‘Look Ma, No Mike!’ N°133 – 2010s Music Videos

1 . N-Dubz – Girls

“Girls” by N-Dubz, released on 12 December 2010 as part of their third studio effort “Love.Live.Life,” finds the Camden Town trio navigating themes of hedonism with a glossy, radio-friendly veneer.

Jim Jonsin’s production leans on polished beats that feel engineered for the charts, yet lack substantial edge. Lyrically, the track toys with surface-level bravado and group dynamics, courtesy of writers Tulisa, Dappy, Fazer, Danny Morris, and Zachary Steiner Anderson. Dappy’s over-the-top theatrics, underscored in the music video where he presides from a throne flanked by eager admirers, risk tipping into caricature.

The video, premiering on T4 the same week the single debuted on the UK Singles Chart at No. 18, adds layers of visual opulence but offers little narrative depth. Scenes of Tulisa playing poker and Fazer posturing against a dancing backdrop feel like disparate vignettes strung together by camera tricks rather than cohesion. Skepta’s cameo is a fleeting nod to the broader UK hip-hop scene but doesn’t leave much of an imprint.

Chart-wise, “Girls” fares respectably within its niche, peaking at No. 4 on the UK Hip Hop/R&B chart while showing less impact beyond British borders, managing only No. 48 in Ireland. While the song isn’t bereft of charm, it highlights a group beginning to plateau stylistically, overshadowed by their prior versatility. N-Dubz’s trajectory from MOBO-winning pioneers to reality TV stardom with *Being N-Dubz* feels emblematic of how the industry prizes marketability over innovation. Their eventual 2022 reunion suggests a willingness to revisit past glory, but “Girls” serves as a rather pedestrian stop along the way.

Featured on the 2010 album “Love.Live.Life”.

Lyrics >> More by the same : Official Site

2 . Jessie J – Thunder

“Thunder,” the final single from Jessie J’s 2013 album “Alive,” comes as a somewhat tempered close to the record’s attempts at sonic expansiveness.

Produced by StarGate’s Mikkel Storleer Eriksen and Tor Erik Hermansen, alongside Benny Blanco, the track leans on polished but perhaps overly familiar pop production. While its engineering—handled by Mark “Exit” Goodchild and a cadre of mixers and assistants like Phil Tan and Daniela Rivera—ensures that every note occupies its rightful space, the resulting soundscape feels a touch sterile, as if striving for drama while remaining hesitant to truly let loose.

Jessie J’s vocal performance, recorded with help from Chris Sclafani, Joel Peters, and Justin Pancionendon, carries her usual power, yet its sharp edges occasionally overpower the underlying religious earnestness she seeks to convey. Her dedication to God as inspiration certainly sets “Thunder” apart thematically, though the lyrics, co-written with Claude Kelly and others, operate within a predictable framework of spiritual-pop uplift that lacks significant surprises.

The song’s chart performance reflects its middling impact—peaking at number 18 in the UK and struggling elsewhere, such as Australia (100) and Ireland (55). Perhaps tellingly, it was penned in haste—completed in just half an hour before Jessie J flew out of New York—an anecdote that may unintentionally mirror the rushed, surface-level feel of the track itself. Despite the accompanying Erik Arbores remix included on the CD single, “Thunder” seems more like a passing storm than a true tempest.

Lyrics >> More by the same : Official Site

3 . Troye Sivan – Youth

“Youth” by Troye Sivan feels like a neon-slicked snapshot of millennial longing, wrapped tightly in glossy synth-pop production.

Crafted with collaborators Bram Inscore, Brett McLaughlin (Leland), Alex Hope, and Allie X, the track seems to stitch together fragmented emotions, using bright hooks as its thread.

The production, led by Inscore, SLUMS, and Alex JL Hiew, veers towards a space that’s clean and accessible, almost too polished to convincingly capture the messy exuberance it aims to depict.

Lyrically, “Youth” orbits the familiar theme of first love, with Sivan positioned as a narrator fumbling through reckless choices and oversized feelings.

Describing it as a song about “dropping everything, running away, making mistakes,” the songwriting leans heavily on universals, which can feel both inclusive and frustratingly generic.

