‘Music For The Dancers’ N°653 – 2010s Music Videos

1 . will.i.am – Bang Bang

“Bang Bang” by will.i.am, featuring Shelby Spalione, is a curious hybrid of nostalgia and modernity, blending 1920s jazz with synth-pop. Recorded for Baz Luhrmann’s visually indulgent 2013 adaptation of *The Great Gatsby* and included in the deluxe edition of *#willpower*, the song doesn’t shy away from bold choices, borrowing heavily from the past while stitching in contemporary flair.

The track pulls directly from the roaring ’20s, incorporating elements of Cecil Mack and James P. Johnson’s 1923 piece “Charleston.” Its brassy big-band energy feels deliberately crafted to evoke the era’s opulence, but the juxtaposition with electronic beats sometimes clashes rather than complements. The Sonny Bono-penned line from Cher’s “Bang Bang (My Baby Shot Me Down)” adds a touch of irony and texture—though it teeters on feeling shoehorned rather than seamlessly integrated.

will.i.am’s live performances of the song on *American Idol* and *The Voice UK* gave it extra visibility, with the polished choreography and tap dance solo echoing the speakeasy theme of the song’s music video. The visual staging aligns with its retro ambitions but feels meticulous to the point of being overproduced, lacking the raw spontaneity that might better capture the jazz age spirit.

Chart success, including a number three peak on the UK Singles Chart, suggests the song resonated with audiences, though its controversy over alleged unauthorized samples from Sandro Silva and Quintino’s “Epic” and Arty and Mat Zo’s “Rebound” injects a sour note. For will.i.am, known for blending genres, “Bang Bang” is characteristic of his patchwork style, but in this instance, the seams are as visible as the stitching on a Gatsby garment.

Featured on the 2013 album “#willpower”.

Lyrics >> More by the same : Twitter

2 . Calvin Harris – Promises (w/ Sam Smith)

“Promises,” the result of Calvin Harris’s production savvy paired with Sam Smith’s emotive vocal range, feels like a calculated leap into dance-pop territory with house sensibilities.

The track’s backbone—a smooth progression of Bmaj7–D♯m7–C♯sus2—anchors its understated tempo of 123 beats per minute. This isn’t a high-energy anthem but rather a polished, mid-tempo escapade, tailored for late-night playlists rather than peak club hours.

Sam Smith’s vocals oscillate between confessional intimacy and radio-friendly gloss, spanning from C♯3 to A♯4. Yet, the star here might well be Jessie Reyez’s backing contributions, a whisper in the shadows that adds texture while resisting the pull for attention.

Calvin Harris, handling production and engineering, leans on restraint, creating a soundscape that pairs nostalgia with modernity. While the Japanese-inspired retro single artwork suggests experimental boldness, the music itself opts for pleasant familiarity. The mix engineering reflects Harris’s penchant for crisp, minimal polish, avoiding excess in favor of clean lines.

Commercially, the song’s dominance was predictable, seizing number-one spots across the UK Singles Chart, Ireland, Israel, and beyond. While Harris celebrates his tenth UK topper, Smith quietly breaks new ground with their first number one on *Billboard’s* Dance/Mix Show Airplay Chart.

The track is more strategy than serendipity, an unassuming effort stitched into Sam Smith’s “Love Goes” and Harris’s *96 Months*. It works, but it rarely lingers—a suitable addition to any playlist that values functionality over fervor.

Lyrics >> More by the same : Official Site

3 . Lizzo – Juice

“Juice,” the lead single from Lizzo’s 2019 major-label debut album “Cuz I Love You,” is a radiant homage to retro funk and funk-pop aesthetics, laced with modern rap influences.

Produced by Ricky Reed and co-written by Lizzo alongside Theron Thomas, Sam Sumser, and Sean Small, the track thrives on a throwback groove anchored by reverb-heavy guitar riffs and spoken word inflections.

Thematically, “Juice” extends its title’s nod to the 1992 film by tapping into its metaphorical resonance—where “juice” denotes power and respect—to champion self-love and unshakable confidence.

Lyrical metaphors tied to food and drink—easy yet effective shorthand for indulgence and abundance—drive home its buoyant celebration of self-worth without overstaying their welcome.

The accompanying music video, helmed by director Quinn Wilson, situates Lizzo in playful, 1980s-inspired scenarios, from spandex-clad workout segments to over-the-top infomercials, even riffing on Soul Glo commercials and ASMR culture.

While this flashy visual continuity reinforces the song’s campy charm, its ambition to be kitschy borders on distraction, threatening to overshadow its musical backbone.

