‘L’Amour Toujours’ N°655 – 2010s Music Videos

1 . James Morrison – I Won’t Let You Go

“I Won’t Let You Go,” the lead single from James Morrison’s 2011 album “The Awakening,” finds the British singer-songwriter treading familiar territory with a soft-focus devotion drenched in acoustic earnestness.

Dedicated to his long-term partner Gill, the track leans heavily on lilting guitars and a reliable piano riff, evoking the soothing sway of ’60s slow-dance ballads. While the arrangement feels polished to the point of predictability, the emotional intent carries enough weight to resonate. It’s as if Morrison has distilled the sentimentality of a Hallmark card into melody—touching for some, saccharine for others.

The song performed robustly on the charts, debuting at number five in the UK Singles Chart, a strong showing underscored by its ability to linger in the top six for successive weeks. In Austria, it pushed past “Broken Strings” to claim the number-one spot. But chart dominance only partially shields the track from its formulaic underpinnings. Success in Australia, where it peaked at number thirteen, marked Morrison’s reentry into the top 20 after a stretch since 2006’s “You Give Me Something.” A promotional tie-in with the Australian TV series “Home and Away” added context but not necessarily depth.

The official video, amassing over 97 million views on YouTube, amplifies the track’s appeal through visual earnestness, though one questions whether the views signify engagement or background music for multitasking.

As part of an oeuvre built on personal storytelling, “I Won’t Let You Go” acts as a moderately effective vehicle for Morrison’s soulful croon. Yet, the faint whiff of musical safety—a refusal to take risks—keeps it from genuinely surprising. Like a home-cooked meal you didn’t order, its comfort is undeniable, but you’re left craving something spicier. B-

Featured on the 2011 album “The Awakening”.

Lyrics >> More by the same : Official Site

2 . Calum Scott – You Are The Reason

“You Are The Reason” by Calum Scott, from his 2017 album “Only Human (Deluxe),” operates firmly within the tear-soaked terrain of modern balladry.

The lyrics capture a textbook yearning for romantic redemption, opening with “There goes my heart beating / Cause you are the reason,” a line so direct it leaves subtlety at the door. Scott’s declaration to “climb every mountain / And swim every ocean” works as an emotional trump card, though its well-worn imagery might make listeners wonder if the metaphorical landscape is running out of peaks and bodies of water to reference.

On the charts, the track has fared impressively, notching #34 on Apple Music, #3 on iTunes, #5 on YouTube, and an enviable #2 on Radio. In an era of algorithm-driven hits, its analog sentiment proves to have broad appeal, charting in countries from Australia to Nigeria, an indicator of how universality can mask lyrical predictability.

The song’s commercial success is bolstered by a duet version featuring Leona Lewis. Her inclusion trades the song’s solitary anguish for a more operatic duet-style approach, though one might argue that her powerhouse vocals threaten to overshadow Scott’s plaintive delivery.

The accompanying music video, released in 2018, has accrued substantial YouTube views, showcasing Scott’s visually restrained storytelling style. That said, compared to his ascension on “Britain’s Got Talent” in 2015, the video feels like a step back in terms of innovation—more serviceable montage than cinematic moment.

Scott’s ability to navigate heartfelt simplicity is both the track’s strength and its Achilles’ heel; while the song resonates broadly, its reliance on safe tropes like heartbreak and resolve leaves little room for surprise or nuance.

Featured on the 2018 album “Only Human”.

Lyrics >> More by the same : Official Site

3 . The Chainsmokers – Roses (w/ Rozes)

“Roses” by The Chainsmokers, featuring Rozes, operates as a time capsule of 2015’s electronic pop trends—its Future Bass leanings balanced by EDM polish and a pop sensibility that feels imminently approachable.

Clocking in at 3 minutes and 46 seconds, the song unfolds at a leisurely 100 bpm, anchored to the E major key with alternating chords of E and Esus2. This structural simplicity gives it a breezy, almost hypnotic quality, elevated by Rozes’ wistful vocal range spanning B3 to B4. Her delivery, intimate yet ephemeral, plays like a delicate thread woven into The Chainsmokers’ glossier production.

Having been written by Andrew Taggart and Elizabeth Roze Mencel, the track’s completion in a swift eight hours suggests spontaneity, though some might argue the coherence feels more journeyman than groundbreaking. Taggart and Alex Pall, The Chainsmokers’ duo, embed “Roses” firmly within their typical formula—a method that would later crystallize in larger hits like “Closer” and “Don’t Let Me Down.”

