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15 Most Underrated Ed Sheeran Songs

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HEY! Are you looking for songs released after ÷ (Divide)? We’ve published a NEW list of Ed’s most underrated songs for the year 2023, from the end of ÷ (Divide) through the end of – (Subtract). Click here to see it!

Ed Sheeran, the lovable redhead from Suffolk, England, has become the modern-day mainstream poster child for the singer/songwriter genre through his soulful acoustic ballads and energetic hip-hop-influenced jams. Between lyrics of love, heartbreak, drinking, internal struggles, and familial issues, Sheeran is unquestionably recognized by many as one of the most genuine and heartfelt songwriters of the 2010s. He seems to get more and more popular with every release, but yet, many of his songs don’t garner their deserved attention. Here are our top 15 most underrated songs from this amiable musician! (Stick around for honorable mentions and unreleased songs at the end!)

15. “I Will Take You Home” from Bloodstream – Single  (2015)

Casual acoustic strumming and endearing libretto defines “I Will Take You Home,” which was released as part of the “Bloodstream” single in 2015. Between a harmonica solo and unique vocal layering, “I Will Take You Home” is an enjoyable, serene track that showcases Ed’s humble lyricism and simplistic attitude. It’s an entrancing song that easily allows the listener to relax and turn off the rest of the world.

14. “Shirtsleeves” from ×  (2014)

“Shirtsleeves” appeared as a bonus track on Ed’s 2014 full-length album ×, pronounced “multiply.” Ed has always worn his heart on his sleeve and that is clearly noticeable on “Shirtsleeves” … literally. The upbeat percussion creates a sense of energy while the guitar-commanding singer croons and whispers his feelings through metaphors related to water and drowning.

13. “Grade 8” from +  (2011)

Ed’s major label debut + was a game-changer in the singer/songwriter industry. His perfect mixture of hip-hop and acoustic consonance was something not many artists had consummated before, and it is incontrovertibly apparent on “Grade 8,” an animated cut from + ornamented with piano chords, buoyant percussion, and electric guitar accentuations. The chorus is addictive and yet also pleasingly sentimental.

12. “Touch and Go” from ×  (2014)

The opening riff of “Touch and Go” is nothing short of infectious. This tune has an insatiable groove that is simply undeniable. The vocal theme is catchy, especially in the chorus, and nonchalantly rolls off the tongue, which testifies to Ed’s songwriting and melodic sensibility. “Touch and Go” was attached as a bonus track for ×, causing it to not earn proper attention.

11. “Save Myself” from ÷  (2017)

Though our review of Ed’s third major label release was not extremely positive, “Save Myself” undoubtedly stands out as one of the best songs on ÷. The gentle piano melody coupled with Ed’s emotional vocal delivery bolsters the already poignant lyrics, making for a self-reflective tearjerker. The tune was included as a bonus track though it was initially intended to be an a-side, and it’s a shame it did not receive its due recognition.

Click here to read our full review of ÷!

10. “English Rose” from ×  (2014)

Another bonus track from ×, “English Rose” is an exceedingly unique song for Ed’s discography. Ed crafts a Mumford & Sons-esque stadium-rattler with a chugging, progressive percussion beat and folky attitude. “English Rose” features another harmonica solo, presumably the same one from (or at least very similar to) the aforementioned “I Will Take You Home,” among a full-sounding array of diverse instrumentation not typically exhibited on an Ed Sheeran tune, who is known for being a one-man band.

9. “You Break Me” from Want Some?  (2007)

“You Break Me” is the effervescent opening track from Ed’s recondite third long-player titled Want Some?. Unleashed on his parent’s independent art consultancy named Sheeran Lock at the young age of 16, Want Some? is Ed’s fourth non-major-label release and is mostly forgotten and overlooked by general listeners. “You Break Me” is authentic evidence of Ed’s early musical talent and euphonious potency that would eventually manifest itself on stages in sold-out stadiums across the globe. (Of course, we’re all enthused by Ed’s adorable “fetus” voice.)