Performing “Juice” across high-profile platforms such as “The Ellen DeGeneres Show” and “The Tonight Show Starring Jimmy Fallon,” Lizzo proves her command over live spectacle matches her recorded bravado.

Critical acclaim followed, with outlets like “Rolling Stone” and “Pitchfork” praising the song’s infectious energy, though some listeners may find its retrospective flavor bartering familiarity for innovation.

Commercially, “Juice” achieved modest chart success—cracking R&B components in the U.S. and earning a top-twenty spot in Scotland—while ultimately asserting its endurance through Double Platinum certification in the States and additional accolades across the UK, Canada, Brazil, and Australia.

Though not an instant chart dominator, its shimmering groove provided momentum for Lizzo’s 2019 breakthrough, carving a lane for exuberance in both essence and execution.

Featured on the 2019 album “Cuz I Love You”.

Lyrics >> More by the same : Official Site

4 . Swedish House Mafia – One [Your Name]

“One [Your Name]” plants its flag firmly in the annals of EDM as Swedish House Mafia’s high-gloss calling card from 2010.

Assembling Axwell, Steve Angello, and Sebastian Ingrosso’s distinctive production finesse, the track capitalizes on the calculated precision of progressive house while allowing a sense of controlled abandon to bubble underneath. Pharrell Williams’ vocals, borrowed from a stumbled-upon Australian project and fine-tuned via Axwell’s deft use of Melodyne, lend the track a silky camouflage of pop accessibility without fully conceding to the mainstream.

Originally featured on the album “Until One,” which reached number 13 in Sweden and peaked in the top ten across the Netherlands and the Flemish region of Belgium, the song experienced an equally glossy chart trajectory. It climbed to the top spot in the Dutch Top 40, while its impact elsewhere hovered respectably with a UK Singles Chart peak at number 7. Like a synthetic heart monitor, its pulse never faltered in festival circuits, most pointedly at Tomorrowland—walking the line between nostalgia and immediacy for EDM fans flocking to relive their youth or cement their allegiances.

The music video, spotlighting both the trio’s energetic aesthetic and the intricate use of Teenage Engineering’s OP-1 synth/sampler/controller, seems more like a love letter to their tools than an invitation to any deeper artistic reflection. Yet, its sparse visual cues serve the song’s gleaming repetition.

What “One [Your Name]” delivers, it delivers well: a solid build, an unmistakably factory-polished drop, and a lyrical motif that never tries to overachieve. Rarely does it feel intimate—it skews more like an IKEA showroom than a hand-built piece of furniture, each piece carefully slotted into the intended groove. But when the intended purpose is anthem-making for the post-midnight masses, it seldom missteps where it matters.

Featured on the 2010 album “Until One”.

Lyrics >> More by the same : Official Site

5 . David Guetta – Turn Me On (w/ Nicki Minaj)

“Turn Me On” from David Guetta’s fifth studio album, “Nothing but the Beat,” is a polished dose of EDM designed to dominate both clubs and radio. Released in December 2011, the track is a calculated fusion of synthetic textures and Nicki Minaj’s commanding vocal presence, spanning from G3 to E♭5 in its C minor framework. The moderate 128 BPM groove underscores its dance-floor intentions, yet stops short of overwhelming the listener with excessive pace.

Written by Ester Dean, David Guetta, and Giorgio Tuinfort, with Minaj contributing a rap segment, the song mixes catchy hooks with an unapologetic embrace of Auto-Tune. While Minaj’s dynamic voice retains its charisma, the digital enhancements trigger familiar debates around authenticity versus modern production aesthetics. Still, critics largely lauded her performance despite the processing, acknowledging a vocal versatility that bridges singing and rapping.

The song marked significant milestones, peaking at number 4 on the “Billboard” Hot 100—tying Guetta’s career best in the U.S. alongside “Without You.” Its longevity extended to the U.K., where it peaked at number 8 and stayed on the Official Singles Chart for 32 weeks. By December 2014, 2.6 million copies sold in the United States reflected its undeniable commercial success.

The accompanying music video, directed by Sanji, commits fully to its steampunk aesthetic. Here, Guetta assumes the role of a mad scientist bringing a mechanical Minaj to life. Released on January 31, 2012, the visual storytelling bolsters an already high-concept track, though the steampunk world feels more ornamental than integral to the song’s narrative.

Guetta’s ability to collaborate with global stars like Minaj cements his status as a genre architect, while Minaj showcases her adaptability, performing on both this track and “Where Them Girls At” from the same album. Though Guetta spent a year pursuing this partnership, the result is a glossy, commercially attuned product that feels more like a meticulously programmed algorithm than a visceral artistic statement. At its core, “Turn Me On” is precision pop tailored for its time—polished, persuasive, and undeniably effective, yet arguably lacking in deeper resonance.