Commercially, the single reached number 23 on the US Billboard Hot 100 and climbed even higher in Australia and New Zealand, peaking at 17 and 15, respectively—a testament not just to its infectiousness but perhaps to the universality of its theme.

Visually, Malia James’ music video layers aesthetic appeal over the narrative, featuring Amandla Stenberg and Lia Marie Johnson for star power, though it arguably dilutes the rawer aspects of the song’s premise in favor of visual symmetry.

The track’s staggering multi-platinum certifications in countries like the US, Australia, and Sweden underline its sonic reach, though one might wonder if its slickness is both its strength and its limitation.

Where Sivan’s debut album, *Blue Neighbourhood*, often sharpens the edges of youthful heartbreak, “Youth” glosses over them, opting instead for bright, shimmering nostalgia that risks feeling impersonal in its pursuit of relatability.

The song’s cultural reception, including an ARIA Song of the Year win and placement at number 11 on *Billboard*’s 100 Best Pop Songs of 2016 list, reflects its broad success, though it may lack the depth to anchor it as a timeless anthem of its generation.

Featured on the 2015 album “Blue Neighbourhood”.

Lyrics >> More by the same : Official Site

4 . Parade – Louder

“Louder,” the debut single by British girl group Parade, offers a polished introduction to their self-titled album, “Parade,” but plays it safe within the confines of its dance-pop ambitions.

Released on 13 March 2011 and clocking in at 3:32, the track is a glossy, tightly arranged work crafted by Alan Sampson, Kuk Harrell, George Hannides, and Anthony Hannides, with production handled by The Fairground. Sonically, it sticks closely to the conventions of its genre, delivering upbeat, radio-friendly energy but rarely venturing into uncharted territory. At its best, the production is slick, though its hooks lack the staying power one might expect from a debut hoping to cement a lasting impression.

The song’s chart performance reflects a middling reception—number ten on the UK Singles Chart and a slightly higher peak at number seven in Scotland contrast with its more modest 41 in Ireland. By chart standards, “Louder” made a respectable splash but hinted at limited momentum.

The Emil Nava-directed music video injects the energy the track aspires to embody. A house party that spills into the streets with fireworks somewhat compensates for the track’s predictable structure, providing a visual vibrancy the music alone struggles to sustain. Its use in a Rimmel advert underscores its commercial sheen, though it stops short of achieving cultural ubiquity.

Parade’s live renditions of the track, such as their televised debut on the National Lottery and their enthusiastic performance at the Nintendo 3DS launch alongside Russell Kane and Plan B, showcase the group’s diligence in promoting their work. Sharing stages with acts like Alexandra Burke, Shakira, and Ellie Goulding suggests initial industry goodwill, though this trajectory was short-lived.

Emily Biggs, formerly of “The X Factor” band Hope, gives the group a thread of reality-TV pedigree, but even this doesn’t elevate “Louder” beyond its transient appeal. Following the tepid response to their debut album, the abrupt termination of their Asylum Records contract and disbandment in 2013 speak volumes.

In retrospect, the bright yet fleeting career of Parade mirrors the track itself: polished, eager, and undeniably “of its time,” but without the daring individuality needed to endure.

Featured on the 2011 album “Parade”.

Lyrics >> More by the same : Wikipedia

5 . Girls Can’t Catch – Echo

“Echo” captures a fleeting moment in the ephemeral career of Girls Can’t Catch, a British girl group formed through a 2009 reality TV show. Written by Alan Kasirye and Viktoria Hansen and produced by Alan Nglish, the song attempts to balance mainstream pop sensibilities with electropop polish but struggles to fully resonate.

Recorded at EMI Publishing Studios in 2009, “Echo” revolves around the lyrical metaphor of a relationship that refuses to quietly dissolve, much like an echo reverberating across a canyon. The White Cliffs of Dover—chosen as the music video’s dramatic setting—visually reinforce this motif, though the execution feels more guided by fan-sourced ideas and commercial gimmickry than thematic depth. The video’s interactive production process, including a fan contest that resulted in a set visit and makeover, injects novelty but risks diluting the creative vision.

Musically, the track is cleanly produced, with the typical hallmarks of late-2000s pop. Yet, its ambition outpaces its impact. The chorus leaves a faint impression, a ripple rather than a wave. The accompanying B-side, “Love Shy,” and remixes from Love II Infinity, Nu Addiction, and Ruff Loaderz suggest an effort to amplify its club appeal, but none successfully elevates “Echo” beyond competent filler.