8. “Even My Dad Does Sometimes” from ×  (2014)

Ed has always cited John Mayer as a notable inspiration for his career, and that is certainly obvious sonically on the deep cut “Even My Dad Does Sometimes” from ×. Featuring a downtrodden electric guitar melody and stirring piano refrains, “Even My Dad Does Sometimes” is a heartrending tune reminding the listener that it’s “alright to cry” and “shake” because it means we are human. Ed tells us it’s “alright to die” but to just hold on for today and live on no matter what. Being human means feeling emotions, which is exactly what this song makes us do.

7. “Gold Rush” from +  (2011)

On a more positive note, “Gold Rush” is an upbeat, singalong-ready tune that was included as bonus material on Ed’s major label debut titled +. The instrumentation is characterized solely by an acoustic and electric guitar, but the catchiness of the vocal melody renders this number to be more musically captivating and challenging to get out of your head. Ed has a way of crafting simple yet memorable, fun compositions that are irrefutable earworms.

6. “The Man” from ×  (2014)

A standard edition a-side from ×, “The Man” is a steady rap-inflicted tune that demonstrates Ed’s ability to create sensitive rap sequences which allow him to squeeze more lyrics into his arrangements. This track is one of Ed’s most personal and internally contemplative pieces, causing him to appear overcome during an intimate acoustic performance. “The Man” is a song of loss, heartache, self-disappointment, bitterness, sadness, and overall unhindered honesty, all attributes that most mainstream artists don’t typically delve into, which sets Ed apart from the bunch as a more introspective, heartfelt songwriter.

5. “Fire Alarms” from Songs I Wrote With Amy – EP  (2010)

“Fire Alarms” is a mellow yet spirited article from the Songs I Wrote With Amy EP released in 2010. Amy Wadge is one of the main remarkable songwriters that Ed has collaborated with on numerous tunes, including some of his most monumental hits like “Thinking Out Loud” and “Galway Girl.” “Fire Alarms” is carried by a propulsive acoustic guitar melody with electric strains sprinkled throughout and subdued percussion. The song gently develops and broadens with the repeated line “We are waving our lives away.”

4. “Nina” from ×  (2014)

Similar to “The Man,” “Nina” is another impassioned cut from × that attests to Ed’s expressive lyricism and unapologetic tendency to openly display his heart. “Nina” also testifies to his inclination to include personal details, which gives his music an exclusively intimate touch, like a page from his diary. The track is characterized by piano-directed assonance, fervent vocals, ebullient percussion, and deep guitar strumming.

3. “One Night” from Loose Change – EP  (2010)

The rich instrumentation and production quality paired with the catchy vocal cadences and interesting libretto makes “One Night” an intriguing and momentous song in Ed’s catalog. The repetitive chorus is bound to get stuck in your head, along with the electric guitar refrains dazzled throughout the mix. The verses are down-to-earth and overall entertaining to follow along with, like when Ed sings about needing money to purchase fast food but the person he’s with buys him “chips and cheese” so “she’s all [he] need[s],” or how she “turns [his] cheeks the color of [his] hair.” “One Night” distinctively substantiates Ed’s operatic ability and how he can craft lyrics that are both warmly thoughtful and amusingly charming.

2. “Runaway” from ×  (2014)

A song with a groove that Taylor Swift vehemently praised, “Runaway” is emphatically one of the catchiest, most rhythmic numbers on × with the production help of Pharrell Williams. On top of the musical efficiency, the lyrics illustrate a son’s struggle with his father’s alcoholism and inclination to abjectly run away from home, claiming he “love[s] him from [his] skin to [his] bones” but sadly doesn’t “wanna live in his home.” Ed further portrays his internal maturity by accepting that no one is perfect when he says, “None of us are saints; I guess that God knows that.” It’s a grim depiction but an honest, sincere emotional presentation of a real-life situation that many people experience and can subsequently relate to.

