A few weeks ago, something happened on the Billboard Hot 100 that had not occurred since 1992: An artist that does not exist topped America’s big pop chart. That song was “Golden”, and it’s credited to Huntr/x, the fictional K-pop group featured in the hit summer Netflix movie K-Pop Demon Hunters. They join a small cadre of four other fictional artists to top the Hot 100: Alvin & The Chipmunks, The Archies, The Partridge Family, and The Heights (if that last name doesn’t ring a bell, their only hit “How Do You Talk to Angel?” might). This summer also sees the return of Spinal Tap, who are featured in a new sequel to the classic ’80s mockumentary This is Spinal Tap.
There have been many fictional artists over the years, and we decided to celebrate both Huntr/x’s chart achievement and the resurgence of Spinal Tap. We decided to write about our favorite bands from the world of fiction: films, television, video games, manga, and just about everything in between. Our list spans from a puppet rock group from the 1970s to films released this year, including a certain “Golden” group that is still topping the charts as we publish this.
We’ve listed 26 artists, and we know there’s definitely more where that came from. We could have also included Mouse Rat from Parks & Recreation, TENBLANK from Glass Heart, and Ellen Aim & the Attackers from Walter Hill’s Streets of Fire, just to name two bands that didn’t make the cut. Also, we limited the list to just bands, which means you won’t find Hannah Montana, Powerline from A Goofy Movie, or Dewey Cox in here.
4 Town, Turning Red
Many movies featuring fictional bands are period pieces that trade on nostalgia to help sell the bands. This can often feel lazy, but when it clicks, it can be like discovering a hidden gem. The plot of Pixar’s Turning Red relies on the main character’s obsession with a fictional boy and 4 Town so much that the final set piece takes place at one of their concerts.
How do you create a boyband to embody the larger-than-life impact of bands like *NSYNC and The Backstreet Boys? You tap one of the best songwriters working today, Finneas O’Connell, and a former Disney Channel star with serious vocal chops, Jordan Fisher, to anchor it. Songs “Nobody Like U” and “U Know What’s Up” perfectly encapsulate the boy anthems of the early 2000s while being fun enough to throw into your current rotation. [Jose Cordova]
The Ain’t Rights, Green Room
The world of hardcore punk can be inclusive to a fault, something that our protagonists in Green Room, a scrappy band called The Ain’t Rights, are clued in on early in the film when they find out that the gig their manager sets up to replace a canceled show turns out to be opening for a Nazi metal band at a skinhead bar.
The defining moment of them as a band, right before things go to shit and they have to start fending for their lives, is when they step on stage and blast out a cover of “Nazi Punks F**k Off” by the Dead Kennedys, a short and furious song whose chorus is its title, to a full house of genuine fascists. This moment embodies the spirit of the entire movie, where the defiant energy of The Ain’t Rights refuses to let them compromise their morals and capitulate to the worst members of our society, despite the fact that by doing so, they are putting themselves in serious danger. Punk rock should mean following your passion and freedom to the extreme, and the punk at the heart of Green Room lives and dies by this ethos. [Quinn Parulis]
The Beets, Doug
Modeled after English bands like The Beatles and The Who, The Beets were the rage of Bluffington in Nickelodeon’s Doug. They had the look of ’60s rock stars with early ’90s sounds, and their songs were catchy for both kids and adults. Creator Jim Jinkins brilliantly showcased how music shapes your identity. For a lot of kids, that was one of their first introductions to the magic of discovering their favorite band. Millennials may not remember every detail of Doug, but they remember rocking out to a song about eating clean (though, let’s be honest, “I Need Mo’ Allowance” is better). [Yasmin Kleinbart]
Clash at Demonhead, Scott Pilgrim vs the World
Alternative and indie music live at the heart and soul of Scott Pilgrim vs The World, right down to its protagonist’s name. But it’s his ex’s band that steals the show near the film’s halfway mark. Led by the iconic Envy Adams (a pre-breakthrough Brie Larson), the band only performs the first part of Metric’s “Black Sheep” in the film; however, Larson sings the song herself, instantly setting the performance apart from Metric and emphasizing the personal stakes between the band and the crowd.
