Barbra Streisand, an iconic figure in music and film, has captivated audiences for decades with her powerful voice and emotional depth. With a career spanning over six decades, she has not only defined the landscape of popular music but has also left an indelible mark on the world of cinema. From heart-wrenching ballads to upbeat anthems, her songs resonate with listeners across generations, each one a testament to her extraordinary talent and artistry.
In this article, we delve into the top 10 most popular Barbra Streisand songs of all time, exploring the magic behind her timeless hits. Whether you’re a lifelong fan or new to her music, you’ll discover the stories and emotions that make these tracks unforgettable. From the soaring melodies of “The Way We Were” to the infectious energy of “Don’t Like Goodbyes,” each song showcases her remarkable ability to connect with the human experience. Join us as we celebrate the legacy of Barbra Streisand and revisit the songs that have become the soundtrack to countless lives, touching hearts and inspiring dreams along the way. Get ready to relive the magic of her music!
1. “The Way We Were” (1973)
“The Way We Were” isn’t just a song—it’s a feeling. Released in 1973 as the theme from the film of the same name, it quickly became one of Barbra Streisand’s most iconic performances. With its lush orchestration and gentle piano backdrop, the track is soaked in nostalgia, evoking the ache of memories that are both beautiful and bittersweet. Streisand’s delivery is intimate and emotionally raw, as though she’s reaching into the past with both tenderness and regret. The lyrics speak to the universal human experience of remembering someone we once loved—someone who changed us. “Mem’ries, light the corners of my mind,” she sings, with a voice that trembles slightly under the weight of what’s lost. What makes the song so enduring is that it never overreaches—it allows the listener to fill in their own story, to imagine their own “way we were.” It has since become a soundtrack for broken hearts, old photographs, and quiet reflections. Streisand doesn’t just sing it—she lives it, making each note feel personal. Over time, the song has come to symbolize the delicate line between holding on and letting go, reminding us that some stories never quite leave us.
2. “Evergreen (Love Theme from A Star Is Born)” (1976)
“Evergreen” is a love song that feels timeless, just like its name suggests. Released in 1976 as the love theme from A Star Is Born, this Grammy- and Oscar-winning ballad is one of Barbra Streisand’s most tender and enduring performances. From the very first note, the melody wraps around you like a soft embrace. Streisand’s voice floats with gentle strength, giving life to lyrics that describe love not as a fleeting passion but as a quiet, steady flame. “Love, soft as an easy chair,” she begins, and with that single line, she captures the comfort, warmth, and safety of true connection. What makes “Evergreen” so powerful is its simplicity—no elaborate runs or dramatic flourishes, just a voice that tells the truth. The orchestration is rich but never overbearing, allowing Streisand’s emotion to take center stage. It’s a song that plays at weddings, anniversaries, and quiet nights alike—a reminder that love, when nurtured, can indeed be evergreen. Streisand’s performance is so genuine that it doesn’t feel like a performance at all—it feels like a whispered vow between two people who’ve chosen each other for life.
3. “Hello, Dolly!” (1964)
“Hello, Dolly!” bursts forth like a grand entrance—joyous, full of flair, and impossible to ignore. Although the song originates from the Broadway musical of the same name, Barbra Streisand’s performance in the 1969 film adaptation brought it to new heights. Her version is dazzling, theatrical, and brimming with charisma. From the first brass notes, you can tell this isn’t just a tune—it’s a celebration. Streisand brings humor, charm, and a wink of mischief to her delivery, turning Dolly Levi into a figure you can’t help but root for. With crisp diction and impeccable timing, she swings through each lyric like she’s dancing through a grand ballroom. “Well, hello, Dolly… it’s so nice to have you back where you belong,” she sings, and it feels like both a greeting and a declaration. What makes Streisand’s take special is how she grounds the song’s over-the-top energy with a sense of warmth. She doesn’t just perform the number—she owns it. The result is a joyful, toe-tapping anthem that captures the magic of musical theater and the star power of Streisand herself. It’s showbiz at its best—big, bold, and brilliantly sung.
4. “People” (1964)
“People” is one of those rare songs that feels like a soul speaking. Released in 1964 from the musical Funny Girl, it became one of Barbra Streisand’s earliest and most defining hits. The song begins with a whisper, a quiet reflection on the strange, simple truth that people—so often misunderstood or overlooked—need each other. Streisand’s voice, tender and aching, slowly builds in intensity as the lyrics unfold. “People who need people,” she sings, with a tone that suggests both revelation and vulnerability. The song’s beauty lies in its restraint—there’s no need for vocal fireworks because the emotion is so deeply rooted. Streisand brings her character, Fanny Brice, to life not just through performance but through connection. The way she delivers the final lines, with eyes full of wonder and a voice full of longing, makes you believe every word. Over time, “People” has transcended its stage origins to become an anthem of human connection, empathy, and love. It’s a reminder that strength isn’t in solitude, but in togetherness—and few artists have ever expressed that truth with the grace and emotional precision of Barbra Streisand.
5. “Woman in Love” (1980)
“Woman in Love” is pure passion wrapped in melody—a sweeping declaration of emotional surrender. Released in 1980 and penned by Barry and Robin Gibb of the Bee Gees, the song became one of Barbra Streisand’s biggest global hits. From the first note, Streisand’s voice soars with urgency, as though every word must be sung or she’ll burst from the weight of her emotion. “Life is a moment in space,” she begins, and with that, she sets the tone for a love that defies logic and time. The song is dramatic, lush, and unapologetically romantic. What makes Streisand’s performance so unforgettable is her complete immersion in the lyrics—she doesn’t just sing about being a woman in love; she is that woman. Her phrasing, her breath, even the slight tremble in her voice, all serve the story. The orchestration is grand, but it’s Streisand who carries the emotional thunder. “Woman in Love” captures what it feels like to love so deeply that you’re willing to go against the world, even yourself. It’s theatrical and intimate all at once—a song that shows Barbra at her most fearless and most vulnerable.
