‘Music For The Dancers’ N°647 – 2010s Music Videos

1 . Majestic & Jungle 70 – Creeping In The Dark

“Creeping In The Dark” transports listeners straight to the UK’s electronic underbelly, courtesy of Majestic and Jungle 70.

The track claws through genres like Drum n Bass, Hip-House, and House, peppered with garage undertones that refuse to sit still.

It isn’t here to tell a story or win awards; it thrives on its own pulsing momentum, a fitting artifact of the 2014 club circuit.

If anything, the beat-heavy production and ghostly melodic lines nudge closer to late-night playlists than headline festival sets.

The Speakerbox imprint lends credibility to its bass-charged DNA, while Armand van Helden’s remix later in the year pulls it into sharper focus for electronic diehards.

There’s little in the way of grand revelation here, but perhaps that’s the point; it exists to electrify dance floors, not overthink itself.

The vocals—haunting yet understated—hover just enough to sink into memory before the beat snaps them away.

“Creeping In The Dark” is less about innovation and more about mood, a midnight snapshot of house music colliding with harsher, darker edges.

For fans of UK garage and bass-driven tracks, it’s a reminder that simplicity can still pack an unexpected punch.

Lyrics >> More by the same : Official Site

2 . Nelly – Move That Body (w/ T-Pain, Akon)

“Move That Body” finds Nelly teaming up with T-Pain and Akon for a track that attempts to blend smooth party vibes with a polished club edge but stumbles in delivering anything truly fresh.

Released in 2010 as part of Nelly’s *5.0* album, the song is a hyper-produced effort, with contributions from heavyweight producers Bangladesh and Dr. Luke, adding layers of electronic beats and auto-tune effects that veer dangerously close to overkill.

Akon’s melodic hook and T-Pain’s signature robotic vocal work are both present, yet neither manages to stand out, feeling more like stock features of the era rather than inspired additions.

The lyrics stick to the well-trodden tropes of nightlife energy, offering little in the way of memorable lines or unique personality.

Chart-wise, it peaked modestly at number 54 on the Billboard Hot 100 but quickly fizzled out, a reflection of its lukewarm reception.

The music video, directed by Marc Klasfeld, fares slightly better in terms of creativity, setting the track in a gritty dance-fight underground club and attempting to channel movies like *Fight Club* and *Bring It On* through hyper-stylized theatrics.

Despite cameos from big names like T.I. and Jermaine Dupri, the visual, while intriguing at first glance, doesn’t save the song from its forgettable fate.

“Move That Body” serves as a snapshot of the early 2010s obsession with electronic-infused hip hop but ultimately feels like a missed opportunity for a trio of artists who’ve each delivered far more dynamic work elsewhere.

Featured on the 2010 album “5.0”.

Lyrics >> More by the same : Official Site

3 . Tulisa – Living Without You

“Living Without You” emerges as a curious chapter in Tulisa’s career, a bridge between controversy and attempted resurgence.

Released on 4 January 2015 after a series of delays, the single plays in the dance-pop sandbox with zest but without groundbreaking ambition.

Produced by STL and dropped under All Around the World and Island Records, the track charts modestly, peaking at number 44 on the UK Singles Chart and scoring peripheral dance accolades in Belgium and Scotland.

The music video, directed by Life Garland, feels polished but formulaic, premiering in late October 2014, wrapping Tulisa in glossy visuals while staying firmly within the genre’s visual expectations.

Her live performances of the song, especially at G-A-Y and on *This Morning*, added a layer of earnestness to the otherwise controlled studio release.

Tulisa’s collaboration with STL reflects a pivot in sound post her 2012 solo album, “The Female Boss,” aiming to rekindle relevance while shrugging off a tumultuous hiatus.

Yet, with its mediocrity in impact, the track neither cements itself as essential nor fades entirely into obscurity, instead toeing the line as a middling effort.

In hindsight, it’s an emblem of an artist testing waters but struggling to regain traction, leaving listeners with a sense of potential unexplored rather than fulfilled brilliance.

Lyrics >> More by the same : Instagram

4 . Bingo Players – Get Up [Rattle] (w/ Far East Movement)

“Get Up (Rattle)” morphs from an instrumental club banger into a high-energy anthem when Bingo Players join forces with Far East Movement.

The 2013 release takes the gritty, pounding beats of the original “Rattle” and layers them with sharp lyrical punches from the U.S. hip-hop outfit.

