‘Look Ma, No Mike!’ N°8 – Vintage 2000s Music Videos
Coldplay, Adele, Ash, Thirteen Senses, U2, Red Hot Chili Peppers, Delta Goodrem, Richard Ashcroft, Blazin’ Squad, Elliot Minor, Infadels, Alex Parks
They are the performers of twelve “lip sync” music videos that were ranked in various charts, this week (05/52) BUT … in the Noughties 2000s.
Here, they are reunited in one glorious playlist. Enjoy!
WATCH IN FULL
For TWELVE “We are Live” – Vintage 2000s Music Videos – week 05/52 – click here
AUDIO ONLY
Tracklist
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![]() 1 . Coldplay – Fix You“Fix You” by Coldplay holds an emotional magnetism that threads personal grief with universal solace, emerging as a standout in the band’s 2005 “X&Y” album. Written collectively by its members, the song draws from Chris Martin’s attempt to console Gwyneth Paltrow after her father’s passing. This context lends the lyrics an aching sincerity, turning lines like “Lights will guide you home” into a quiet, desperate promise rather than mere sentimentality. The track opens with an organ melody reportedly played on an instrument gifted by Paltrow’s father—a meta-layer of mourning embedded in the music itself. It builds into a cathartic crescendo layered with electric guitar, bass, and cascading percussion, capturing a transition from desolation to resilience. The sonic simplicity mirrors its thematic clarity; this is sorrow reaching for faith, yet cleverly, it’s neither cloying nor melodramatic. Its cultural staying power is underscored by covers from artists as disparate as Susan Boyle and BTS—two vastly different acts that latched onto its universality. Audiences have turned to “Fix You” as a salve during hard times, including fans navigating the isolation of the pandemic era. Interestingly, Martin claims it’s the band’s most meaningful creation, a statement that’s curiously unpretentious amidst the grandeur Coldplay often inhabits. Still, its stripped-back simplicity positions it less as grand, stadium-filling poetry and more as an intimate whisper, underscoring Coldplay’s occasionally underrated ability to weave the personal into the panoramic. Featured on the 2005 album “X&Y“.
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![]() 2 . Adele – Hometown GloryAdele’s “Hometown Glory” resists bombast and opts for intimacy, showcasing her voice as its emotional anchor rather than mere ornamentation. Written in just ten minutes, it’s an unhurried meditation on the bond between identity and place, intertwining personal nostalgia with a quiet political edge inspired by her youthful opposition to the Iraq war. The song avoids overt sentimentality, instead achieving poignancy through restraint, with its minimalist piano arrangements and aching melodies lending an almost cinematic quality to her recollections of urban life in West Norwood. There’s a tension here—between staying rooted and leaving for new opportunities—that feels both universal and intensely specific, connecting the listener to the complicated comfort of home. Its cultural footprint goes beyond mere chart performance, serving as a recurring selection for TV dramas and advertisements, which seem drawn to its aching universality. The music video, a soft-focus companion to the song’s yearning tone, complements the narrative without overshadowing the music. Meanwhile, its sampling by artists like Big K.R.I.T. and Big Sean suggests its influence transcends her initial audience, embedding itself into broader musical conversations. This is no anthem but instead feels like a conversation—intimate, bruised, and quietly resolute in its reflections. Featured on the 2008 album “19 “.
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![]() 3 . Ash – There’s A Star“There’s a Star” by Ash stands out as an indie rock gem with a mid-tempo pulse and a touch of warmth from Charlotte Hatherley’s Rhodes piano. Emerging as the fifth single from their 2001 album *Free All Angels*, it’s a track that thrives less on commercial bombast and more on its subtle sense of optimism. The song didn’t climb the UK charts with the ferocity of its predecessors like “Shining Light” or “Burn Baby Burn,” but it arguably plays a unique role in shaping the album’s character and narrative. The accompanying music video mirrors its buoyant tone, wrapping the track in a kaleidoscope of visuals that feel as uplifting as the lyrics themselves. During its era, the track served as a regular feature in Ash’s live performances, dovetailing with their extensive global touring schedule, from Europe to Japan. Simplistic yet evocative, it encapsulates a band navigating the tightrope of creative ambition and public expectation in a period of personal and professional highs and lows. Featured on the 2001 album “Free All Angels”.