The song’s peak at number 22 on the UK Official Singles Chart, with a 22-week residency, alongside a climb to number 7 on the Official Dance Singles Chart, indicates solid traction without seismic impact. Its production values ensure its enduring playability, yet it doesn’t fundamentally alter the contours of the genres it inhabits.

As Rozes lends a romantic despair to the song, it subtly aligns itself with a generation of festival-ready anthems designed to celebrate fleeting moments. That it falls short of carving a broader cultural footprint might weigh on its legacy, but “Roses” remains a polished entry in its creators’ catalog, distilled from the zeitgeist and left to bloom, albeit modestly, within it.

Featured on the 2015 album “Bouquet”.

Lyrics >> More by the same : Official Site

4 . Little Mix – Think About Us (w/ Ty Dolla $ign)

“Think About Us,” a standout from Little Mix’s 2019 album *LM5*, sees the British girl group navigating the fraught waters of pop-fusion with American rapper Ty Dolla $ign onboard.

As the second single following the punchier “Woman Like Me,” the track aims to balance sleek production with emotional urgency but settles somewhere in the middle of the spectrum.

Charting at number 22 on the UK Singles Chart and barely breaking into the top 40 in Ireland at position 36, its commercial performance mirrors its musical approach—solid but unremarkable.

Ty Dolla $ign’s contribution introduces a hip-hop texture that feels less disruptive than decorative, his verses offering more gloss than grit.

Little Mix, the quartet born out of *The X Factor* in 2011, leverages its vocal prowess to inject the song with palpable energy, though their harmonies don’t quite escape the gravitational pull of conventional pop structures.

The accompanying music video, while available on YouTube, does little to redefine the visual language of pop balladry, serving as a straightforward promotional tool rather than a conceptual statement.

Compared to *LM5*’s broader ambitions—as evidenced by its placement in the top ten of nine countries—”Think About Us” feels like a calculated, mid-tempo offering designed to pad, not pivot, the album’s narrative.

Ultimately, while the track showcases Little Mix’s undeniable talent and Ty Dolla $ign’s marketable appeal, it lacks the spark to elevate it above its role as a polished but fleeting moment in the group’s discography.

Featured on the 2019 album “LM5”.

Lyrics >> More by the same : Official Site

5 . Zayn – Pillowtalk

“Pillowtalk,” Zayn Malik’s debut solo single from the 2016 album “Mind of Mine,” feels like a meticulously curated break from his boy band past, yet not an entirely risk-free endeavor.

The track merges seductive R&B slow jams with alternative and downtempo electronic elements, signaling a shift in his sound. Zayn’s tenor vocal range seamlessly cuts through the smooth pop-R&B production, navigating ad-libs and triplets with precision, even if the heavy beats occasionally overwhelm the delicate nuances of his voice.

The song’s success is indisputable, debuting at number one on both the UK Singles Chart and the US Billboard Hot 100, a feat that positioned Zayn as the first British artist to achieve this with a debut single. Its broad appeal extended globally, topping charts in countries like Australia, Canada, and New Zealand. Yet, the popularity of “Pillowtalk” raises the question: is it more about Zayn’s celebrity pivot post-One Direction or the song itself?

Levi Lennox’s production leans heavily on the aesthetic of steamy, nocturnal intimacy but stops short of pushing boundaries. The music video, directed by Bouha Kazmi, reinforces this with kaleidoscopic visuals and retro graphics, though the inclusion of Zayn’s then-girlfriend, Gigi Hadid, feels less like artistic intent and more like tabloid fodder dressed in shattered-mirror effects. It complements the sexualized tone without necessarily expanding it.

Musically, the track dances carefully within familiar territory. Its remix featuring Lil Wayne, released just weeks later, incorporates hip-hop elements, but instead of enhancing the song’s depth, it skews toward a formulaic update.

“Pillowtalk,” despite its brooding atmosphere and chart-topping success, sometimes feels like an artist testing waters rather than redefining them. For all its swagger, it reflects more of a cautious step forward than a plunge into uncharted space.

Featured on the 2016 album “Mind of Mine”.

Lyrics >> More by the same : Official Site

6 . Selena Gomez – Hands To Myself

“Hands to Myself,” released on January 20, 2016, as the third single from Selena Gomez’s second studio album, “Revival,” wears its influences and ambitions without apology.

Co-penned by Gomez alongside Justin Tranter, Julia Michaels, Robin Fredriksson, Mattias Larsson, and Max Martin, the track reflects a pointed attempt at blending radio-ready pop with a subtle nod to Prince’s sensual minimalism. The production, helmed by Mattman & Robin under Martin’s seasoned eye, leans into a restrained dance-pop and synth-pop cocktail, where lightly clicking percussion, hand claps, and “tribal pop” synths create a simmering landscape that teeters between sparse and infectious.