1. “Top Floor (Cabana)” from Hotel Cabana with Naughty Boy  (2013)

Oddly enough, our top pick is a collaborative project with Naughty Boy. The song is titled “Top Floor (Cabana)” from Naughty Boy’s 2013 full-length Hotel Cabana. “Top Floor” is a seemingly simple tune which opens up with sounds of a bustling city, allowing the listener to truly feel like they are in the moment and place the song attempts to set. Instrumentally, “Top Floor” is characterized by nothing more than Ed’s acoustic guitar and a soft backing piano. The lyrics are ardently captivating and strangely ethereal, painting a scene of an empty soul contemplating suicide—his “sweetest goodbye.” The delivery is overall chilling and arouses feelings of hopelessness and sorrow. The boisterous honking of car horns at the end and lack of worded closure causes the listener to wonder if the writer chose to fall from the top floor of the hotel. It leaves a sense of despondency and grief and a longing to aid the forlorn singer, which is an emotional connection that not many songs can accomplish. Despite this level of masterful songwriting and heartstring-tugging, the brief piece unfortunately did not gain its deserved attention.

Well, there you have it, the most underrated songs by Ed Sheeran! Tweet at us or let us know in the comments below what songs you think are overlooked!

Honorable Mentions:

Ed Sheeran – ÷ (Divide), 2017 (Album Review)

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Ed Sheeran, the musical dynamo who stands as the mainstream poster child for the singer/songwriter “white guy with an acoustic guitar” genre, has released his third major label full-length album, ÷. Ed is acclaimed for his diversified styles, from upbeat hip-hop to syrupy sweet love ballads to campfire singalongs. His earnest lyricism and authentic intimacy is one of the many reasons to love this amiable redhead.

So what does this latest long-player have to offer?

÷ is a typical Ed Sheeran album, a mixture of those various approaches and then some. But unfortunately, ÷ plays it extremely safe in personality, although he does tiptoe outside of his comfort zone on a few moments. This is his most noticeably commercial record to date, which thus sacrifices risk-taking and is ultimately underwhelming. After 2014’s phenomenal ×, touring the planet, and taking a year off social media, we set the bar high for Ed. We expected something more personal, something introspective and astonishing, but ÷ really does not meet those standards. It’s the same-old-same-old but yet not as stunning and gripping as his earlier material. Of course, ÷ is alright; it’s not a terrible release by any means, but it certainly is disappointing in multiple categories.

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First, the lyrics. At times, the libretto of this work can be profound and ardent, but most cuts either display the same tired-out romantic clichés from his prior albums or empty, dull subjects that simply don’t attest to his growth as a person since the last time we heard from him on ×. “Galway Girl” exhibits a night out at the pub, kissing an Irish girl and eating Doritos, and while this is down-to-earth and practical, is this really the height of Ed’s songwriting? Or “New Man” where Ed gives details of a stereotypical gym jock, someone we could easily picture and possibly put a name to of a similar person we know, and while this song is descriptive, is it really anything more than just scratching the surface? Or similarly, “Shape of You,” the most sexually charged yet undoubtedly catchiest song in the lineup. Or on tracks like “Happier” where Ed expresses some maturity by accepting an ex lover has moved on with someone new, but yet he ruins it all by stating at the end of the song he’ll still “be waiting here for [them].” The hackneyed instrumentation also doesn’t cater to his rougher operatic delivery to any considerable degree in order to pack the real emotional punch. “What Do I Know?” is littered in naiveté, and the octave-stacked vocal layering and humming is crudely annoying. We do manage to see some progression and communion on pieces like “Castle on the Hill” which describes Ed’s childhood and struggles of growing up and apart from old friends. The bonus track “Save Myself” is probably the most intimate, reflective tune on the album, which begs the question as to why it was merely tacked on as a bonus track. “Supermarket Flowers” is also one of the most personal and genuine songs where Ed recounts true events that occurred in his life.