Despite peaking at number 19 on the UK Singles Chart and finding marginally greater success in Scotland at number 15, the single’s steep chart descent underscores its waning commercial viability. Named a VIP Track of the Week across outlets such as The Box, 4 Music, and Smash Hits, “Echo” enjoyed flashes of industry support but ultimately couldn’t defy its transient nature—a fitting epitaph for a group whose career bridged 2009 and 2010 with little more than echoes to show for it.

Lyrics >> More by the same : Wikipedia

6 . The Vamps, Matoma – All Night

“All Night” by The Vamps and Matoma operates as a polished blend of EDM sheen and emotional nostalgia, released on 14 October 2016 as part of The Vamps’ third studio album, *Night & Day (Night Edition)*.

The track benefits from notable collaborative inputs, with songwriting credits shared between The Vamps, Justin Franks, Danny Majic, and John Mitchell, and production handled by DJ Frank E, Danny Majic, and Matoma.

Its most striking element is the manipulated chorus resembling children’s voices, a production flourish from Frank E that adds both charm and a slight uncanny quality.

Lyrically, the song reflects a longing for connection, though its sentiment leans more on universally accessible nostalgia than deep personal specificity—effective but not groundbreaking.

The 3:17 runtime ensures a concise delivery, avoiding overextension, while its placement on the BBC Radio 1 A-list and a peak at number 24 on the UK Singles Chart underscores its audience traction.

The staying power—26 weeks on the UK chart and Platinum certifications across markets like the UK, Canada, Italy, and Norway—underscores its commercial robustness.

Where it succeeds is its streamlined EDM structure, pairing The Vamps’ catchy melodicism with Matoma’s production polish.

The single bundle includes curiosities like an acoustic version and a live Teen Awards rendition, though these additions feel more like obligatory appendages than essential expansions of the original.

Its inclusion on Matoma’s 2018 album *One in a Million* cements this first collaboration as both a crossover success and a strategic venture for both acts.

“All Night” is easy to digest, but its reliance on formulaic tropes prevents it from fully transcending the boundaries of dance-pop mainstream.

Featured on the 2016 album “Night & Day”.

Lyrics >> More by the same : Official Site

7 . Sophie Ellis-Bextor – Young Blood

“Young Blood” positions Sophie Ellis-Bextor in a markedly introspective light, departing from the dance-pop foundations that defined her earlier work to embrace a chamber pop sensibility.

Anchored by Ed Harcourt’s production, the song leans heavily on a piano-driven arrangement, supplemented by a restrained drumbeat and lush string sections that evoke a kind of cinematic nostalgia.

Ellis-Bextor’s vocal performance demonstrates an impressive range, alternating between a subdued low register in the verses and melodramatic peaks in the chorus, where she employs melisma and choral harmonies that amplify the song’s emotional core.

The lyrics, penned in collaboration with Harcourt, explore the intimacy and poignancy of enduring love, wrapping themes of aging and companionship in a first and second-person narrative. It’s a relatable sentiment, albeit one that occasionally veers too close to sentimentality without the bite or nuance to counterbalance it.

Chart performance-wise, “Young Blood” made a modest but notable impact, peaking at number 34 on the UK Singles Chart while reaching a more impressive number 3 on the UK Indie chart—a testament to Ellis-Bextor’s dedicated fanbase.

The accompanying music video, directed by Sophie Muller, visually mirrors the song’s reflective tone, juxtaposing desolate yet strikingly serene settings like an abandoned pier against homely interiors.

Although its lifespan on the charts was brief, spending just three weeks there, its role as the lead single from *Wanderlust* and presence on televised platforms like ITV’s morning programme ensured it did not go unnoticed.

“Young Blood” doesn’t upend the genre, but its tenderness, bolstered by Ellis-Bextor’s controlled yet emotive delivery, provides a sophisticated counterpoint to her prior dance-heavy discography.

Featured on the 2013 album “Wanderlust”.

