‘Look Ma, No Mike!’ N°108 – 2010s Music Videos

1 . Austin Mahone – Mmm Yeah (w/ Pitbull)

“Mmm Yeah” from Austin Mahone’s EP “The Secret” stakes its claim as a dance-pop track with undeniable energy but little intent on courting subtlety.

Built on a foundation borrowed heavily from Lidell Townsell’s 1992 hit “Nu Nu,” its hook leans so hard on the source material that originality feels more like an afterthought than a goal.

Recorded in 2013 and released early in 2014, the song harnesses a collision of genres—funk, Chicago house, hip hop, and Latin music—all propelled by a four-on-the-floor beat that serves as its relentless pulse.

Yet, the result feels more functional than inspired, like it belongs more in a fitness playlist than on a pop milestone chart.

Mahone’s youthful vocals float atop this “swirling” production, yet they rarely assert themselves, dodging any emotional depth in favor of bright, repetitive phrasing.

Enter Pitbull, who delivers his predictable party-anthem cameo with the charm of a stock character—an appearance so routine that it borders on self-parody.

The lyric video, with its parade of cameos from social media personalities, does little to expound on the song’s theme of street-level romantic rejection, while the flashier official video, directed by Gil Green, offers style but few surprises.

Chart performance shows its ephemeral appeal: peaking at a modest number 49 on the Billboard Hot 100 while securing a warmer reception on specialized lists like the Billboard Heatseeker Songs chart, where it claimed the top spot.

“Mmm Yeah” ultimately serves as a reminder of pop’s cyclical penchant for sampling, though it lacks the finesse to elevate its borrowed parts into something greater.

Featured on the 2014 album “The Secret”.

Lyrics >> More by the same : Instagram

2 . Jessie Ware – If You’re Never Gonna Move

“If You’re Never Gonna Move,” initially titled “110%,” showcases Jessie Ware’s deft blend of emotive vocal delivery and airy production, though not without its baggage—or intrigue.

A legal dispute over a Big Pun sample in its original form prompted a revision, replacing the provocative bite of the borrowed line from “The Dream Shatterer” with something less loaded, but also less distinctive. The swap imposed a kind of restraint, dialing back what could have been a sharper contrast between the song’s delicate texture and its subtly hip-hop-infused roots.

Co-written with Julio Bashmore, the track reflects their shared inspiration—an imagined whimsy conjured from a hip-hop magazine photo of Big Pun crowned in PVC yellow, which feels simultaneously hilarious and strangely fitting. Their collaboration produces a sound equal parts polished and weightless, with Bashmore’s production leaning into minimally layered beats that allow Ware’s voice to hover wistfully over the mix.

As part of Ware’s debut album, “Devotion,” the song served as a pivotal stepping stone in her ascent from backing vocalist to chart presence, marking her debut within the UK top fifty. This placement underscored its resonance, even as its subdued sophistication felt carved for quiet acclaim rather than broad anthemic success.

Promotional efforts, including festival appearances at Coachella and Wireless, contextualized the track as part of a larger artistic moment, yet it somehow feels more at home as an intimate personal soundtrack than a live festival staple. It’s captivating but controlled, lacking room for spontaneity.

While Ware’s work here establishes her as a vocal stylist of subtlety, there’s an inescapable sense of holding back. The initial title, “110%,” hints at an energy the final product never quite unleashes—more like a measured 85%, graceful but restrained.

Featured on the 2012 album “Devotion”.

Lyrics >> More by the same : Official Site

3 . Sigrid – Don’t Feel Like Crying

“Don’t Feel Like Crying,” the fourth single from Sigrid’s debut *Sucker Punch*, stands as a pop anthem that straddles optimism and avoidance. Released on January 17, 2019, it pairs lyrical resilience with production polish, courtesy of Oscar Holter, who co-wrote the track alongside Sigrid and Emily Warren.

With its orchestral stabs and slick vocal effects, the song seems intent on masking heartbreak with buoyant defiance. The lyrics, focused on postponing grief rather than erasing it, walk a fine line between emotional maturity and denial. It’s the sonic equivalent of sweeping glass under the rug because there’s company coming over. Yet, for all its thematic cleverness, the balance between narrative depth and radio-friendly sheen feels precariously maintained.