This rework doesn’t aim for subtlety—it’s brash, relentless, and unapologetically loud, carving space on both pop and EDM charts.

Fittingly, the music video trades glow-sticks for revenge-driven poultry, with ducks staging an uprising hilariously set against a backdrop of urban combat.

As the song clobbered its way up to No.1 on the UK Singles Chart, its reception spanned from club regulars to casual radio listeners.

The track is pure Dutch house chaos, brimming with abrasive drops and stomping basslines that carry the energy of Bingo Players’ club roots into the mainstream.

The collaboration between two distinct genres—EDM and hip-hop—feels more opportunistic than organic, but the formula pays off in sheer crossover appeal.

“Get Up (Rattle)” occupies that rare space where a track feels equal parts irresistible and ridiculous, a high-voltage mix that defines its brief moment of dance-floor dominance.

Lyrics >> More by the same : Official Site

5 . Tchami – Promesses (w/ Kaleem Taylor)

“Promesses” offers an unapologetically glossy foray into the future house genre, a subgenre that Tchami has carved out with precision and a flair for the dramatic.

Originally debuting in 2013 as part of his free EP under Fool’s Gold Records, the track is a collaboration with Kaleem Taylor, whose velvety vocals sit neatly atop bass-heavy grooves and polished synths, lending the track a distinctly smooth yet vibrant texture.

Co-written and co-produced with DJ Snake, the song strikes a fine balance between subtle nuance and club-ready intensity, making it a staple in playlists across electronic sets.

Its 2015 re-release through Ministry of Sound bolstered its prominence, effectively propelling it to peak at #7 on the UK Singles Chart and topping the UK Indie Chart, cementing its cross-channel appeal.

The two-and-a-half-minute music video, released late 2014, doesn’t strive for the overly conceptual, instead providing a rhythmic visual companion that mirrors the song’s sleek simplicity.

While it doesn’t carry the overtly spiritual or cathedral-inspired aesthetic often associated with Tchami’s holy-house branding, the track itself feels undeniably crafted for collective euphoria, an attribute underpinning future house’s DNA.

By eschewing the more operatic grandiosity of the genre’s later iterations, it carves out an accessible, wide-reaching appeal without diluting its stylistic edge.

Whether one views it as a singular moment or a movement touchstone, “Promesses” efficiently captures the genre’s essence within its compact runtime, making its influence hard to dispute.

Lyrics >> More by the same : Official Site

6 . Swedish House Mafia vs. Knife Party – Antidote

“Antidote” is an aggressive union of Swedish House Mafia’s polished big-room house and Knife Party’s jagged dubstep edges, resulting in a track that feels almost combative in its energy.

Released on December 16, 2011, and featured on the *Until Now* compilation, this electro house hybrid claws at the club scene with its relentless beats and a percussive swagger that demands attention.

Co-written by a small army, including Axwell, Steve Angello, Sebastian Ingrosso, Rob Swire, Gareth McGrillen, Adam Baptiste (uncredited for vocals), and Klas Åhlund, “Antidote” builds chaos into every corner of its soundscape.

The UK charts, unsurprisingly, bent under its weight, reaching a peak of No. 4 on the Singles Chart and claiming the No. 1 spot on the Dance Chart, bolstered by first-week sales of over 46,000 copies.

The track’s certifications—3× Platinum in Sweden and Silver in the UK—cemented its frenetic appeal.

Yet, the music video sparked just as much buzz as the song itself, combining a heist in a Japanese strip club with relentless, first-person shooter aesthetics that felt more like a chaotic gaming session than a musical accompaniment.

With clean and explicit versions on offer, it was gritty, unapologetic, and tied perfectly to the track’s no-holds-barred attitude.

Thematically, “Antidote” plays with imagery of entrapment within a digital or chaotic “glitched system,” capturing the spirit of confusion and uncontrolled impulse—a fitting backdrop for EDM’s era of maximalism.

The various mixes, from Knife Party’s menacing dub to Tommy Trash’s remix, broaden the track’s scope without losing its edge, though the original mix remains the definitive experience.

“Antidote” is not subtle, nor does it try to be, and in that lies its charm—a track designed to hit harder than it needs to, ensuring that it lingers long after the drop fades.

Featured on the 2011 album “Until Now”.

Lyrics >> More by the same : Official Site

7 . JLS – Eyes Wide Shut (w/ Tinie Tempah)

“Eyes Wide Shut” by JLS featuring Tinie Tempah marks a curious moment in the evolution of early 2010s British pop.

