‘Look Ma, No Mike!’ N°107 – 2010s Music Videos

1 . Tom Grennan – Found What I’ve Been Looking For

Tom Grennan’s “Found What I’ve Been Looking For” emerges as both an anthem of introspection and a call to perseverance, embodying themes of personal growth and self-assurance.

Released in 2017 under Insanity Records, the track secured its place on his debut album *Lighting Matches* in 2018, blending raw vocal grit with a crisp fusion of pop and rock instrumentation.

The song achieved Platinum certification in the UK by 2022, proving its staying power even without cracking the coveted UK Top 40.

Its inclusion in FIFA 18 and Sky Sports’ “Super Sunday” not only broadened its appeal but anchored it in mainstream culture as a backing track for moments of both triumph and reflection.

The melodic structure leans heavily on rhythmic guitar riffs, while Grennan’s raspy delivery channels both urgency and optimism.

Lyrically, it’s all about achieving clarity after a long search, though it avoids lapsing into clichés, managing to feel honest without being overworked.

The fact that it peaked modestly at No. 82 on the UK Singles Chart seems almost irrelevant given the song’s broader resonance with audiences worldwide.

While there’s no official music video, live performances bring out its raw energy, making it a staple in Grennan’s concert setlists and proof of its value beyond just streaming metrics.

This track may not rewrite musical conventions, but its sincerity and emotional earnestness cement it as a cornerstone in Grennan’s early career.

Lyrics >> More by the same : Official Site

2 . Birdy – Keeping Your Head Up

Birdy’s “Keeping Your Head Up” veers into indie pop territory, blending a dreamy optimism with self-assured production designed for mass appeal.

Released on the precipice of 2016 from her album *Beautiful Lies*, it marks a shift from her subdued folk roots toward something brighter and more polished.

Produced by Steve Mac and co-written with Wayne Hector, the song’s craftsmanship leans heavily on a buoyant chorus that insists resilience is just around the corner.

Chart-wise, it hovered mid-range in multiple regions, peaking at a modest No. 57 on the UK Singles Chart yet outsized its rankings with impressive Platinum sales in both the UK and Australia.

The accompanying music video, directed by Chris Turner, throws Birdy into a surreal visual playground of demons, angels, and enough shadowy allegories to rival a mid-tier Tim Burton flick.

A remix by Don Diablo throws the track into neon-lit electronic spasms, adding a club-ready edge that feels almost like it’s sourcing another audience altogether.

Despite some critical fuss around its inclusion in the trailer for *Last Christmas* and Netflix’s *The Crown*, “Keeping Your Head Up” is no heavyweight anthem but rather a clean, functional slice of pop designed for moments of fleeting encouragement.

Birdy undeniably steps into louder, bolder sonic shoes here, even if the imprint left behind feels more functional than unforgettable.

Featured on the 2016 album “Beautiful Lies”.

Lyrics >> Review >> More by the same : Official Site

3 . Jessie J – Who’s Laughing Now

Jessie J’s “Who’s Laughing Now” is a pop confection brimming with vindication, a middle finger wrapped in a catchy hook and a fluorescent beat.

From her 2011 debut album, “Who You Are,” the song thrives on its juxtaposition of breezy melodies and venom-laced lyrics aimed at childhood bullies and professional doubters.

Co-written by Jessie J, Oak Felder, and a small army of collaborators, it stands as both an anthem of triumph and a sneer at those who underestimated her resolve.

The production, courtesy of Oak and Andre Davidson, opts for an upbeat swagger, pairing playful synths with a beat that feels engineered for frenetic head-nodding rather than soul-searching.

The verses shimmer with Jessie J’s sharp tongue, recounting her struggles with a mix of irritation and cheeky defiance, before catapulting into a chorus that doubles as a mantra of resilience.

The accompanying music video, directed by Emil Nava, leans heavily on narrative, featuring a pint-sized Jessie proxy (child actress Adrianna Bertola) exacting theatrical revenge on tormentors in a setting saturated with cartoonish chaos.

While the song isn’t exactly subtle, it doesn’t pretend to be; its charm lies in its blunt delivery, like a victory lap with confetti cannons firing off every few seconds.

Onstage, Jessie J has used the song as a cornerstone of her live sets, performing it at venues like the iTunes Festival 2011 with the kind of deliberate gusto that insists everyone in the room gets the message.

If there’s a critique, it’s that the track flirts with predictability, cycling through tropes of empowerment pop without quite subverting or elevating them.

That said, there’s a palpable catharsis embedded in its DNA, and its ability to resonate within a vast audience of the underestimated and overlooked is hard to deny.