Critically, “Don’t Feel Like Crying” has fared well, peaking at number 13 on the UK Singles Chart, earning a Platinum certification for 600,000 units in the UK, and receiving similar nods on the Irish Singles Chart (number 16) and the US Dance Airplay chart (number 23). An MK Remix and an Extended Remix offer a slight reprieve from the original’s tailored exuberance, broadening the song’s club appeal. Still, while ear-catching, the remixes bring little transformative depth.

Sigrid’s performance on *The Late Show with Stephen Colbert* on February 19, 2019, showcased her commitment to blending authenticity with accessibility, a balance that has typified her career since being crowned the BBC Sound Of 2018.

As a breakup song, “Don’t Feel Like Crying” feels less like catharsis and more like a delayed reaction. Its sleek production and empowering undertone make for an undeniably catchy experience, but the emotional bypass beneath its pop gloss leaves it skating on thin sincerity. While a worthwhile track, it doesn’t fully escape the gravitational pull of formulaic sentimentality.

Featured on the 2019 album “Sucker Punch”.

Lyrics >> More by the same : Official Site

4 . The Lonely Island – Yolo (w/ Adam Levine & Kendrick Lamar)

The song “YOLO” by The Lonely Island, featuring Adam Levine and Kendrick Lamar, flips the cultural catchphrase on its head with all the precision of a comic scalpel.

Released on January 25, 2013, as part of their third studio album, “The Wack Album,” the track is a satire of the reckless, devil-may-care lifestyle that the acronym “You Only Live Once” often champions.

In a clever twist, the lyrics present an obsessive commitment to playing things safe—think of it as the musical equivalent of bubble-wrapping your entire existence.

The inclusion of Adam Levine, whose smooth falsetto delivers a faux-earnest chorus, paired with Kendrick Lamar’s deadpan yet intricate guest verse, lends the song added texture and credibility.

The production, handled by Needlz, utilizes a sample from The Joy Formidable’s “Whirring,” incorporating its cascading guitar riff as a mischievous backdrop for this exercise in comedic paranoia.

Premiering on “Saturday Night Live” a day after its release, the song seized cultural attention both for its layered irony and its unconventional stance, encouraging hermetic living and advising against trusting banks or enjoying loud clubs.

Charting modestly around the globe, including peaks at 26 in Canada and 31 in Australia, “YOLO” occupies an intriguing space—popular enough for mainstream recognition yet still subversive in its message.

The Lonely Island leans on their sharp wit here, balancing hyperbolic absurdity with enough relatable anxieties to land their comic blows.

The music video, showcasing their signature satirical flair, resonated within the YouTube-dominated era, cementing their ability to craft viral-worthy moments built on shared cultural understanding.

Yet beneath the humor lies a recurring Achilles’ heel: the joke’s one-note execution doesn’t evolve much over the song’s runtime, limiting its staying power beyond initial laughter.

Still, with its mix of Levine’s pop pedigree, Lamar’s lyrical dexterity, and The Lonely Island’s knack for flipping cultural scripts, “YOLO” serves as a wry critique of modern living, even if it occasionally feels trapped in its own safety bubble.

Featured on the 2013 album “The Wack Album”.

Lyrics >> More by the same : Official Site

5 . Mabel – Finders Keepers (w/ Kojo Funds)

“Finders Keepers,” released on 26 May 2017 as the lead single from Mabel’s debut EP “Bedroom,” navigates the murky waters of contemporary R&B with a slickness that feels both calculated and effective.

Featuring the vocal interplay of Mabel McVey and Kojo Funds, the song leans heavily on a minimalistic production co-composed by Mabel, JD. Reid, Marlon Roudette, Errol Bellot, and Steven Marsden. The sparse arrangement provides just enough rhythmic bounce to spotlight the singers’ vocal textures, but it occasionally feels like it’s holding back, missing the opportunity to take fuller advantage of its underlying melodic potential.

Its chart performance speaks volumes about its resonance with listeners. Peaking at number eight on the UK Singles Chart and sitting comfortably at number two on the UK R&B Singles Chart, “Finders Keepers” clearly struck a chord, spending 31 and 35 weeks on these charts respectively. Yet, outside the UK, its impact softens—reaching only number 52 in Ireland and 29 in Scotland. This disparity raises questions about its broader cultural appeal despite its polished facade.

The accompanying music video, set against the Lisbon backdrop, tries to give visual weight to the song’s vibes. With Mabel and Kojo Funds dancing alongside symbolic imagery of couples and nighttime gatherings, the visuals feel functional, though hardly innovative. It gets the job done but lacks the same lingering impact as the track’s extended chart life suggests.