Featured on the 2011 album “Nothing but the Beat”.

Lyrics >> More by the same : Official Site

6 . Cheryl – I Don’t Care

“I Don’t Care” emerges as a bold slice of pop escapism, showcasing Cheryl’s flair for merging personal catharsis with radio-ready hooks.

The track, nestled within her 2014 album *Only Human* and released under Polydor Records, rides on a polished yet lightweight production by Jocke Åhlund and Oliver “Oligee” Goldstein.

The breezy synthesizers and bouncy bassline provide a sparkling backdrop, while Cheryl’s pointed lyrics, co-written alongside Åhlund, Bonnie McKee, and John Stuart Newman, take aim at broken relationships and public critiques with unapologetic swagger.

The refrain, punctuated by its explicit declaration, “It feels so fucking good to say, I swear that I don’t care,” exudes defiant liberation, though its overt repetition risks losing potency with each spin.

Chart-wise, the track’s UK Singles Chart debut at number one bolstered Cheryl’s credentials, making her the British female artist with the most solo UK chart-toppers at the time, surpassing Geri Halliwell and Rita Ora with her fifth number one.

The accompanying Colin Tilley-directed video, shot against the picturesque vistas of Málaga, Spain, adds a layer of escapist glamour, with Cheryl strutting confidently through idyllic beaches, rugged cliffs, and indulgent yacht scenes.

Her live performance on *The X Factor* underscores the track’s mass appeal, though the song’s carefree attitude occasionally veers toward shallowness, trading depth for anthemic simplicity.

“I Don’t Care” stands as a testament to Cheryl’s knack for pop reinvention, though its reliance on surface-level rebellion leaves one questioning its staying power in a crowded dance-pop landscape.

Featured on the 2014 album “Only Human”.

Lyrics >> More by the same : Official Site

7 . Flo Rida – Turn Around [5,4,3,2,1]

“Turn Around (5, 4, 3, 2, 1)” leans heavily on its rhythmic hooks, amplifying Flo Rida’s penchant for club anthems, while DJ Frank E and Dada Life’s production work keeps the track tethered to a commercially safe hip-hop formula.

The most striking element is the interpolation of “Din Daa Daa” by George Kranz and “Oh Yeah” by Yello, a pair of samples that inject the song with a frenetic sense of déjà vu.

This blend of nostalgia and modernity may feel derivative to some, but it lands effectively in the right context: the dancefloor or, as in this case, the closing credits of *The Hangover Part II*.

The film’s association, though notable, highlights the song’s transient appeal—a fleeting backdrop rather than a lasting statement in Flo Rida’s discography.

Recorded at Paramount Studios in Los Angeles, the track was designed with precision, but it struggles to transcend its own manufactured energy.

Clocking in at a crisp 3:21, it doesn’t overstay its welcome, yet the formulaic countdown chorus (“five, four, three, two, one”) feels hollow, more like a checklist than a rallying cry.

Debuting at number 98 on the *Billboard* Hot 100 before fizzling out, the song fared better in the UK, peaking at number 40—stronger internationally, but still far from chart dominance.

The music video generated mild controversy in the UK with complaints of inappropriate broadcasting times, but even scandal couldn’t elevate its impact beyond momentary buzz.

Notably, Flo Rida’s decision to revisit the concept with “Turn Around, Pt. 2” alongside Pitbull underscores the track’s narrow creative vision, leaning more on repetition than reinvention.

“Turn Around (5, 4, 3, 2, 1)” may cater well to Flo Rida’s established club-centric aesthetic, but it rarely steps out of its comfort zone, a reliable yet unremarkable addition to his repertoire.

Featured on the 2012 album “Wild Ones”.

Lyrics >> More by the same : Official Site

8 . Tim Berg – Seek Bromance

“Seek Bromance” by Tim Berg, the moniker of Swedish producer Avicii, occupies a peculiar middle ground in electronic music’s evolution—a track that feels both immediate and transitional.

Emerging from the instrumental “Bromance,” which garnered early applause from industry giants like Tiësto and Armin van Buuren, the song reorients itself with a vocal overlay. Featuring Amanda Wilson’s re-recorded lines from DJ Samuele Sartini’s “Love U Seek,” the October 2010 release bridges the divide between instrumental euphoria and radio-friendly accessibility. In doing so, it crystallizes Avicii’s growing command over progressive and electro house grooves.