At only three minutes and fifty-four seconds, “Who’s Laughing Now” serves its purpose: a bite-sized anthem for anyone who’s ever had revenge served piping hot with a side of unapologetic sparkle.

Featured on the 2011 album “Who You Are”.

Lyrics >> Review >> More by the same : Official Site

4 . Dua Lipa – IDGAF

Released in early 2018 as part of her self-titled debut album, “Dua Lipa – IDGAF” crackles with sharp, pop-driven defiance, a sonic middle finger to toxic relationships and emotional dependency.

The song’s title, an blunt acronym for “I Don’t Give a Fuck,” sets the tone for its unabashedly self-empowering narrative, channeled through lush vocal harmonies and a militaristic drum line that punctuates every word with confidence.

Produced by Koz and co-written with MNEK and Lauren Christy, the track leans on an electro palm-muted guitar riff that provides a subtle yet driving backdrop to Lipa’s commanding vocal presence.

Visually, the Henry Scholfield-directed video splits Dua into two opposing versions of herself—clad in complementary purple and orange hues—facing off in a choreographed manifestation of inner emotional turmoil, a clever juxtaposition that garnered nominations for prestigious awards like Best Choreography at the MTV Video Music Awards.

Audiences worldwide resonated with its no-nonsense energy, propelling it to number one on assorted charts including the UK Big Top 40, while the Billboard Dance Club Songs chart made it their party anthem.

It also helped Lipa secure accolades such as a BMI Pop Award in 2019, standing as a universally relatable ode to taking back control and leaving what no longer serves you in the dust.

Don’t overlook the spate of official remixes, like those from Anna of the North, Young Franco, and Saweetie, which add new flavors to a track already brimming with attitude.

Despite its brevity and repetitive chorus, “IDGAF” thrives on its unapologetic simplicity, a bold offering from an artist who doesn’t ask for permission to own her space.

Featured on the 2017 album “Dua Lipa”.

Lyrics >> Review >> More by the same : Official Site

5 . Troye Sivan – My My My!

“My My My!” arrives like a breathless rush, stamping its place as Troye Sivan’s anthem of liberation.

The track, released in early 2018, surges with a layered electropop energy crafted by Oscar Görres under Max Martin’s studio umbrella.

Leland, one of Sivan’s frequent co-writers, throws in the titular phrase, capturing a contagious burst of euphoria that anchors the song.

If it doesn’t aim to redefine electropop, it stakes its claim with a slick precision that recalls the late-night pulse of an urban skyline.

On paper, the song’s chart performance—glancing off the Billboard Hot 100 at number 80—might not dazzle, but its dominance on the Billboard Dance Club Songs chart proves its true audience: club-goers and romantics lost in the flicker of strobe lights.

The accompanying music video, teaming Sivan with Grant Singer, accentuates the track’s lush textures with shadowy industrial visuals and jarring flashes, a fitting visual playground for its themes of lust and freedom.

It’s these moments—both visual and sonic—that channel Sivan’s personal muse, his then-boyfriend Jacob Bixenman, without sinking into cliché.

Electropop thrives on dualities, and “My My My!” masters this with an elation that’s neither naive nor overwrought—a controlled abandon, if such a paradox exists.

In live performances, like his nervy “Saturday Night Live” debut, the track transforms into a confident claim of space, converting Sivan’s understated persona into an undeniable presence.

This single might lack the flash of a Grammy nod, but it’s a quintessential thread in the fabric of his “Bloom” album, turning romantic urgency into a finely tuned banger with a personal edge.

Featured on the 2018 album “Bloom”.

Lyrics >> Review >> More by the same : Official Site

6 . G-Eazy – Me Myself & I

“Me, Myself & I” by G-Eazy and Bebe Rexha lands somewhere between introspection and a radio-ready anthem, blending a confessional tone with sharp production that aims squarely at commercial appeal.

The song, originally slated for Rexha’s own debut, instead found itself reshaped into G-Eazy’s reflective soliloquy, pairing his introspective verses with Bebe’s soaring hook.

Its production, built on looped beats and a minimalist aesthetic, contrasts with the lyrical narrative of self-reliance, as if offering both resistance and solace in equal measure.

The music video, a surreal mix of house party chaos and inner monologue, juxtaposes G-Eazy’s public bravado with his internalized doubts, effectively mirroring the track’s lyrical layers.

Chart-wise, the song achieved a commendable presence, cracking Billboard’s top 10 while maintaining a long cycle on playlists globally, though its lasting resonance feels tied more to its cultural timing than its craftsmanship.