The song matches Wright’s half shots and cuts right on time, contrasting Scott (Michael Cera), Ramona (Mary Elizabeth Winstead), Envy, and Ramona’s ex, the bassist Todd (Brandon Routh), until Larson croons the chorus across the stage, taking all the attention. The performance is one of the top highlights of a film full of them, with fans spending years begging Universal for the full Larson cut of “Black Sheep.” Thankfully, that happened with the re-release of the soundtrack to coincide with the film’s 10th anniversary, letting us all finally get to hear the rest of the Clash at Demonhead set. [Travis Hymas]
The Blues Brothers, Saturday Night Live, and The Blues Brothers
The Blues Brothers blur the lines between reality and fantasy. Yes, they were characters played by Dan Aykroyd and John Belushi, on both Saturday Night Live and a hit film, but they were also a real band. Inspired by Aykroyd and Belushi’s genuine love for blues music, they put together a band full of legendary session musicians to record albums and tour. 1978’s Briefcase Full of Blues was a number one album and went double platinum. There was genuine interest in these two characters played by moonlighting comedians.
The classic 1980 film that followed expanded their story, and played as much of a genuine love letter to classic blues and R&B as it was one of the best comedy films of the 1980s. In it, Jake and Elwood Blues attempt to reunite their band in order to save the orphanage in which they grew up. Hijinks, car chases through malls, and some truly amazing musical performances from the likes of Aretha Franklin and James Brown follow. The band performs a few times, too, although not in the circumstances they hoped to. After Belushi’s death in 1982, Aykroyd kept the group going much to its detriment (Blues Brothers 2000, anyone?), but nothing can erase the impact their albums and film had on the pop culture landscape. [Ryan Gibbs]
Dethklok, Metalocalypse
Dethklok, our heroes in the world of Metalocalypse, are a melodic death metal band who are so massively popular that they have become their world’s seventh largest economy. They live inside a massive and towering fortress that doubles as their recording studio, have an army of henchmen/roadies at their beck and call, and stage such elaborate and over the top live shows that fans have to sign a death waver upon attending.
Unfortunately, for everyone who has to deal with them, they are also complete fools who can barely manage any task that doesn’t have to do with music. Featuring some genuinely brutal/hilarious/high-quality music (the band’s real-life tours have become legendary) and numerous high-profile cameos from the world of metal, there might be no finer love letter to the world of the heaviest music than Metalocalypse, with the band at its center, all holding everything together, whether they mean to or not. [QP]
DuJour, Josie and the Pussycats
Harry Elfont and Deborah Kaplan’s 2001 film adaptation of Josie and the Pussycats rebooted the 1963 Archie Comics series against the backdrop of a consumerist dystopia that feels more and more like our current reality every single day. It also gave us DuJour, arguably the greatest boy band to ever release just four singles and then be murdered in a plane crash because they discovered their inadvertent role in a plot to brainwash the youth of America.
The biggest strength of DuJour is its lack of specificity – DuJour can mean anything, so DuJour is always exactly what you need it to be: DuJour means hygiene. DuJour means family. DuJour means seatbelts. Nowhere is this ambiguity more obvious (or more delightful) than in the group’s hit Backdoor Lover, which can be either an ode to forbidden love or a tribute to the joys of anal sex, depending on your mood.