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![]() 4 . Thirteen Senses – Thru The GlassThirteen Senses’ “Thru the Glass” emerges as a contemplative indie pop track packaged with the band’s hallmark introspection. Originally launched in 2004, the song failed to chart, only to resurface in 2005 with an upgraded production by Danton Supple and a peak position of No. 18 on the UK Singles Chart. Its journey underscores a curious trajectory, where perseverance meets a second chance. The lyrics revolve around longing and emotional reflection, resting on a soothing melody that drips with subtle melancholy. Its production leans toward an understated polish, blending delicate piano progressions with measured percussion. If anything, the track operates within a comfort zone, content in its ability to quietly resonate rather than forcefully captivate. The music video mirrors the song’s subdued tone with its airy, almost dreamlike visuals, though it offers little by way of innovation or memorability. Its presence feels more functional than iconic, adding a layer of aesthetic rather than breaking new ground. What sets “Thru the Glass” apart is its ability to balance accessibility with moodiness, a tightrope many indie bands of the mid-2000s wobbled across. While not revolutionary or particularly complex, it captures a quiet moment of clarity—deliberate in pacing, modest in ambition, but poignant enough to leave an impression. Featured on the 2004 album “The Invitation “.
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![]() 5 . U2 – Beautiful Day“Beautiful Day” by U2 strides confidently into the pop-rock landscape with an infectious optimism that stands at odds with its lyrical undercurrent of loss. Released as the lead single from their tenth album, “All That You Can’t Leave Behind,” the track marries The Edge’s razor-sharp guitar textures with an anthemic vocal performance by Bono, creating a blend that teeters between their 1980s sonic past and forward-looking production. Recorded at HQ studios in Dublin, its uncomplicated structure is deceptive, housing layers of tension within its soaring choruses and plaintive verses. The production is both polished and understated, allowing the band’s chemistry to take center stage. The accompanying music video, directed by Jonas Åkerlund and set at Charles de Gaulle Airport, serves as a metaphor for transition, while showcasing Bono’s most convincing rendition of “airport chic.” Planes land and take off, mimicking the song’s thematic push-and-pull between grounded sorrow and aspirational freedom. The track’s commercial success was undeniable, topping charts across Europe and beyond, though its weaker showing in the U.S. with a Billboard peak of 21 suggests its universal appeal wasn’t quite airtight. A darling of GRAMMY voters, it secured three awards in 2001, though some of its acclaim feels dangerously close to handing U2 a nostalgia trophy they hadn’t explicitly asked for. While “Beautiful Day” pulses with uplift, its saccharine edges stop short of veering into cloying territory, though its clean, almost sterile production risks a lack of emotional grit. As much a return-to-form as a deliberate reset button, the song occupies an intriguing space: a forward march that glances anxiously at its footsteps. Featured on the 2000 album “All That You Can’t Leave Behind“.
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![]() 6 . Red Hot Chili Peppers – Road Trippin’“Road Trippin’” steps off the beaten path as an acoustic detour on Red Hot Chili Peppers’ album *Californication* from 1999, anchoring itself in quiet introspection rather than the band’s usual funk-fueled dynamism. Unplugged and drumless, the track gathers Anthony Kiedis’ laid-back vocals, John Frusciante’s delicate acoustic strumming, and Flea’s mellow basslines into a compact, sun-drenched vignette, while the Chamberlin organ adds an understated ethereal warmth. Lyrically, this is a love letter to camaraderie and the solace of nature: a journey along California’s Pacific Coast Highway with Kiedis and his bandmates embracing the rhythm of the surf and the simplicity of the road. It’s not a song that commands the stage—having been performed live only a sparse handful of times—but its quiet charm and reflective aura carve out a unique space in the band’s repertoire. The accompanying video, understated and contemplative, mirrors the song’s essence without reaching for grandiosity, ensuring the focus stays on the journey itself rather than the destination. Though it didn’t shake up the charts, peaking modestly in Australia, the UK, and Italy, its cultural footprint remains understated yet sincere, much like the track itself. Released as a single exclusively in select regions, the track came tucked with live versions of fan-favorites, yet it’s the song’s meditative essence that continues to resonate, a pause in a career often defined by explosive energy. Featured on the 1999 album “Californication“.