EDIT: Ed Sheeran said in an interview with Zane Lowe that the reason why “Save Myself” was not included as an a-side tune was because the album had “too many slow songs.” Thus, the label requested that he swap “New Man” and “Save Myself” in the initial listing, making “New Man” a standard track and “Save Myself” a bonus track. This is understandable, and one must also consider that alongside the poignant ballads, Ed is known for his hip-hop-directed cuts, which ÷ lacked in some ways. Ed also mentioned that due to the rise of online music streaming services, bonus tracks still garner their deserved attention to an extent.

The musical assortment of this release is apparent when solely discussing the album, but compared to Ed’s past catalog, it is for the most part stale and trite. Hip-hop cuts like “New Man” and “Eraser” offer Ed’s clunky rap sequences and poor production quality. Sappy amorous ballads like “Perfect” and “Hearts Don’t Break Around Here” feel disingenuous and unrealistic. (Of course, this is assuredly subjective; some fans adore his hip-hop moments and/or his mushy romantic articles, but I personally have never found them interesting.) (Also, how did Ed think it would be flattering to compare his lover to a “pothole?” Yuck.) The overt love serenades, swelling with passion, virtually come across as just an attempt to pull at your heartstrings, which seems exploitative to an extent. (And trying to mimic the success of “Thinking Out Loud.”) The only tolerable romantic nocturne is “How Would You Feel (Paean),” which is embellished by the delectable piano accompaniment.

EDIT: Ed Sheeran said in an interview with Zane Lowe that his main motivation for writing “Perfect” was to prove that he could write fabulous love songs on his own and outdo “Thinking Out Loud,” which he wrote with Amy Wadge. This bolsters my feelings of insincerity in Ed’s latest songwriting.

However, pieces like “Castle on the Hill” and “Galway Girl” do illustrate some sonic variation not typically discovered on his previous albums. (With the exception of the stellar “English Rose” from ×, which is quite overlooked if you ask me.) “Castle on the Hill” follows in the bombastic vein of a Mumford & Sons-esque stadium epic, something new for Ed. “Galway Girl” and “Nancy Mulligan” find Ed exploring his near Celtic background and fondness for Ireland with an Irish band, something that truly stands out on this full-length. Bonus tracks like “Barcelona” and “Bibia Be Ye Ye” show him placing a toe outside his comfort zone with a more Latin leaning vibe, and he even roughly speaks Spanish on the former and Twi on the latter! Again, it’s a shame these tunes were attached as bonus material because it is the only minor evidence and incorporation of Ed’s travels across the globe. The impassioned love divertissements do offer some symphonic diversity with their orchestral inflections and female backing vocals, like on the soulful “Dive,” and Ed is cementing a somewhat unique sound with these timbres.

The easy accessibility and listenability of ÷ causes it to suffer in some ways. Ed’s pop sensibility seemingly dumbs down his trademark emotional contemplation and self-examination to appeal to a larger audience. The lyrics of this album plainly don’t punch the listener in the gut like his preceding projects did. He immolates auricular risk-taking over his traditional familiarity and generic acoustic timbre which has grown threadbare throughout his career. ÷ is not entirely atrocious or abominable by any degree, but it does not scrape the expectations we had set for him after his antecedent release, hiatus, and worldwide excursions. ÷ warrants a solid 4.5/10 for its lack of progression and variety, and I’ll personally only be revisiting a small handful of songs. (As opposed to my constant return to his full previous records!)

What are your thoughts on ÷? Let us know in the comments below!

  • Best songs: “Castle on the Hill,” “Save Myself,” “Dive,” “Supermarket Flowers,” “How Would You Feel (Paean)”
  • Worst songs: “Happier,” “New Man,” “Perfect,” “Hearts Don’t Break Around Here”