Performances, whether on late-night TV or award show stages, solidified its visibility, though the repeated renditions rarely pushed the artistic boundaries of the track.

Lyrically, it teeters between millennial angst and anthemic catchiness, oscillating between self-aggrandizing verses and relatable insecurities—a cocktail that’s either deeply poignant or mildly performative, depending on your tolerance for pop-rap tropes.

You could argue that the song’s hook, entrenched in Rexha’s defiant delivery, carries it further than the verses, which, while personal, occasionally lean into clichés of independence.

Its legacy is more about capturing a fleeting moment of self-empowerment in mainstream pop than establishing either artist as an enduring innovator—an earworm that strolls the line between authenticity and formula.

Featured on the 2015 album “When It’s Dark Out”.

Lyrics >> Review >> More by the same : Official Site

7 . Michael Kiwanuka – Home Again

Michael Kiwanuka’s “Home Again” lands like a warm, introspective sigh, blending folk and acoustic textures with nods to funk and blues.

Released in 2012 as the title track of his debut album, it doesn’t just set the tone for the record—it encapsulates his artistic ethos.

The lyrical mantra “home again, home again” avoids oversentimentality, doubling as a steely reminder of resilience amidst personal trials.

Kiwanuka’s rich, velvety vocal delivery is undoubtedly the centerpiece, bringing a gravitas to a deceptively simple arrangement produced by Paul Butler.

Critically, the song leans neither wholly retro nor boldly modern, instead walking a careful line between eras—part ’70s singer-songwriter warmth, part 21st-century introspection.

Its commercial success, charting in multiple countries and earning certifications, suggests a quiet universality, proving that reflective restraint still has a place in a pop landscape often dictated by bombast.

The accompanying music video eschews theatrics, opting for a stripped-back visual palette that mirrors the song’s meditative undercurrent.

Whether it belonged on a coffeehouse playlist or a festival stage, “Home Again” wears its contradictions proudly, carving out a peculiar yet memorable space for Kiwanuka in contemporary music.

Featured on the 2012 album “Home Again”.

Lyrics >> Review >> More by the same : Official Site

8 . Ellie Goulding – Army

“Army,” released in 2015 as part of Ellie Goulding’s album *Delirium*, operates as a pop ballad drenched in sincerity.

In the song, Goulding pays homage to her best friend Hannah, blending personal lyrics with universal themes of unwavering support and companionship.

The track is couched in a glossy production typical of Max Martin and Ali Payami, with its B major key and 87 BPM lending it a steady pulse that avoids becoming overwrought.

Its orchestral elements add a layer of grandeur, though some might argue the arrangement teeters on being too polished for a song meant to feel intimate.

Upon its release, “Army” saw moderate chart success, peaking at respectable positions in Scotland and the UK, though it struggled for broader traction globally.

It’s hard to ignore how its earnestness walks the thin line between touching and borderline saccharine, but the sentiment is redeemed by Goulding’s emotive vocal delivery.

The music video, a black-and-white love letter to friendship, eschews high-budget spectacle for personal, behind-the-scenes moments, capturing a candid charm that a glossy music video budget often erases.

While the song was commercially overshadowed by other singles off *Delirium*, its UK gold certification indicates its resonance with a devoted audience.

If anything, “Army” underscores Goulding’s niche: crafting shimmering anthems with just enough emotional pull to resonate, without reinventing the pop wheel.

Featured on the 2015 album “Delirium”.

Lyrics >> Review >> More by the same : Official Site

9 . Gesaffelstein – Lost In The Fire (w/ The Weeknd)

Released on January 11, 2019, “Lost in the Fire” pairs French electronic producer Gesaffelstein with Canadian artist The Weeknd in a track steeped in shadowy allure and sleek production.

Featured on Gesaffelstein’s sophomore album *Hyperion*, the song wields a retro R&B atmosphere fused with ominous electronic undertones, delivering a moody yet infectious energy.

The Weeknd’s vocal delivery leans unabashedly into themes of longing and physicality, with certain lyrics sparking public intrigue and speculations about interpersonal rivalries.

The accompanying music video, directed by Manu Cossu, serves up a brooding, minimalist visual aesthetic where Gesaffelstein dons his trademark mirrored, metallic visage, standing enigmatic against The Weeknd’s more emotive performance.

The song ascended to No. 26 on the Billboard Hot 100 and cracked the Top 10 in Canada, France, and Norway, cementing its resonance with audiences despite its controversial lyricism.

This collaboration marks a continuation of the duo’s creative partnership, following their work on *My Dear Melancholy,* with tracks like “I Was Never There” showcasing a similar melancholic edge.

