sound with bass and organ for a ferocious album opener. — T.M. “Freedom at 21” The shuffling percussion and low bass set a snarling, ominous tone for this absolute rager from 2012’s Blunderbuss. The guitar riff, arguably one of the most immediately recognizable of White’s entire solo oeuvre, gives attitude to a song about a vindictive woman who abuses White, badly. Rumors have pointed to this one being about his ex bandmate Meg White or his ex wife Karen Elson, but in reality, as White said in a 2012 interview with The Guardian, “Freedom at 21” is about bad phone etiquette. “The early telephones, the telegraph, you had to treat this technology with respect,” White said in 2012. You can write on the internet for the whole world, you can make comments, but there’s no one telling you that’s impolite or that’s inappropriate.” Honestly, who can’t relate to that? Ever the gentleman, White takes his considerable upset over the fraying social fabric and turns it into this sharp-edged classic. — K.B. “That’s How I’m Feeling” White’s sixth album No Name was released in perfect White fashion – in that it was totally unconventional. The album was first shared as unmarked vinyl and gifted to Third Man Records customers in Detroit, London and Nashville. Eventually, it was wide-released with a proper title and even a lead single: “That’s How I’m Feeling.” Given the out-of-the-box way in which No Name was released, it’s a bit ironic that its lead single spawned a very classic call-and-response that has become an expected staple in White’s live show, with White beckoning during the song’s catchy riff, “ooh,” as the crowd answers back, with feeling, “oh yeah!” — L.H. “Sixteen Saltines” Leave it to White to make good-love-gone-bad sound so righteous, so intense, so absolutely thrilling. A breakneck ode to a relationship that’s become so warped that White no longer even knows “who’s jealous, who’s jealous, who’s jealous of who,” this Blunderbuss essential takes all of the loud, tight tendencies of the White Stripes catalog and puts them through the White solo machine that makes everything a little bit bigger and more widely arranged, but no less ferocious. — K.B. “I’m Shakin'” White’s debut solo album Blunderbuss is arguably one of his greatest contributions to the world of recorded music. White’s deep knowledge of rock music come out to play across 13 tracks and “I’m Shakin’” takes us back to 1960. The song – originally recorded by rhythm and blues artist Little Willie John – was a jumping record for its time and White respected its origins by turning the intensity all the way up. On this 2012 single, the listener can feel White vibrating through his guitar as he sings the jittery lyrics. With heavenly background vocals from Ruby Amanfu, Laura Matula and White’s now ex-wife Karen Elson, “I’m Shakin” delivers a rock’n’roll rattle that possess the listener to move like a Pentecostal congregation. — T.M. “Lazaretto” White established his solo sound on Blunderbuss – but he proved its potential on his second album, 2014’s Lazaretto, and its swaggering title track. For years, he’d teased his infatuation with prog-rock on White Stripes, Raconteurs and Dead Weather albums; here, he makes good on it, with a multi-part bilingual epic that seems to capture every sound he’d explored up to that point in less than four minutes. And that’s what makes it special: White’s brand of prog doesn’t sacrifice brevity. — E.R.B. “Love Interruption” The twistedly tender “Love Interruption” is a far cry from the searing, electrifying rock that is associated with much of White’s catalog. And perhaps that’s why it’s his greatest solo feat. Released as his debut solo single from White’s debut solo album, Blunderbuss, which arrived 14 months after the dissolution of The White Stripes, the acoustic track showcases a less-heard side of White, making it all the more special. Much like how the White Stripes’ “We’re Going to Be Friends” stands out among the duo’s hits, “Love Interruption” does indeed interrupt White’s solo singles, standing as a testament to the skill required to dial it back. And while he isn’t expertly wielding a wicked range of chords, the song’s opening riff is just as recognizable as his punchier singles. Instead of letting his guitar wail, it’s White’s words – as the sole songwriter – that are tasked with the heavy lifting here, alongside gentler vocals from White and Ruby Amanfu. Throughout the song, as he goes on about all the ways in which he wants love to consume and ruin him (and remember, this came on the heels of The White Stripes break up) he ultimately holds firm on the chorus, declaring repeatedly: “I won’t let love disrupt, corrupt or interrupt me.” Nearly 15 years strong into his solo career, it’s clear nothing, not even love, has gotten in his way. —L.H. Get weekly rundowns straight to your inbox Sign Up