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![]() 7 . Delta Goodrem – Innocent Eyes“Innocent Eyes” by Delta Goodrem represents a reflective nod to childhood through its deeply personal lyrics and polished production. The track sits comfortably within early-2000s pop balladry, blending sincerity with a radio-friendly sheen that captures a sense of wistful nostalgia. Co-written with Vince Pizzinga and produced by John Fields, the song’s restrained instrumentation allows Goodrem’s evocative vocals to take center stage, enhancing the emotional impact without feeling overindulgent. Though melodically straightforward, it’s the autobiographical undertones that lend it a dimension of sincerity, a candid glimpse into the ideals of youth filtered through an adult lens. The accompanying video, almost dreamlike in its presentation, uses Goodrem’s childhood recollections as its visual anchor, though some might argue the setting—an elegant Sydney hotel—veers more towards staged opulence than genuine intimacy. Its appearance in “Neighbours” and inclusion on her DVD release signal Goodrem’s early mastery of blending personal artistry with strategic exposure, appealing to both sentimental listeners and commercial audiences. While the themes of purity and innocence resonate, the almost sugar-coated delivery leaves space for debate—does it truly evoke unfiltered emotion, or does it lean too heavily on its own polish? “Innocent Eyes” is undeniably crafted to evoke connection, though its fervent optimism may feel one-dimensional compared to more nuanced explorations of growth and maturity seen elsewhere in pop music. Featured on the 2003 album “Innocent Eyes”.
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![]() 8 . Richard Ashcroft – Science Of Silence“Science of Silence” by Richard Ashcroft finds its footing in a swirl of existential musings and orchestral grandeur, blending reflective lyricism with immersive instrumentation. Released as the second single from *Human Conditions* in early 2003, the track layers introspection over an arrangement that is both cinematic and deeply personal, with gospel choruses lending an air of transcendence to its brooding undercurrent. A standout feature of the song is its sparse yet impactful lyricism, tackling metaphysical queries with an understated grace that avoids pretension. Musically, the London Session Orchestra conducted by Wil Malone creates a lush soundscape against which Pete Salisbury’s drums and Martyn Campbell’s bass provide a steady anchor, grounding the lofty themes in human emotion. The accompanying visuals expand on these tonal contrasts, with Tim Royes’ alternative video—remastered decades later—adding a compelling visual counterpoint to the song’s layered soundscapes. While the track’s artistic ambition deserves recognition, its intensity may alienate listeners seeking a lighter touch, a dichotomy that exemplifies Ashcroft’s singular approach. Featured on the 2002 album “Human Conditions”.
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![]() 9 . Blazin’ Squad – CrossroadsBlazin’ Squad’s “Crossroads,” released in 2002, takes a well-trodden path by reworking Bone Thugs-n-Harmony’s somber classic, “Tha Crossroads.” The track keeps its distance from the original, borrowing only the chorus while weaving in fresh verses tailored to the band’s identity. Charting directly at number one in the UK, it grabbed attention but also raised eyebrows, with critics questioning the group’s lyrical prowess. The song is an intriguing snapshot of early 2000s UK rap, a genre then fluctuating between raw authenticity and commercial polish. Its themes of camaraderie and personal loss, while emotionally resonant, feel somewhat diluted in execution, as if trying too hard to cater to a mainstream audience comprised largely of teens. The accompanying music video, shot in Cape Town, adds flair with its unfinished flyover setting and a heavily stylized phantom effect, though it at times veers into visual gimmickry. Despite its detractors, “Crossroads” does capture a moment in time for the UK garage and rap scene, straddling the line between earnest reflection and youthful accessibility. Featured on the 2002 album “In the Beginning”.