D.J. (Donald Faison), Travis (Seth Green), Marco (Breckin Meyer), and Les (Alexander Martin) could never agree on much, but they banded together when it mattered most. “Backdoor Lover” and “DuJour Around the World” helped to drive the Josie and the Pussycats soundtrack to an RIAA Gold certification and No. 16 on the Billboard 200, paving the way for the film’s (well-deserved) cult following. We never got to hear their songs “What?” and “Don’t Tell Your Papa,” but with Seth Green recently teasing a DuJour reunion, DuJournos have plenty of reason to hope for more on the horizon. [Brogan Luke Bouwhuis]
Dr Teeth & The Electric Mayhem, The Muppet Show
Dr. Teeth & The Electric Mayhem, the house band of The Muppet Show, radiate the freewheeling rock of the ’70s better than any fictional band that came out of the decade. The band wasn’t exactly glam, but they had the loud colors to match the era. Led by Dr. Teeth, an obvious parody of multi-genre pianist and songwriter Dr. John, the ragtag band found its way into multiple Muppet projects after the end of the show, constantly reminding you of the felt troupe’s heyday from 50 years ago despite their timelessness.
Of course, the Electric Mayhem’s most famous member is Animal, the representation of pure primal id that serves as the band’s drummer. Animal is a goofy representation of the hard-living drummers found throughout the history of rock and roll, including the obvious influence of Keith Moon, and has proved to be a popular Muppet character independent of his drumming. The other members, Janice, Zoot, Lips, and Floyd Pepper, are fun hipsters who add to the band’s charm, particularly Janice and Floyd, who made their own appearances on the show throughout its run. If only we got that Dr. Teeth concert tour where My Morning Jacket would’ve backed them up. [RG]
Hedwig and the Angry Inch, Hedwig and the Angry Inch
It goes without saying, but the highest compliment you can give any fictional band is listening to their songs, removed from the media they originated from. And boy, do the songs of Hedwig and the Angry Inch have staying power. First conceived as a musical created by John Cameron Mitchell and Stephen Trask, the film adaptation arguably elevates the already visually and sonically pulverizing material. Exemplifying the magnetic effect of a drab disco ball, the titular band at its center delivers zippy numbers of self-effacing magnitude and power ballads that reverberate throughout the film, anchored by the timeless vocals of Mitchell in the lead role. From “The Origin of Love” to the anthemic, thematically poignant “Midnight Radio,” these infectious rock numbers beg for multiple listens. [Allyson Johnson]
Ho-Kago Tea Time, K-On!
Directed by the one and only Naoko Yamada, K-On! focuses on four girls who join their school’s light music club to stop it from being disbanded. The girls who form the band, Ho-kago Tea Time, are Yui Hirasawa, Mio Akiyama, Ritsu Tainaka, and Tsumugi Kotobuki. While the name stems from the band enjoying their afternoon tea more often than actually practicing—as per their adviser— the bonds they create help them learn how to play music, read sheet music, and perform on stage together. The ups and downs of their friendship are what make their music so fun to listen to. And despite being high schoolers, they go on to play at festivals both in Japan and internationally alongside former light music club bands. [Kayla Chu]
Huntr/x, K-Pop Demon Hunters
The girl group that you know would have the wildest and most dedicated fanbase, HUNTR/X from KPop Demon Hunters, showed that topping the charts is not just limited to the movie against Gwi-Ma’s demon boyband. The songs tastefully incorporate their inspirations into their composition, and they have also managed to convey their message through lyrics that are still so catchy that HUNTR/X really showed you how it’s done months after its release. The single “Golden”, featuring vocals by Ejae, Audrey Nuna, and Rei Ami, has proven its ability to rise among popular hits, earning a nomination at the MTV Video Music Awards — a well-deserved feat for its recognition. [Glaciane Lacerna]
Inu-Oh and Tomona, Inu-Oh
Let’s be real: any fictional band that has the singular talent of Japanese singer Avu-chan of Queen Bee at the forefront is going to dazzle no matter the spotlight. In a sense, this is a peculiar choice. Kind of maybe (you can’t actually convince me I’m wrong.) Although the story is set in 14th-century Japan, the performances by the ostracized Inu-Oh and Tomona are rock concerts. Blazing, furious, demonstrations of fury and self-expression.