Certified 2× Platinum by the BPI with over 1.2 million sales in the UK, “Finders Keepers” is a commercial triumph, even if its artistic execution doesn’t always match its numbers. Mabel’s familial ties to industry heavyweights Neneh Cherry and Cameron McVey, paired with Kojo Funds’ contributions to UK’s R&B and hip-hop scenes, lend an aura of pedigree, but neither fully transcends expectations here. “Finders Keepers” thrives on technical competence rather than risky creative choices—its hooks engrained, but its ambition muted.

Featured on the 2017 album “Ivy To Roses (Mixtape)”.

Lyrics >> More by the same : Official Site

6 . Lauv & Troye Sivan – I’m So Tired…

“I’m So Tired…” positions itself as a meditation on love burnout, delivered with a saccharine veneer by Lauv and Troye Sivan.

Released as the lead single from Lauv’s debut album, *How I’m Feeling*, the track sets its tone with clever nods to Coldplay and Lorde, acknowledging the shadow of its ancestors while wallowing in heartache fatigue.

Its lyrics lament the parade of love songs populating the airwaves—lines that ironically now join the very rotation they critique. The melody is infectious, yet its polished familiarity makes you wonder if the song is too at home in today’s pop algorithm to leave a lasting mark.

Riding its midtempo melancholy to chart success, “I’m So Tired…” became a defining moment for both artists, climbing to number eight on the UK Singles Chart—neither Lauv nor Sivan had touched such heights there before.

Top 5 in Ireland, top 10 in New Zealand, and top 15 in Australia also cemented its ability to translate across markets, resonating globally with its theme of romantic exhaustion.

Its music video, released on Valentine’s Day 2019, plays with detachment as the singers linger unnoticed by a couple. The narrative might’ve hit harder if it weren’t undermined by the kitschy climax of Lauv triggering a car alarm.

Live renditions, notably on *Jimmy Kimmel Live*, showcased the artists’ chemistry. Still, the stripped-down live version with a bridge that didn’t survive the final cut hints the song might’ve sacrificed depth for radio play readiness.

This collaboration reflects mutual respect between two rising voices, but its strengths—the clean production, charismatic performers, and catchy hooks—are matched by a safe adherence to formula. “I’m So Tired…” captures the malaise of love while paradoxically becoming another entry in the genre it critiques.

Featured on the 2019 album “How I’m Feeling”.

Lyrics >> More by the same : Official Site

7 . You Me At Six – Lived A Lie

“Lived A Lie,” a 2013 single by You Me At Six, channels anthemic ambition from every corner of its production yet doesn’t stray from the well-trodden paths carved by its influences.

Extracted from their fourth studio effort, “Cavalier Youth,” which debuted at the summit of the UK Albums Chart and lingered there for 11 weeks, the song encapsulates the band’s evolution within the British rock scene without revolutionizing it. Chart-wise, it’s a competent performer, peaking at 11 on the Official Singles Chart and a modest 4 on the Official Physical Singles Chart, though its staying power—four and two weeks respectively—suggests it’s not quite a genre-definer.

The music video, meanwhile, leans heavily on stylistic flourishes as a stand-in for conceptual depth. Lens flare, extreme close-ups of eyes, and jittery camera work seem engineered to simulate the adrenaline rush of a gig rather than reveal anything novel. The warehouse backdrop, with its blank canvas motif, half-heartedly asserts an “music-first” ethos, though one wonders if this simplicity is more out of necessity than principle.

Sonically, the fingerprints of American rock icons like Blink-182 and Thrice linger without feeling fully digested. Josh Franceschi’s vocals deliver with the expected fervor while Dan Flint’s percussion remains predictable yet polished. None of this is to diminish the band’s craftsmanship, but “Lived A Lie” feels more like a box checked than an exclamation point within their catalog.

Featured on the 2014 album “Cavalier Youth”.

Lyrics >> More by the same : Official Site

8 . Ed Sheeran – Castle On The Hill

“Castle on the Hill” by Ed Sheeran signals a purposeful return, released on January 6, 2017, as part of the promotional campaign for his third studio album, “÷ (Divide).”

Co-written and produced with Benny Blanco, the track leans heavily on nostalgia, drawing from Sheeran’s memories of growing up in Framlingham, Suffolk, with particular nods to the imposing presence of Framlingham Castle.