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![]() 10 . Elliot Minor – Still Figuring OutReleased in January 2008, Elliot Minor’s “Still Figuring Out” sits at the crossroads of youthful introspection and alternative rock theatrics. The song, penned by band members Alex Davies and Ed Minton during their school years, brims with a restless uncertainty emblematic of late-teen dilemmas. Its lyrics trace the messy process of self-discovery, set to a tightly constructed arrangement that balances radio-ready hooks with orchestral undertones—a hallmark of the band’s debut album. Performing the track at the Children in Need event in 2007, the group positioned itself as a palatable blend of emo earnestness and pop sensibility, capturing the zeitgeist of mid-2000s rock. The single peaked at number 17 on the UK charts, their highest-ranking effort, indicating its ability to resonate, even if fleetingly, within mainstream consciousness. The accompanying video, directed by Frank Borin, frames the band against the backdrop of a rebellious house party, icy blue hues clashing with the chaotic energy of teenagers in motion. Critics may find the production a touch over-polished, teetering towards calculated drama, but the song still manages to channel its raw emotion effectively. With its layered versions, including a stripped-down acoustic cut and a cinematic “film score” interpretation, the single underscores the band’s penchant for balancing ambition with relatability. Part of an album that debuted at number six in the UK, “Still Figuring Out” may not radically redefine a genre but succeeds as a sincere snapshot of youthful uncertainty staged within a melodically compelling framework. Featured on the 2008 album “Elliot Minor”.
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![]() 11 . Infadels – Can’t Get EnoughInfadels’ “Can’t Get Enough” is a sonic jolt of energy, blending indie-electro grooves with anthemic rock sensibilities. Emerging as a double A-side with “Murder That Sound” in 2004, it landed at number 43 on the UK Singles Chart, signaling the band’s arrival with swagger. The track houses infectious beats propelled by Jagz Kooner’s production, later gaining a second wind through a Mekon remix featured on “FIFA 07.” Pushed by airplay on John Peel’s Radio 1 show, the song became pivotal in securing Infadels’ deal with Wall of Sound, carving out their place in the UK indie scene. Its presence on the 2006 debut album “We Are Not the Infadels” offered listeners a sneak peek into the band’s knack for mingling high-octane rhythms with pop-laced electronic hooks. The band’s momentum skyrocketed with over 150 live performances in 20 countries, their relentless touring establishing “Can’t Get Enough” as a fan favorite in sweaty venues and festival stages alike. While the absence of a spotlighted music video for the track feels curious, the band’s overall visual and live charisma more than made up for it. Rife with adrenaline and urgency, the track secured a permanent imprint on mid-2000s indie playlists, while its inclusion in gaming soundtracks ensured an extended lifespan beyond its initial release.
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![]() 12 . Alex Parks – Honesty“Lie” unfolds as an angsty confession tangled in raw emotion and melodic broodiness. The balance of alternative folk pop and subtle rock influences underscores a vulnerability threaded through every note. “Out of Touch” carries a wistful air, blending Parks’ aching vocals with restrained instrumentals, leaning gently into melancholy without breaking its grip. Shifting the energy, “Looking for Water” is weighed down by its lack of promotional push, yet its introspective lyrics attempt to break free. “So Emotional” is a tightly wound package of sentiment, wrapped in a chill-out vibe that teeters between soft rock and quiet rebellion. Crafted with Marcella Detroit, “Lost Without a Name” evokes a sense of identity untethered, set against an atmospheric backdrop. “Get Out” injects a sharper rhythm into the mix, echoing an unspoken urgency amidst its restrained chaos. The title track “Honesty” flirts with radio-readiness but stumbles in its muted reception—a quiet roar attempting to be heard. “Adore” stretches out its wings with a longer runtime, bathing in gentle crescendos fueled by Parks’ tender delivery. “From the Inside” contrasts its introspective tone with a polished production that feels intentional but never overwrought. The slightly saccharine “Sweeter & Sweeter” blends simplicity with charm, though it remains tethered to the album’s subdued energy. Longest of the set, “Truth or Dare” layers brooding intensity over six minutes, straddling vulnerability and defiance with audacity. “Moment” carries an unassuming grace while hiding the oddity of a hidden track—a trick as curious as its samba undercurrent. The concealed “Tail and All” drifts through unexpected territory, its French samba rhythm both peculiar and charming, a surprise tucked into reflective oddness. Featured on the 2005 album “Honesty”.
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