Artists Like Arctic Monkeys: 11 Indie Rock Bands You Need to Hear

The Strokes and Arctic Monkeys arrived on different sides of the Atlantic at almost the same moment and defined indie rock in the 2000s. Julian Casablancas's nonchalant baritone and the band's interlocking guitar parts on "Is This It" (2001) and "Room on Fire" (2003) are the American answer to Sheffield's finest.

Van McCann's Catfish and the Bottlemen are the most direct successors to early Arctic Monkeys — driving guitar riffs, anthemic choruses, and lyrics about young love and city nights. "The Balcony" (2014) is a debut album as confident and energised as "Whatever People Say I Am".

Miles Kane co-wrote and performed with Alex Turner in The Last Shadow Puppets, and his solo career carries the same sharp-suited swagger and melodic intelligence. "Colour of the Trap" (2011) and "Don't Forget Who You Are" (2013) are underrated British rock albums.

Alex Turner and Miles Kane's side project takes the Arctic Monkeys' cinematic ambition and smothers it in orchestral strings. "The Age of the Understatement" (2008) and "Everything You've Come to Expect" (2016) show Turner's songwriting at its most romantically grandiose.

The Jarman brothers' The Cribs are the Arctic Monkeys' fellow Yorkshire travellers — scrappier and more punk-influenced, but sharing the same sense of place and wit. "Men's Needs, Women's Needs, Whatever" (2007) is essential British indie.

Jon McClure's Reverend and the Makers came from the same Sheffield scene as Arctic Monkeys — they even share influences and collaborators. "The State of Things" (2007) is a debut album full of danceable indie rock and sharp political commentary.

Oxford's Foals took the precision of math-rock and the accessibility of indie pop and created something genuinely original. "Antidotes" (2008), "Holy Fire" (2013), and "What Went Down" (2015) map a band growing in ambition and intensity. Yannis Philippakis is one of the great frontmen of his generation.

Liam Fray's Courteeners carry the Oasis working-class Manchester tradition into the post-Arctic Monkeys era. Their anthemic choruses and nostalgic romanticism have made them one of Britain's biggest festival bands. "St. Jude" (2008) is a debut as confident as any in British indie.

Mike Kerr and Ben Thatcher sound like a full band with just bass and drums. Their huge, fuzzed-out sound owes something to the heavier end of Arctic Monkeys' later work and the intensity of Queens of the Stone Age. "Royal Blood" (2014) is one of the great debut rock albums of the 2010s.

Jamie Treays's angular guitar-pop and rapid-fire storytelling make him a London cousin of the Sheffield scene. "Panic Prevention" (2007) is full of sharply observed portraits of urban life — the same material Arctic Monkeys mine, transplanted to Wimbledon.

Manchester's Everything Everything take the melodic density and lyrical intelligence of later Arctic Monkeys into stranger, more adventurous territory. Jonathan Higgs's falsetto and the band's complex arrangements make "Man Alive" (2010) and "Arc" (2013) some of the most ambitious British indie records of the era.