Originally not slated for single status, it was revamped with a rap feature and launched as the third release from JLS’s second album, *Outta This World.*

With production handled by Danish duo DEEKAY, the track blends polished pop with hints of club-ready beats and an R&B sheen, creating a sound that teeters between mainstream radio appeal and dancefloor vibes.

Its accompanying music video takes a cinematic turn, using green-screen visuals to stage the group and Tinie Tempah in a surreal alternate reality of obstacles and floating figures, though it flirts dangerously with overproduction.

Lyrically, the song meditates on themes of longing and tension, but its real showcase is the interplay between JLS’s layered harmonies and Tinie Tempah’s nimble verses.

Debuted live during their tour, complete with choreographed precision, the track cemented its place in their concert repertoire despite its slightly lukewarm chart peak at number eight in the UK Singles Chart.

While critics from Digital Spy found favorable comparisons to early 2000s British pop icons like Liberty X, others might argue that its slick execution can’t quite mask the predictable structure of the songwriting.

Love or hate, it’s impossible to deny the song’s place as a polished, commercially viable slice of UK pop at a time when genre mashups were on the rise.

Featured on the 2011 album “Outta This World”.

Lyrics >> More by the same : Official Site

8 . Neon Jungle – Braveheart

“Braveheart” by Neon Jungle serves as a bold, club-oriented anthem that thrives on pulsating rhythms and sharp production.

Released in early 2014, its high-charting performance in the UK, Scotland, Ireland, and Australia demonstrates its undeniable appeal to global audiences tuned into EDM-leaning pop.

The song’s lyrical content mirrors the frivolity of nightlife, while its infectious energy is propelled by hammering bass lines and soaring synths, cornerstones of its intoxicating momentum.

Behind the scenes, Snob Scrilla’s deft production and co-writers Cassie Davis and Baby channel the neon chaos and allure of the dance floor without ever overcomplicating the formula.

The track’s journey from an accidental discovery on a producer’s laptop to mainstream recognition feels almost serendipitous, adding an anecdotal charm to its narrative.

Visually, the kaleidoscopic vibrancy of the Emil Nava-directed music video complements the song’s audacious tempo, fusing choreographed chaos with pop-polished aesthetics.

Neon Jungle’s live performances, spanning notable events like Manchester Pride and a coveted slot at the Victoria’s Secret Fashion Show, only reinforce their knack for embodying high-wattage pop energy.

Certified silver in the UK and gold in Australia, “Braveheart” stands as a meticulously engineered party track, its glittering exterior hinting at no deeper agenda than celebrating pure escapism.

As a product of the 2010s EDM boom, it doesn’t reinvent the wheel but spins it fast enough to keep audiences firmly glued to the floor, which may be all it sets out to achieve.

Featured on the 2014 album “Welcome to the Jungle”.

Lyrics >> More by the same : Instagram

9 . Sub Focus – Could This Be Real

Released as part of Sub Focus’s self-titled debut album in 2009, “Could This Be Real” deviates strikingly from the drum and bass foundation the producer, Nicolaas Douwma, is best known for, leaning heavily into electro house and breakbeat territory.

The track’s infectious energy stems from its pitched-up vocal sample and bright, angular melody, striking a balance between euphoric uplift and meticulous production precision.

Penned with contributions from Linden Reeves (Stamina MC), who remains oddly uncredited as the vocalist, the song exemplifies how Sub Focus slyly dips into hybrid territory without fully abandoning his roots.

A brief foray into the spotlight followed its January 2010 release, with the single hovering at #41 on the UK Singles Chart, while its grip on the UK Dance Chart proved slightly stronger at #4.

The accompanying music video, launched in December 2009, immerses viewers in a kaleidoscope of geometric visuals, aligning seamlessly with Sub Focus’s tech-centric live shows, often more of a spectacle than the tracks themselves.

For an artist whose relentless lean toward innovation defined much of the late 2000s and early 2010s EDM landscape, “Could This Be Real” is both a curiosity and an outlier, a momentary pull away from frenetic BPMs to explore mood-driven resonance instead.

Featured on the 2010 album “Sub Focus”.

Lyrics >> More by the same : Official Site

10 . Sia – Move Your Body

Few songs pack as much infectious energy as “Move Your Body” by Sia, a pulsating anthem buried deep within her seventh studio effort, *This Is Acting*, originally released in late January 2016.

Designed as a rejected offering for Shakira (yes, *her*), the track leans unapologetically into its high-octane pop-electronic DNA, filled with synth-heavy production courtesy of the endlessly reliable Greg Kurstin.