The song’s architecture hinges on a tension—both sonic and thematic. The thumping beat spars with a darker guitar riff before escalating into a pre-chorus lush with synths and piano. Gomez’s delivery oscillates between restrained breathy vocals in her lower register and more belted refrains, echoing the tug-of-war the song’s lyrics suggest. Themes of sexual desire and relational turbulence are laid bare without overindulgence, a balancing act rarely achieved with this level of sleek production polish.

Still, the track feels lightweight at moments, almost falling victim to its own sleekness. Despite the evocative hook—lifted from a snippet Michaels recorded on her phone—the emotional stakes feel less visceral, cloaked in the neatly engineered soundscape. What could have been raw is instead methodical, with even the gasping backup vocals (courtesy of Michaels) calculated for effect.

The accompanying music video, directed by Alek Keshishian, adds intrigue, portraying Gomez as a stalker fixated on a Hollywood star. Its polished cinematography and Gomez’s poised performance garnered praise, and while provocative, it underlines the song’s thematic ambivalence rather than elevating it.

Chart performance reinforces its success within specific boundaries—it reached number seven on the US Billboard Hot 100, a fifth consecutive top-ten for Gomez, and scratched into top tens globally, including Canada and New Zealand. Its live renditions, notably on “Saturday Night Live” and at the Victoria’s Secret Fashion Show, added flare to the track’s promotion, yet felt more like practiced demonstrations of her pop persona than deeply felt moments of connection.

Ultimately, “Hands to Myself” works best as an exercise in controlled tension—intriguing but rarely unleashed. It opts for finesse where it might have benefited from more daring.

Featured on the 2015 album “Revival”.

Lyrics >> More by the same : Official Site

7 . Justin Timberlake – Mirrors

“Mirrors” by Justin Timberlake extends its eight-minute runtime to reflect on love’s intricate duality, drawing from his relationship with Jessica Biel and the enduring marriage of his grandparents.

Firmly rooted in mid-tempo progressive soul and R&B, the collaboration between Timberlake, Timothy “Timbaland” Mosley, Jerome “J-Roc” Harmon, and James Fauntleroy carries both ambition and sentimentality.

Timberlake’s vocals, which range from E♭3 to C5, shift between yearning and reassurance, framing the song as a conversation with his own reflections.

The production, while lush, occasionally risks becoming indulgent, its layered harmonies and synthetic beats stretching the track’s core ideas to their limits.

Commercially, “Mirrors” more than justifies its existence—topping charts in regions as varied as the UK, South Africa, and Poland, while peaking at number two on the *Billboard* Hot 100 and clinching the Mainstream Top 40’s top spot.

Its 3.9 million downloads in the US by 2018 and 725,000 UK sales display its broad appeal, though its Grammy nomination for Best Pop Solo Performance might feel generous to those unimpressed by its sprawling structure.

Floria Sigismondi’s ambitious music video, lauded at the MTV Video Music Awards with a Video of the Year win, complements the song’s themes with intergenerational storytelling—an irony not lost on the younger audience likely driving its success.

Timberlake’s live renditions, spanning appearances on *Saturday Night Live* and tours such as the Legends of the Summer Tour, cement the song’s position within his touring repertoire, though stretching such a lengthy piece into televised formats must test attention spans.

Its recognition by ASCAP as one of the most performed songs of 2014 and 2015 underscores Timberlake’s ability to craft emotionally resonant, if occasionally overproduced, pop ballads that thrive under repetition.

Featured on the 2013 album “The 20/20 Experience”.

Lyrics >> More by the same : Instagram

8 . Professor Green – Never Be A Right Time

“Never Be a Right Time,” released on January 22, 2012, lands as the second single from Professor Green’s sophomore album “At Your Inconvenience,” a title that wryly signals its penchant for directness.

The track features uncredited vocals by Ed Drewett, whose contributions provide a melodic counterpoint to the gruff introspection of Professor Green’s verses—an interplay that sharpens the track’s emotional undercurrent while sidestepping overt sentimentality.

With production by Alex ‘Cores’ Hayes, the track clocks in at 3:20, blending hip-hop’s rhythmic assertiveness with a sheen of mainstream accessibility.

Despite its clean construction, the song’s peak at number 35 on the UK Singles Chart and a respectable six-week stay feels like a lukewarm reception for an artist of Professor Green’s stature, notably coming off the broader success of “Read All About It.”