Their story is about the power of music and how its connective tissue can transcend genres, eras- even lifetimes – convalescing into something mesmerizing and timeless. The musical sequences that follow the two along their journeys as they rise and fall in popularity as a singular voice of the oppressed grow and transform, transporting us through Avu-chan’s spectacular vocals that manage to crescendo into a rallying cry for rebellion. So, exactly what the best music should aspire to do. [AJ]
K/DA, League of Legends
Riot Games regularly collaborates with musicians, especially around their flagship game’s World Championships. For 2018’s event, they took things further by translating four of League of Legends’ champions into their own virtual K-Pop act. K/DA – the name is a reference to the tracked stats of League players – borrows real talent in the form of Madison Beer, Jaira Burns, and Miyeon and Soyeon of K-Pop group I-dle in a very successful blend between the artists’ backgrounds. The animated music video for the track “Pop/Stars” puts their voices into the fan favorite champions, now recontextualized for the K-Pop scene but without stripping any of them of their in-game powers.
Instead, those abilities give their performances a special energy that appeals far beyond the League audience. The virtual act was an instant hit online, leading to an EP release in 2020 titled “All Out,” which includes a guest appearance from Kim Petras. With many of their songs charting on the Billboard top ten in the US, they are easily one of the best things Riot Games has ever produced. [TH]
Paranmaum, Linda Linda Linda
The joy of collaboration, music, and the expressive freedom of youth culminates in the infectious cult-classic, Linda Linda Linda, from director Nobuhiro Yamashita. Three girls look for a fourth member to round out their band, picking the Korean exchange student, played with expert, wide-eyed charm by Bae Doona, as their lead singer. Her vocals are a little pitchy, and the band is a little rough around the edges, and that’s both the point and not the point. Their enthusiasm charms as they sing these classic Japanese punk-rock numbers that echo the sounds of British new-wave and post-punk. They perform because it’s fun, not because they feel moved to or obligated. In the spry and jubilant Linda Linda Linda, music, as always, transcends standard communication and language barriers as the ultimate unifier. [AJ]
Pink Slip, Freaky Friday
Imagine you’re a 13-year-old girl who feels like no one understands you, and then, all of a sudden, you see the all-female trio, Pink Slip, totally shredding on the big screen. In 2004’s Freaky Friday, Lindsay Lohan, Christina Vidal, and Haley Hudson were the epitome of early 2000s alt fashion, and their song “Take Me Away” perfectly complemented their “tough girl” persona. For the young girls of that time, Pink Slip was a middle finger to conformity and showed them that they could listen to punk rock, tear holes in their jeans, and just be angry.
And while Freakier Friday was a disappointment in many ways, the Pink Slip reunion was not one of them (despite the performance missing that iconic grunginess). [YK]
School of Rock, School of Rock
The double whammy of Jack Black’s Dewey Finn opening the third eye of children in classrooms across America, with the genesis of at-home music performances in hardcore basement shows, Dance Dance Revolution pads, and days of Guitar Hero training, might be one of the most understated influences on a generation of rock and roll nerds. Richard Linklater’s most culturally potent film, apart from Dazed and Confused, gave pre-teens a window into the music of their grandfather’s generation and made it cool, if anything, simply to allow them to appreciate the throughline of the classics featuring the ass-blasting guitar solos of Angus Young, Pete Townshend, and Jimmy Page, and a laundry list of others.
While it was ethically dubious to fake his identity, Dewey goes out of his way to provide a generation of young talent to express themselves and their gripes against private school lifestyle through every aspect of music production, and gave audiences a love for all the elements of the production of rock and roll, from the backup singers and bassists to the customers and lighting engineers. It says a lot that the 2nd place winners of the 2003 Battle of the Bands went on to continue being lifelong musicians, as opposed to some sleazy, leather sleeve-wearing posers going on to be a US senator. That No Vacancy guy really peaked at hitting on Joan Cusack, huh? [Evan Griffin]
SHIRONEKODO, The Colors Within
The Colors Within is another Naoko Yamada production that revolves around music. Totsuko has synesthesia, or the ability to see people as colors, which leads her to meet fellow classmate Kimi. When talking to Kimi at her job, Totsuko implies that she can play the piano, and the two girls bond over music — even though Totsuko doesn’t actually know how to play. Along with Rui, a boy who plays the theremin, the three so-called misfits end up playing music together and ultimately form a band. Similar to K-ON!, the trio’s friendship is what makes their music fun. Each one of them ends up processing their own issues with the help of the other two. Plus, when they perform on stage, it’s clear that all three are having a good time, which makes it that much better to listen to. [KC]
Sex Bob-omb, Scott Pilgrim vs the World
“Do they rock or do they suck?”