6. “No More Tears (Enough Is Enough)” (1979)
“No More Tears (Enough Is Enough)” is a disco-fueled powerhouse of liberation, where two icons—Barbra Streisand and Donna Summer—join forces to deliver an unforgettable message of empowerment. Released in 1979, the track blends Streisand’s theatrical intensity with Summer’s dancefloor dominance, resulting in a duet that feels like a cinematic showdown between heartbreak and independence. The song begins as a slow-burning ballad, with Streisand’s voice dripping in heartbreak and restraint. But then the beat drops—and so does the emotional wall. The chorus explodes with defiance: “Enough is enough is enough!” It’s not just catchy; it’s cathartic. As the voices intertwine, they create a shared experience of pain turned into power. The contrast between the soft vulnerability of the verses and the thunderous, joyful strength of the chorus makes this song both a breakup anthem and a club favorite. Streisand steps completely into the disco world without losing an ounce of her identity, and her chemistry with Summer is electric. Together, they tell a story that’s part musical theater, part Saturday night escape. It’s about walking away—not in sadness, but with your head high and your heels clicking in confidence. And that message still hits just as hard today.
7. “Somewhere” (1985)
Barbra Streisand’s rendition of “Somewhere” is like a whispered dream echoing across time. Originally from West Side Story, this Leonard Bernstein and Stephen Sondheim ballad is already beloved for its aching hopefulness—but in Streisand’s hands, it becomes something more intimate and cosmic. Released in 1985 on her The Broadway Album, the song strips away much of the theatricality of the original and replaces it with soul-searching vulnerability. With delicate orchestration and atmospheric production, Streisand’s voice floats, almost ethereal, yet grounded in raw emotion. Her phrasing is masterful—restrained where it needs to be, soaring when it should be. “There’s a place for us…” she sings, not as a statement of fact, but as a quiet, desperate hope. You feel the yearning for a world that’s kinder, softer, more forgiving. This version isn’t just about star-crossed lovers—it’s about all of us looking for a place to belong. It’s about marginalized voices, fractured relationships, broken homes, and distant dreams. Streisand takes a Broadway classic and turns it into a modern prayer, a moment of grace. It’s haunting, elegant, and emotionally expansive—proof of her ability to take a familiar tune and make it feel like it was written just for her to sing.
8. “Guilty” (1980)
“Guilty” is sultry, stylish, and smooth as silk—a duet that radiates romantic tension and musical chemistry. Released in 1980, this collaboration between Barbra Streisand and Barry Gibb of the Bee Gees is more than just a song—it’s a conversation between two lovers caught in a moment of vulnerable honesty. From the first harmonized breath, there’s a sense that you’re stepping into something private. Their voices—his falsetto light and flirtatious, hers warm and assured—interweave like a dance. The lyrics speak of surrendering to love, even when it’s complicated or messy: “We got nothing to be guilty of…” It’s not just romantic; it’s defiant. They’re daring the world to judge them, and they’re brushing off the shame. The production has that shimmering ’80s polish, with a soft groove that gives it a relaxed confidence. Streisand sounds effortlessly in control, while Gibb matches her energy with subtle charm. What really sells it is the chemistry—it’s playful and passionate without ever going overboard. “Guilty” feels like a lovers’ secret turned anthem, and it’s a perfect showcase of how Streisand can switch from Broadway grandeur to breathy intimacy without missing a beat.
9. “The Main Event/Fight” (1979)
“The Main Event/Fight” is Barbra Streisand stepping into the ring—and absolutely owning it. Released in 1979 as part of the soundtrack to the film The Main Event, the song fuses disco, pop, and a splash of Streisand’s signature theatrical flair. From the jump, it’s high energy: punchy horns, a thumping beat, and lyrics that treat love like a showdown in the boxing ring. “I’m the main event!” she declares, and you believe her. This isn’t a ballad or a soft confession—it’s a full-on performance, laced with attitude and a bit of camp. Streisand plays the role of a woman who’s been knocked down but refuses to stay down. The metaphors of fighting and survival are delivered with her trademark confidence and flair. The track pulses with late-’70s disco heat but keeps its footing with a strong melodic core. It’s empowering, theatrical, and undeniably fun—perfect for strutting, dancing, or just singing along at full volume. What makes it memorable is how it combines Streisand’s pop sensibility with her larger-than-life persona. It’s bold, it’s brassy, and it reminds you that even in the chaos of life and love, Barbra is the one in control.
10. “Send in the Clowns” (1975)
“Send in the Clowns” is one of those songs where silence hangs between the notes, and every word feels like it carries years of unspoken emotion. Written by Stephen Sondheim for the musical A Little Night Music, it has been covered by many, but Barbra Streisand’s version—recorded in 1975—is one of the most heartbreaking. She doesn’t just sing the lyrics—she contemplates them, breathes them, aches with them. Her phrasing is slow and deliberate, allowing the listener to feel the sorrow that lingers beneath the surface. The song isn’t about literal clowns—it’s about disappointment, missed chances, and the sad irony of love arriving too late. Streisand’s voice captures that pain perfectly—not with overpowering emotion, but with restraint that makes it all the more devastating. When she sings, “Don’t you love farce?” there’s a quiet bitterness that cuts deep. The arrangement is sparse and delicate, letting the emotional weight of the song speak for itself. It’s a masterclass in storytelling through music. Streisand transforms a moment of theatrical regret into something deeply personal and universally relatable.
Edward Tomlin is a frequent contributor to Singers Room. Since 2005, Singersroom has been the voice of R&B around the world. Connect with us via social media below.