Lyrics >> More by the same : Official Site

8 . Kings Of Leon – Radioactive

“Radioactive,” the lead single from Kings of Leon’s 2010 album “Come Around Sundown,” captures a Southern rock sensibility that feels both reverent and restless. Its sepia-toned music video, featuring a barbecue and a gospel children’s choir, folds the band’s Tennessee upbringing into the narrative, as if inviting listeners into their familial fragment of America. This imagery underpins the song’s gospel-inflected choruses, walking a tightrope between homage and pastiche.

Musically, the track doesn’t wander far from the band’s established anthemic rock formula but infuses it with the air of church music without fully committing to the transcendence of the tradition it hints at. Caleb Followill’s vocals strain with fervor, but their rawness at times feels trapped within the song’s rigid structure, which leans heavily on repetitive hooks over substantial variation.

When the song debuted at #37 on the *Billboard* Hot 100—later re-entering at #65 as the album gained traction—it marked respectable chart activity, though the UK audience afforded it greater favor, pushing it to #7. Its Grammy nominations for Best Rock Performance by a Duo or Group with Vocals and Best Rock Song suggest its craftsmanship impressed critics, though the song itself may lack the dynamism of their earlier work like “Sex on Fire.”

The live performances added texture to the song’s rollout, from *Saturday Night Live* to their *VH1 Storytellers* appearance a year later. While the West Angeles Mass Choir remix nods generously to the gospel undercurrent, the version doesn’t necessarily upend the safe confines of the original. As “Radioactive” secured Platinum status in Australia and Gold in the UK, its commercial success reflects its resonance, but its ultimate reach feels like a polite nod from fans rather than a gripping embrace.

Featured on the 2010 album “Come Around Sundown”.

Lyrics >> More by the same : Official Site

9 . Josh Groban – Brave

“Brave,” the lead single from Josh Groban’s 2012 album “All That Echoes,” presents itself as a notable departure from the artist’s established orchestral roots, leaning instead into a more guitar-driven and rhythm-centric soundscape.

Composed by Groban alongside Tawgs Salter, with lyrics by Chantal Kreviazuk, the track seeks uplift through simplicity, beginning as a piano-borne idea punctuated by the chant-like refrain, “wake up, wake up.” This embryonic moment evolves into an anthem of rejuvenation, yet the polished end product feels caught somewhere between earnest prompting and overly tidy sentimentality.

Chart-wise, “Brave” settled midway on Billboard’s Adult Contemporary at No. 13, and its fleeting presence on the UK Singles Chart peaking at No. 64 suggests a tepid reception, perhaps dampened by its overly cautious approach. While the production nods toward broader accessibility, the trade-off is a slight dilution of Groban’s distinctive vocal richness—a centerpiece of his appeal since his tenure atop multi-platinum sales charts.

Visually, the official music video, released in March 2013, situates Groban amidst a utilitarian warehouse set, flanked by orchestra members. Lacking in visual intrigue, the video seems to mirror the song’s struggle to marry ambition with memorability. Live renditions, such as his collaborations with Forte during the “America’s Got Talent” finale, supply some added gravitas, but not enough to elevate the song beyond a competent, if unremarkable, concert staple.

Amidst Groban’s collaborations with industry icons like Kelly Clarkson and Celine Dion, “Brave” feels restrained; a safe, well-tailored garment that, while comfortable, never risks flamboyance. Though its intention is unassailable—prodding its audience toward self-renewal—the execution remains polite, its edge sanded smooth in an attempt to offend no one and galvanize few.

Featured on the 2013 album “All That Echoes”.

Lyrics >> More by the same : Official Site

10 . Demi Lovato – Let It Go

“Let It Go” by Demi Lovato operates as a pop anthem reimagined for mainstream appeal, distancing itself from the Broadway sensibilities of Idina Menzel’s film rendition.

Clocking in at 140 beats per minute and set in G major, Lovato’s version amplifies the song’s tempo slightly, trading the cinematic sweep of the original for a polished radio-friendly sheen.

In doing so, it sacrifices some of the dramatic tension that anchored the track to Elsa’s emotional arc in *Frozen*, opting instead for a broader, less nuanced delivery.

The omission of “Let the storm rage on” in favor of an additional “Let it go” could be seen as flattening the lyrical complexity, diluting the thematic defiance that defined the original performance.