That was a test, and both answers are correct. Comic author Bryan Lee O’Malley wears his heart on his graphic tees. Turns out so do his characters, as many fans of his work obviously went out of their way to listen to Canadian ’90s underground band Plumtree simply based on Scott’s wardrobe. Those very Toronto-based bands provided the foundation of Scott, Steven Stills, and Kim Pine’s crunchy garage sound.
Would the nonsense lyrics and fuzzy riffs resonate with people if not for Edgar Wright’s generously engaging editing and the fact that Scott can throw punches like a Super Saiyan? Probably not, but it’s nice that the band gets to have a bit of a second life after his untimely demise in Scott Pilgrim Takes Off where Knives Chau gets to grow her skills under the tutelage of Steven, proving that the band, and just about everyone else, would have been better off without Scott before he took the time to get his shit together. It certainly helps to have the songs produced behind the scenes by Nigel Godrich of Radiohead and, of course, original songs by Beck. [EG]
Sing Street, Sing Street
Who doesn’t start a band for a crush? In 1985 Dublin, Conor deals with bullies at his new school, stressful family situations, and teachers who have it out for him. But then he meets a girl. And the only thing he can really control is starting a band. Sing Street’s fictional high school band, also called “Sing Street,” invokes the best of ’80s rock music. But it’s their hit song ‘Drive It Like You Stole It” that’s the scene stealer. Not only is it a fantastic song in its own right, but it’s also a classic teenage anthem of rebellion, feeling invincible, and fantasizing about escaping high school. [Katey Stoetzel]
Soggy Bottom Boys, O Brother, Where Art Thou?
Ok, I’ll admit…I thought it was George Clooney actually singing the whole time.
The real credit for The Soggy Bottom Boys doesn’t go to any one of said boys. It goes to singers Dan Tyminski, Harley Allen, and Pat Enright, who bring their bluegrass backgrounds together for the soulful southern romp of “Man of Constant Sorrow” from O Brother, Where Art Thou?. T Bone Burnett also deserved a tip of the cap for bringing Dick Burnett’s 1913 folk song nearly 100 years into the future with Grammy recognition and even country radio airplay in 2000.
And yet, it’s impossible to forget the trio of George Clooney, John Turturro, and Tim Blake Nelson (who did sing on “In the Jailhouse Now”) shucking and jiving on a whim. Through all the bickering and blundered plans the boys endure, seeing them sing their hearts out explains the bond they share. Just three guys asking for a hand from anyone who’ll listen. Plus, those fake beards are hilarious. [Jon Winkler]
Spinal Tap, This is Spinal Tap
You get the whole story of Spinal Tap in Rob Reiner’s This is Spinal Tap: A band that seemed to trend-hop their way through various styles – the British invasion, psychedelia, prog – before settling on metal. Along the way, the band’s music is silly, but also passable as the exact kind of music they’re goofing on: “Listen to the Flower People” and “Stonehenge” are exactingly florid, and “Big Bottom” is realistically juvenile.
The band is just as real in their interviews and interactions: dim but clearly good at what they do. They’re not even an especially popular band outside of Japan, at one point being out-billed by a puppet show. All this in a movie that was almost completely improvised. The band has even been a semi-active concern for members Christopher Guest, Harry Shearer, and Michael McKean, from stopping by Shearer’s now-permanent TV home, The Simpsons, to occasional albums and tours. This all culminates in this year’s Spinal Tap II. Not bad for a fictional band, from a comedy no less, from 40 years ago. [RG]
Stillwater, Almost Famous
Dubbed “incendiary” by one young William Millar in Cameron Crowe’s most outstanding achievement, Stillwater is the creation of a filmmaker who understands the transformative nature of rock n’roll. It’s no wonder, considering Almost Famous is loosely based on Crowe’s own experiences as a contributing writer and editor for Rolling Stone. Still, there’s an era-defying joy in watching this fictional band come together onstage, where all of their tour bus squabbling and backstage pettiness disappears.