The lyrics move through snapshots of his youth—breaking his leg at six, rolling downhill, and inhaling the “sweet perfume of the mountain grass”—a cocktail of imagery that is both personal and universal.

The song’s structure exhibits a deliberate contrast: a soft, country-tinged introduction builds steadily toward a rhythmically charged, emotive chorus.

This dual arrangement aims to reflect the intensity of youthful highs and the quiet reflection of adulthood, though the transition between the sections can feel somewhat formulaic.

On the charts, “Castle on the Hill” performed impressively, reaching number one in locations as disparate as Iceland, Scotland, and Israel, while securing the number two spot in the UK, Australia, and Germany, among others.

The US reception was equally noteworthy, debuting at number six on the Billboard Hot 100 in tandem with “Shape of You,” which snagged the top spot, marking an industry-first double entry into the top 10.

Its global resonance is underscored by multi-platinum certifications, most prominently six-times platinum in the UK and nine-times platinum in Australia, though it’s tempting to wonder if the sheer ubiquity of the track detracts from its narrative specificity.

Performed live at the 2017 Brit Awards with the grittier flair of Stormzy’s “Shape of You” integration, the song further secured its place in Sheeran’s catalog of touchstones.

As both a lyrical homage to rootedness and an exercise in pop nostalgia, “Castle on the Hill” carries weight, though its production polish veers close to sterilizing the raw sentiment at its heart.

Featured on the 2017 album “Divide”.

Lyrics >> More by the same : Official Site

9 . Emeli Sandé – Heaven

“Heaven,” Emeli Sandé’s debut solo single released on 12 August 2011 under Virgin Records, radiates a polished yet calculated ambition indicative of its creators’ collective effort. Written by Sandé, Naughty Boy, Craze, Zeus Charalambous, and Hoax, and produced by Mike Spencer, the track stakes its claim as a key piece of her debut album “Our Version of Events” with its unrelenting polish and tightly constructed framework.

Opening with a dramatic swell of strings, “Heaven” quickly sets a cinematic stage but never quite transcends the script. Its production, while lush, tethers itself a bit too tightly to UK mainstream trends of the early 2010s. The song landed at number two on the UK Singles Chart with initial sales of 63,659, a testament more to Sandé’s pre-established audience following collaborations like Wiley’s “Never Be Your Woman” than to the track’s individuality.

Its chart success spans the UK Dance Chart at number one and a peak at number three on the Scottish Singles Chart, proving its regional appeal. Performances on platforms like “The X Factor” and “The Voice of Denmark” propelled it to similar acclaim in Denmark, where it peaked at number three on 17 February 2012. Yet, its movement across the Irish chart from number forty to twenty-nine reveals a slower burn compared to the immediate resonance in her home territory.

The accompanying music video, shot in Bethnal Green, London, crafts an evocative yet overly literal visual narrative of spirituality and urban melancholia. While striking in parts, the reliance on overt imagery like praying figures and religious symbols feels more illustrative than interpretive, as though afraid to leave anything to the listener’s imagination.

“Heaven” was crowned BBC Radio 1’s record of the week by DJ Fearne Cotton and gained a prominent stage at events such as the Belladrum festival and “Jools Holland.” Notably, its inclusion during the London 2012 opening ceremony positioned Sandé at the nexus of British cultural display. By then, however, the track’s flavor—though undeniably sleek—seemed more a product of its time than something timeless.

As part of an album that dominated the UK Official Albums Chart for 10 weeks and lingered in the Top 10 for 67 weeks, “Heaven” laid the groundwork for Sandé’s solo trajectory. Yet its real achievement may lie in hinting at the depth she would later explore, even as it remains a somewhat safe introduction. The craft is evident, but the soul occasionally feels filtered through formula, leaving listeners craving the fuller creative voice that Sandé would eventually unveil.

Featured on the 2012 album “Our Version Of Events”.

Lyrics >> More by the same : Official Site

10 . Craig David – I Know You (w/ Bastille)

“I Know You” pairs the polished delivery of Craig David with the brooding textures of Bastille, marking the first collaboration between these distinctly British acts since its release on 23 November 2017.

Fraser T Smith’s production leans on a slick, radio-ready sheen that ties neatly into David’s seventh studio album, “The Time Is Now.”