It’s 4 minutes and 12 seconds of unrelenting tempo—a dizzying proclamation to let the vibrations take over, illustrated with beats so big they’d feel at home in a sweaty 3 AM club or, more mundanely, the spin room at your local gym.

The lyrics are aggressively direct: forget the existential drama and *move*. And yet, Sia’s powerhouse delivery transforms a rather basic premise into something strangely cathartic, even stirring.

A later remix by Alan Walker taps into today’s palette of relentless EDM drops, stripping the original of some of its warmth but dialing up its late-night appeal.

The accompanying music video is a slightly oddball affair, set in a photography studio where a Sia-wigged child rebels against conformity—a sentiment Sia herself probably didn’t design, but it keeps things interesting enough to warrant a scroll-through on YouTube.

“Move Your Body” didn’t bother to knock on the doors of the U.S. Billboard Hot 100 but found an appreciative audience across pockets of Europe, where it scratched the pop radio itch quite efficiently.

Ultimately, the track operates more like a cheerful byproduct of the album’s bigger ambitions—a bit like the secondary sparkle in a firework display. It may not innovate, but it pulses hard, pulses loud, and relentlessly asks one thing: are your feet doing what they should?

Featured on the 2017 album “This Is Acting”.

Lyrics >> More by the same : Official Site

11 . Vato Gonzalez vs. Lethal Bizzle & Donae’O – Not A Saint

“Not a Saint” comes roaring out of the gates with a thumping beat that feels like it crashed headfirst into a London grime club after taking a detour through the Netherlands.

This collaboration between Vato Gonzalez, Lethal Bizzle, and Donae’O is less a meeting of minds and more a chaotic tug-of-war between Dutch house and British grime, with UK garage peeking through the cracks.

Released via Ministry of Sound at the tail end of 2012, the track didn’t linger in obscurity for long, climbing up to number 20 on the UK Singles Chart by early January 2013—a modest but respectable nod from the charts to its club-friendly DNA.

Vato Gonzalez’s production is a relentless foundation of bass-heavy kicks, sharp synth stabs, and the kind of house-influenced energy drink EDM that’s practically begging to blow out cheap speakers.

Lethal Bizzle operates in his usual lane of brash, no-frills verses, while Donae’O’s vocal hook drips with a sly charisma that makes up for its repetitiveness.

The official video, released a few weeks ahead of the single, goes all-in on high-octane visuals: strobes, frenetic pacing, and a touch of the chaotic energy you’d expect from these three artists sharing a spotlight.

It’s a mishmash of styles—neither purely house nor purely grime—but that’s part of its charm, or perhaps its undoing, depending on your appetite for genre blenders.

The song enjoys regular spins on UK airwaves, particularly on BBC Radio 1 and 1Xtra, cementing its reputation as a club-ready crowd-pleaser and a snapshot of the early 2010s EDM-grime crossover moment.

While it doesn’t reinvent the wheel, “Not a Saint” thrives as an energetic, if slightly unpolished, reminder that sometimes trying to fit two oversized genres into one track can create sparks or just chaos—and this one sits somewhere in between.

Lyrics >> More by the same : Facebook

12 . Armin Van Buuren – Save My Night

Armin van Buuren’s “Save My Night” operates as a unique intersection of EDM and public service announcement, trading the usual hedonistic clichés of the genre for a message about responsible drinking.

Part of his *Intense* album’s expanded release, the track aligns its pulsating beats and progressive trance structure with the lofty goal of steering nightlifers toward moderation, courtesy of its involvement in Heineken’s “Dance More, Drink Slow” campaign.

The tune itself doesn’t break much ground musically—its infectious hook and polished production fit snugly into Armin’s repertoire—but the collaboration with a beer giant makes for an awkward marriage of populism and corporate messaging.

The accompanying music video, filmed in Miami, leans heavily into visuals of euphoric crowds and neon-lit nightlife, as if to prove that sobriety doesn’t have to be boring, though one wonders if this argument lands in packed clubs.

While chart performance was largely tepid, its role in an award-winning marketing push suggests cultural impact beyond just the dancefloor.

Say what you will about moralizing set to rave anthems: at least Armin shows he’s willing to take a risk, even if the result feels like the sonic equivalent of a well-intentioned PSA pamphlet handed out at 2 AM.

Featured on the 2014 album “More Intense”.

Lyrics >> More by the same : Official Site