Despite the backstage tension, they come together, with the actors imbuing these rock stars on the rise with distinctive prowess. There’s real chemistry ricocheting around the stage as they perform as the band, making us believe in the hordes of fans pushing against the front barricade. It’s hard to bottle authenticity, and yet Almost Famous achieves it many times over because each beat feels lived in and meticulously rendered to build out the memory of Crowe’s experience. Billy Crudup is the particular star here, ensuring that we all know why he’s the favored member with his slouched, easy onstage persona and subtle genius. [AJ]
Style Boyz, Popstar: Never Stop Never Stopping
The Style Boyz are the perfect distillation of pop absurdity and earnest brilliance, which is why they harmonize proudly among the best fictional bands ever put to screen. To that end, Popstar: Never Stop Never Stopping is both a brilliant parody of boy band culture and a deeply felt character study that builds an entire mythology around three friends whose creative highs and humiliating lows feel weirdly, painfully real.
Lawrence, Owen, and Conner are a fully realized tragicomic trio whose breakup and eventual reunion mirror every great rockumentary arc. Their songs are ridiculous (“Karate Guy” is a masterwork of unintentional sincerity), plus they’re also catchy enough to pass for genuine hits, which is crucial for the satire to land. You believe they could’ve dominated the early 2000s charts and beyond.
The Style Boyz also let the movie sneak in a surprisingly moving story about friendship, ego, and forgiveness, as Conner4Real’s redemption doesn’t work without the band’s gravity pulling him back to where he started. By the time they perform together again, it feels triumphant in a way few comedies ever earn. Which is why the Style Boyz prove that the funniest thing about pop music is how much it means to us, even when it’s utterly silly. [Jon Negroni]
The Venus in Furs, Velvet Goldmine
Todd Haynes is no stranger to the world of rock and roll. From his debut short film, the controversial Superstar: The Karen Carpenter Story, to his 2021 documentary The Velvet Underground, and the best movie about Bob Dylan, I’m Not There, his works are entrenched in the legacy of icons. It makes sense, then, that Velvet Goldmine would be a product of his own curiosities and creativity, following a fictional rock icon born from real-life influences such as David Bowie.
The fictional band in question, The Venus Furs, whose lead singer, Brian Slade (played by Jonathan Rhys Meyers), fakes his own death, beautifully captures the extravaganza of glam rock. With playful musical numbers that harken back to specific iconography, they encapsulate a long-past sound whose influences are varied and numerous. While we see plenty of other styles of musicians populate the film, all inspired by real-life stars, it’s The Venus Furs who make a lasting impression due to Haynes’s specificity and artful direction. [AJ]
The Wonders, That Thing You Do!
Tom Hanks’ feature directorial debut, That Thing You Do!, is a breezy watch with a charming young cast, but the real magic of the film is the song that shares a name with the film. It’s an incredible feat to create a song catchy enough to be played over and over in the film without becoming grating. The Wonders are perfect as a quintessential one-hit wonder. Tom Everett Scott, Jonathon Schaech, and Steve Zahn take stock characters and imbue them with life as they experience a whirlwind of success and subsequent disappointment. Tom Everett Scott, in particular, is a standout as Guy “Shades” Patterson, but the entire band is wonderful at portraying the innocence of their characters as they stumble into stardom. Lastly, for non-musicians, the core cast are also incredible at the tricky task of being convincing enough on screen that you buy them really playing the music. [JC]
What fictional band makes the cut for your list? Let us know at @inbetweendrafts.bsky.social.