Live renditions, such as Gesaffelstein’s 2019 Coachella set, magnify the track’s haunting qualities, while online clips rack up millions of views as listeners absorb the cinematic and sonic darkness.

Gesaffelstein’s precise and restrained artistry balances The Weeknd’s raw emotionality, producing a track that seethes with understated tension and late-night allure.

Featured on the 2019 album “Hyperion”.

Lyrics >> Review >> More by the same : Official Site

10 . Slow Moving Millie – Please Please Please Let Me Get What I Want

Slow Moving Millie’s rendition of “Please Please Please Let Me Get What I Want” strips the iconic Smiths track down to its emotional core, transforming longing into a quiet plea that lingers long after the final note.

Released on November 11, 2011, as part of her debut album “Renditions,” the track owes much of its prominence to its inclusion in a John Lewis Christmas advert—one of those strangely British cultural phenomena where understated tearjerkers replace holiday bombast.

Its minimalist arrangement, paired with Millie’s delicate vocals, trades the original’s melancholic edge for an air of ethereal resignation, dialing the drama down but not entirely diffusing it.

This less-is-more approach resonates with a kind of wistful sincerity, but some might argue it veers precariously close to becoming background music for a lifestyle store peddling overpriced candles.

Charting modestly at #31 in the UK Singles Chart, this version wasn’t exactly a chart-topper but secured its status as a seasonal staple in the pantheon of understated Christmas cover tracks.

The lack of a proper video for the cover is somewhat compensated by a simple lyrics video on YouTube, where viewers can probably cry quietly into their tea while pondering their gift list.

It’s a curious reinterpretation that raises the question—does reworking a song into a whispery wisp of itself enhance its appeal, or does it, as cynics might suggest, reduce its potency for easy commercial digestion?

Slow Moving Millie treads this line carefully, turning a ‘B-side from 1984’ into an enduring piece of low-key seasonal branding, though not everyone will be swept up by its quiet charm.

Featured on the 2011 album “Renditions”.

Lyrics >> Review >> More by the same : Wikipedia

11 . Taylor Swift – End Game

“End Game,” a collaborative effort from Taylor Swift’s *Reputation* era, slides into the terrain of pop-hip-hop fusion with calculated swagger.

Featuring Future and Ed Sheeran, the track leans into trap beats, attempting a genre crossover with its blend of rhythmic hooks and glossy production courtesy of Max Martin and Shellback.

The lyrics, a juggling act of love, ambition, and public perception, remain rooted in Swift’s fascination with personal mythology, peppered with a touch of self-aware defiance.

A Joseph Kahn-directed video adds a visual layer of jet-set indulgence, spanning Tokyo, Miami, and London, where Swift trades in her understated roots for champagne, neon lights, and after-hours mischief.

Chart-wise, it found respectable footing, peaking at number 18 on the Billboard Hot 100, but its real achievement lies in solidifying Swift’s pivot towards more pronounced collaborations.

Critics, though divided, recognized the intrigue of the genre experiment while questioning its ability to leave a lasting imprint amidst pop’s relentless churn.

“End Game” succeeds less as a boundary-pushing anthem and more as a curious snapshot of Swift dabbling in unfamiliar, albeit well-produced, territory.

Featured on the 2017 album “reputation”.

Lyrics >> Review >> More by the same : Official Site

12 . Sigrid – Strangers

“Strangers” confronts the glossy illusions of love that romantic comedies sell fervently.

This electropop anthem, dropped in late 2017, synthesizes slick Scandinavian production with a synth-pop backbone that practically begs for a neon-lit dance floor.

Co-written by Sigrid and Martin Sjølie under the Universal Music banner, the track thrives on its cleanly layered sounds and a vocal performance that’s equal parts vulnerable and defiant.

Charting admirably in the UK, peaking at No. 30, and earning spots across numerous global lists, the song proved a commercial success, with nearly 45 million Spotify streams to its name.

The accompanying music video, directed by Ivana Bobic, offers scenes dripping in surrealism, highlighting the divide between cinematic fantasies and unvarnished reality—a visual concept as pointed as the song’s lyrics.

Critics liken her to Robyn, yet Sigrid’s lyrical theme shifts away from heartbreak to tackle the disillusionment of fairy tale love.

A standout moment came with its placement in Netflix’s “Elite,” offering added resonance to the younger, irony-inclined crowd of pop listeners.

Sigrid’s confessional delivery anchors the track, making poignant its critique: grand, cinematic romance might look beautiful, but it’s about as stable as a house of cards.

Featured on the 2019 album “Sucker Punch”.

Lyrics >> Review >> More by the same : Official Site