The track peaked at number five on the UK Singles Chart and earned a Platinum certification by the BPI, logging 600,000 units in UK sales—a commercial notch that matches the song’s calculated pop sensibility.

Lyrically penned by David, Dan Smith of Bastille, Fraser T Smith, and Helen “Carmen Reece” Culver, the song does little to reinvent the wheel, though its structure serves as a platform for both artists to play to their strengths.

David’s vocal smoothness contrasts with Dan Smith’s more chesty delivery, creating a tension that feels intentional, if not entirely fresh in approach.

The music video, directed by Alex Southam, contextualizes this partnership within a dimly lit basement party, its visuals reinforcing the communal, somewhat nostalgic undertone of the song—a vibe mirrored in live performances, including debuts on “Sounds Like Friday Night” and later on “Strictly Come Dancing.”

By the time David runs the track solo on “The Last Leg” in January 2018, the track’s polished accessibility underscores its appeal and limitations: a well-crafted, if slightly formulaic, slice of contemporary British pop.

Featured on the 2018 album “The Time Is Now”.

Lyrics >> More by the same : Official Site

11 . James Blake – Mile High (w/ Travis Scott & Metro Boomin)

“Mile High” walks a measured line between soulful introspection and hazy trap allure, bringing James Blake, Travis Scott, and Metro Boomin’s distinct worlds into cautious harmony.

As the second single off Blake’s 2019 album “Assume Form,” the track underscores his capacity to collaborate broadly without losing his signature moodiness. Blake’s ethereal intro sets the stage with a weightless intimacy, contrasting sharply with Travis Scott’s trademark bass-heavy delivery, which anchors the song to more contemporary trap territory.

The track’s production credits are a crowded room—James Blake, Metro Boomin, Dan Foat, Dre Moon, and Wavy all take a seat. Metro’s input is palpable, threading Scott’s rhythmic sensibilities into Blake’s sparse yet layered aesthetic. The balance is careful, almost afraid to lean too far into any one genre, which creates intrigue but occasionally feels overly cautious.

Lyrically, “Mile High” centers on love, stretching the metaphor of altitude into emotional realms with references to the oft-romanticized “mile high club.” This theme plays as familiar rather than revelatory, relying on its presentation rather than lyricism for impact.

Premiered on Zane Lowe’s Beats 1 show as the “World Record” of the day, the song was positioned for a spotlight that its moody restraint doesn’t quite seek to occupy. While the collaboration highlights Blake’s adaptability in engaging voices like Scott and Metro Boomin, one wonders whether it sacrifices individual boldness for collective cohesion.

Featured on the 2019 album “Assume Form”.

Lyrics >> More by the same : Official Site

12 . Jessie J – Who You Are

“Who You Are,” penned by Jessie J, Toby Gad, and Shelly Peiken, occupies an intriguing space in Jessie J’s debut album of the same name.

Born from the solitude of a drained 20-year-old artist transplanted to Los Angeles in 2009, the track’s introspective bent contrasts sharply with the glossy ambition that often saturates debut releases.

Here, the production, steered by Toby Gad, opts for intimacy over extravagance, placing Jessie J’s vocal strength front and center.

The song wears its sincerity brazenly, championing self-truth amidst moments of personal disorientation.

During Jessie J’s performance at The Sofitel’s Stone Rose in November 2010, she disclosed that “Who You Are” marked a point of creative salvation—her lifeline at the brink of abandoning music entirely.

The vulnerability she attributes to the song is palpable, yet at times teeters precariously close to the realm of overstatement.

Critics’ applause for her vocal prowess feels earned; she navigates the emotional terrain with commendable precision, even when the lyricism threatens to wilt under its own earnest weight.

While the track peaked at number 8 on the UK Singles Chart and garnered modest attention overseas—including a number 12 position on the US Bubbling Under Hot 100—a more understated commercial reception in markets like Australia and Canada reflects its contemplative direction.

Visually, the accompanying music video situates Jessie J in a dimly lit bedroom before a mirror, punctuated by rain and wind for dramatic effect.

The set pieces, though effective, run the risk of cliché, diverting from the song’s essence.

Ultimately, “Who You Are” showcases an artist grappling with the weight of her own expectations, her voice paradoxically emerging as both the song’s greatest ally and the element most in danger of overwhelming the narrative.

Featured on the 2011 album “Who You Are”.

Lyrics >> More by the same : Official Site