The remixes accompanying the single, ranging from Document One’s bass-heavy overhaul to the minimalist rumblings of Drums of London’s dub version, suggest a calculated effort to extend its appeal across disparate electronic subcultures, yet the original track remains its sharpest statement.

While “Never Be a Right Time” exhibits a capable marriage of reflective songwriting and polished production, it operates within a narrowly defined emotional spectrum, making it less a standout and more a serviceable chapter in the Professor Green discography built around “Alive Till I’m Dead” and “At Your Inconvenience.”

Featured on the 2011 album “At Your Inconvenience”.

Lyrics >> More by the same : Instagram

9 . Rihanna – Work

“Work,” the lead single from Rihanna’s eighth studio album *Anti*, is a curious cocktail of musical influences and career milestones.

The song synthesizes dancehall, reggae, pop, and R&B, creating a breezy yet hypnotic rhythm that both nods to Rihanna’s Barbadian roots and caters to the mainstream palette.

Produced by Boi-1da with additional contributions from Kuk Harrell and Noah “40” Shebib, the track finds Rihanna and featured artist Drake trading vocals over a minimalist beat, tinged with a sensual undertone that relies heavily on repetition—a feature as effective as it is divisive.

The song’s interpolation of Alexander O’Neal’s 1985 track “If You Were Here Tonight” feels less like a centerpiece and more like a whisper, adding a sense of familiarity while staying restrained.

Commercially, “Work” is an undeniable juggernaut. Debuting at number 9 on the *Billboard* Hot 100 before climbing to the top, it crowned Rihanna as the artist with the third-most number-one hits in the chart’s history, surpassing Michael Jackson, and marked Drake’s second stint at the summit.

Internationally, its success is just as impressive, hitting first place in nations like Canada, France, and South Africa, and securing sextuple-Platinum certification in the United States. A Diamond certification in both France and the U.S. underscores its global resonance, as does its staggering 32.5 million worldwide sales by 2021.

Critically, the song walked a tightrope. Its nomination for Record of the Year and Best Pop Duo/Group Performance at the 59th Annual Grammy Awards signified mainstream recognition, though its repetitive structure invited skepticism in some circles.

The visual components offer a dual interpretation, with two distinct music videos from Director X and Tim Erem. These split settings—a club and a private room—create contrasting atmospheres: one tactile and communal, the other intimate to the point of voyeurism.

Even on stage, “Work” found prominent spaces, from Rihanna’s Anti World Tour to live showcases at the Brit Awards and MTV Video Music Awards in 2016. Yet, as performances go, it often hinged on chemistry, leaning heavily on Rihanna and Drake’s dynamic to transcend its deliberately sparse framework.

At its core, “Work” is less about lyrical depth and more about vibe—a snapshot of Rihanna’s instinctual fusion of heritage and market intuition, pairing a languid groove with a sharp edge of economic triumph.

Featured on the 2016 album “ANTI”.

Lyrics >> More by the same : Official Site

10 . Kojo Funds – Check (w/ Raye)

Kojo Funds’ “Check,” featuring RAYE, operates at the intersection of Afrobeat and R&B, borrowing just enough nostalgia by incorporating the unmistakable guitar chords from Craig David’s “7 Days.”

Released in 2018 under Atlantic Records, this track peaked at number eight on the UK Singles Chart, a testament to its polished allure and commercial pull. But where it excels as a potential summer anthem, it loses some footing in deeper artistic resonance.

RAYE’s contribution adds a dynamic layer to the track—her shift between soulful crooning and a rapped verse gives the song a biting fluidity. It’s the kind of versatility many vocalists aim for but rarely achieve without sounding disjointed. Here, though, it feels calculated and cohesive, as she trades playful flirtations with Kojo Funds, who is equally adept at balancing his own grimy rap lines with melodic hooks. “You wanna be my Nintendo,” while cheeky, doesn’t exactly scream immortal lyricism, but it sells the chemistry convincingly.

Kojo Funds, riding the momentum of his burgeoning Afrobeat career at the time, threads the genre’s rhythmic DNA with subtle nods to hip hop and dancehall. Yet, “Check” shies from the experimental ambition that defines tracks like “Finders Keepers” or collaborations with artists like WizKid. It’s catchy but sanitized, seemingly crafted with its Wireless Festival setlist placement in mind rather than for pushing boundaries.

Whether part of his 2018 album “Golden Boy” or not, the track feels like a polished cog in the machine of Kojo’s growing discography rather than a unique highlight. It grooves along breezily but doesn’t quite anchor itself in the mind beyond its initial charm.