Still, Lovato’s personal resonance with the song—citing parallels to Elsa’s struggle with self-acceptance—lends a degree of authenticity to her interpretation, even if it doesn’t elevate the track beyond familiar pop balladry.

Chart performance varies worldwide, with peaks like #13 in New Zealand and #15 in Belgium, but the song barely cracks the top 40 in the US, highlighting its comparative underperformance in Disney’s home territory.

This disparity underscores the challenges of translating a beloved musical theater piece into pop without losing what made it compelling in the first place.

Ultimately, while Lovato brings technical prowess and studio polish, her version remains tethered to its function as a closing-credit fixture rather than freeing itself to become a standout track in her own discography or within the Disney catalog.

Lyrics >> More by the same : Official Site

11 . Christina Perri – Human

“Human,” released as the lead single from Christina Perri’s second studio album *Head or Heart* in 2013, plays it straightforward as a pop power ballad but manages to carry an emotional weight that resonates deeply with listeners.

Written by Perri and Martin Johnson, who also handles production duties, the song unfolds over a piano melody and a lush string arrangement by David Campbell. It’s a template that dates back decades in pop balladry, yet Perri’s delivery—taut and introspective—gives it a pulse that refuses to be generic. The key of A flat major suits her vocal range well, creating an intimacy that feels uncomfortably voyeuristic at times, as though we’re reading pages from her journal. That intimacy, while affecting, teeters on the edge of overexposure, something Perri herself reportedly wrestled with during its inception.

The song’s performance metrics cemented its commercial appeal. Certified Platinum by the RIAA in mid-2014, “Human” peaked at #31 on the Billboard Hot 100, a promising accomplishment for a track deliberately slower and less radio-friendly than its contemporaries. Its six-week run at the top of Adam’s Top 100 in early 2014 is a curious pop-cultural footnote, speaking to the fervor of niche fan charts where emotionality often trumps innovation.

The accompanying music video, directed by Elliott Sellers, offers a visual metaphor of transformation—Perri depicted as a robot evolving into her titular humanity. Effective but unsubtle, it pairs with the song’s central thesis without attempting to deepen it. Her live rendition on *The Queen Latifah Show* the day of its iTunes release exudes professionalism but also demonstrates how dependent the song is on its meticulous studio production for maximal impact.

While critics liken her songwriting to Taylor Swift’s, it’s less the diaristic candor than the structural safety net that invites such a comparison. For all its honesty, “Human” rarely risks veering into uncharted territory, preferring to map familiar emotional landscapes instead. It’s a capable, earnest entry into the pantheon of piano-driven ballads, but its success lies more in its execution than its originality.

Featured on the 2013 album “Head or Heart”.

Lyrics >> More by the same : Official Site

12 . Sigma – Find Me (w/ Birdy)

“Find Me” by Sigma, featuring Birdy, is an intriguing collision of styles, where Sigma’s polished electronic production forms an uneasy pairing with Birdy’s emotive vocals.

Released on 4 November 2016 as part of Sigma’s second studio project, *Hope*—a title that wouldn’t attach itself to a full album until six years later—it’s as if the track was left orphaned in its own time.

Peaking at number 36 on the UK Singles Chart, the song carved out a modest impression domestically, yet found its unexpected footing stateside, reaching the top spot on *Billboard*’s Dance Club Songs chart by May 2017.

Birdy’s vocal delivery, while haunting, feels somewhat shackled amidst the track’s layered crescendos of synths and percussion. Despite her credentials from projects like *Beautiful Lies*, this marks her first venture into electronic-driven terrain, a diversion that doesn’t always amplify her raw strengths.

The accompanying music video, directed by Christopher Sims, compensates with its cinematic ambition. Featuring Millie Bobby Brown wandering Los Angeles at night, the visual narrative rides the zeitgeist of youth in angst, though arguably it leans heavier on mood than substance.

A suite of remixes—ranging from a sparse acoustic take to reimaginations by Tom Zanetti & K.O. Kane—showcases the production’s flexibility, yet the core song struggles to transcend its own template.

“Find Me” eventually earned a Silver certification from the BPI, moving over 200,000 units, but for an act with Sigma’s pedigree—evident in earlier chart-toppers like “Nobody to Love”—it feels more like a respectful nod than a triumph.

Lyrics >> More by the same : Instagram