Lyrics >> More by the same : Instagram

11 . Jason Derulo – Breathing

“Breathing,” from Jason Derulo’s 2011 album *Future History*, lands in a space where personal grief collides with Eurodance sheen, producing a track that is equal parts eulogy and nightclub anthem.

Co-written by a team that includes Derulo himself, Lauren Christy, and Julian Bunetta, and expertly mixed by Manny Marroquin at Larrabee Sound Studios, the track leans on meticulous production from DJ Frank E. Its defining feature is the haunting incorporation of the Bulgarian folk song “Pilentze Pee,” performed by the Bulgarian State Television Female Vocal Choir, which serves as both a cultural homage and an emotional anchor. These “tribal vocal chorales,” as described, infuse the electro-house soundscape with an air of otherworldly resonance, though one might question whether they feel fully integrated or simply borrowed for effect.

The inspiration behind the song—Derulo’s response to the death of his cousin—introduces a depth that could easily have been lost amidst the pulsating beats and synthesizers. The lyrics, however, struggle to match the gravity of their subject, teetering on the edge of banality. While his vocal performance aims to encapsulate loss, it often gets overshadowed by the bombastic production choices.

Chart success reveals its mixed appeal. Top-ten placements in countries like Australia and Germany underline its international credentials, though a number 28 spot on the US Pop Songs chart suggests it resonated less stateside. Certified double platinum in Australia, the track clearly found its footing in regions where Eurodance influences are more culturally entrenched.

The Colin Tilley-directed music video contrasts shadowy warehouse imagery with sterile blue hues, mirroring a duality between raw grief and glossy presentation. Live performances, such as Derulo’s set at Belfast City Hall linked to the 2011 MTV Europe Music Awards, ground the song in its emotional narrative, though even there, the high-energy instrumental risks clashing with the sentiment.

As a cultural artifact, “Breathing” is a curious amalgam—part folk elegy, part pop confection. It avoids outright missteps but rarely transcends the sum of its carefully constructed parts, leaving you wondering if it’s meant for healing or the dance floor.

Featured on the 2012 album “Future History”.

Lyrics >> More by the same : Official Site

12 . Shawn Mendes, Camila Cabello – I Know What You Did Last Summer

“I Know What You Did Last Summer” sits at the intersection of confession and confrontation, its duet structure weaving a taut narrative of secrecy and distrust.

Crafted by Shawn Mendes, Camila Cabello, Ido Zmishlany, Noel Zancanella, and Ryan Tedder—with the shadow of Bill Withers’ 1971 classic “Ain’t No Sunshine” sampled like a ghostly echo—the track seeks gravity but lands somewhere closer to melodramatic pop theater.

Set in A minor and driven by a tempo of 114 beats per minute, the song’s rhythmic urgency juxtaposes its lyrical tension, but the formulaic nature of its chord progression hinders its potential emotional depth.

Written on the road during Taylor Swift’s “The 1989 World Tour,” the track bears a certain impulsiveness, as if the studio never had time to smooth over its rough edges.

Mendes’ and Cabello’s vocal interplay is the centerpiece, their back-and-forth suggesting a dialogue of blame and vulnerability, though at times, their delivery leans more theatrical than genuine, with Mendes’ earnestness occasionally clashing against Cabello’s melodious defiance.

The track’s debut at number 97 on the *Billboard* Hot 100, climbing to a respectable 20 by early 2016, and its placement in the top 20 of the Canadian Hot 100, signify its commercial appeal, though these rankings highlight more the audience’s appetite for melodrama than the song’s structural innovation.

The Ryan Pallotta-directed music video visually amplifies the emotional estrangement, presenting Mendes and Cabello in a desolate landscape battered by unforgiving weather—symbolism bordering on the obvious but effective in its starkness.

Awards from the 2016 iHeartRadio Much Music Video Awards—Fan Fave Video and Best Pop Video—affirm its visual and sonic resonance despite its limitations.

The song’s certification as 3× Platinum in Canada and the United States, alongside Platinum status in Australia, Brazil, and across Europe, underscores its popular triumph, even if critical scrutiny reveals a lack of nuance.

Performances on *The Tonight Show Starring Jimmy Fallon*, *The Late Late Show with James Corden*, and the People’s Choice Awards bring energy but fail to elevate the song’s somewhat predictable architecture.

While Mendes’ inclusion of the track as part of a medley with “Señorita” and “Mutual” hints at its enduring connection with fans, “I Know What You Did Last Summer” feels like an exploration of chemistry that, while nascent, never fully crystallizes into something transformative or essential.

Featured on the 2015 album “Handwritten”.

Lyrics >> More by the same : Official Site