Chart metrics speak loudly here. Hitting number 13 on the UK Singles Chart and climbing to number 3 on the UK Official Dance Singles Chart, its reach extended to the top position in the Flemish Belgian charts and second in the Netherlands. If longevity validates impact, then its 202-week chart lifecycle across countries like France, Australia, and Sweden underscores its adhesive appeal. Yet, “Seek Bromance” doesn’t just ride on chart momentum; it forecasts the stylistic cadences that would dominate Avicii’s later catalog—most notably his pop-synthesized anthem, “Levels.”

The production itself is amiable if somewhat bounded by its era. The layered synths unfold with predictable charm, carrying a polished sheen but little risk. As a vocal track, Wilson’s delivery imbues it with a romantic urgency, offset by a rhythm section whose energy stops just shy of riveting. Listen closely and the DNA of early 2010’s dance culture is unmistakable: a meticulous recalibration of underground tropes for mainstream ears.

Within Avicii’s legacy, “Seek Bromance” is less a masterpiece and more a mirror—reflective of his early explorations in blending melodic warmth with club-ready propulsion. A doorway, perhaps, but not the destination.

Lyrics >> More by the same : Facebook

9 . Martin Garrix – Animals

“Animals” by Martin Garrix emerges as a bold statement within the big room house genre, a track that forgoes vocal embellishments to instead fixate on its rhythmic architecture.

Released on 17 June 2013 via iTunes, this instrumental piece encapsulates a minimalism that was both arresting and divisive at the time of its debut.

The song’s defining feature, its thumping and repetitive drop, finds its roots in a combination of Garrix’s previous unreleased work and nods to Busta Rhymes’ “What It Is” and Aura Qualic’s “D.A.T.A.”

This interplay of influences, while not unprecedented, gave “Animals” a sonic footprint sharp enough to imprint itself on EDM culture.

Chart-wise, “Animals” proved far more than a passing experiment.

Its trajectory included a UK Singles Chart-topping performance, making Garrix the youngest musician to clinch a Number 1 single there, alongside beating out competition to hold number one on Beatport for four weeks running.

It also navigated its way to number 21 on the Billboard Hot 100 in the United States, with a commanding position at number one on the Dance chart, solidifying its universal appeal in data-friendly metrics.

The timing of Garrix’s rise is hard to ignore—at just 17 years old, his accomplishment on Beatport positioned him not as a prodigy in waiting but a producer reconfiguring the limitations of his age.

Yet this success isn’t purely track-driven; external factors played a role. Social media, particularly Vine, catapulted “Animals” further into cultural consciousness, aided by a curious juxtaposition of the song against a “Despicable Me” character’s antics.

In clubs and festival sets, the track found champions in heavyweight DJs like Tiësto, whose inclusion of it on “ClubLife” widened Garrix’s audience reach.

Viewed critically, the strength of “Animals” lies in its precision—a mechanically relentless drop and rhythm that entranced some but alienated others seeking complexity.

This formulaic starkness, tied to the stripped-down bravado characteristic of mid-2010s big room house, leaves little middle ground in listener reception.

The song captured a zeitgeist while sidestepping lyrical and melodic conventionalities, a decision that helped it succeed but ultimately constrains its emotional depth and replay value outside the throes of live EDM events.

Still, for a genre often accused of sameness, “Animals” serves as a case study in how simplicity—rigorously calibrated—can carve out a niche in perpetually shifting electronic landscapes.

Lyrics >> More by the same : Official Site

10 . Martin Solveig – Hello (w/ Dragonette)

Released on 6 September 2010, “Hello” finds Martin Solveig partnering with Dragonette to craft a song that leans on synth-pop gloss with a dancefloor pulse, serving as the lead single from Solveig’s fifth studio album, *Smash*.

Written by Solveig and Martina Sorbara, the track unfolds as a breezy, high-energy anthem that thrives on its infectious simplicity. It reached number one in Austria, Belgium (Flanders), the Czech Republic, and the Netherlands, proving its global resonance, though its peak at number 46 on the Billboard Hot 100 in 2011 suggests a more modest impact stateside.

The production, handled solely by Solveig, avoids over-complication, opting instead for a polished, minimalist beat that supports, rather than overshadows, Sorbara’s light, conversational vocals. Certified Platinum by the RIAA for 1,000,000 sales, it’s clear “Hello” found a loyal audience, particularly in the dance circuits, evidenced by its top spot on the U.S. Hot Dance Club Songs chart.

The song’s music video, shot at Paris’s Roland Garros complex, blends the absurd and the playful as Solveig faces fellow DJ Bob Sinclar in an exaggerated tennis match. Cameos from Novak Djokovic and Gaël Monfils lend a peculiar charm, though the video’s short and long formats feel more like a marketing decision than artistic vision.

“Hello” also left a cultural imprint, covered by acts like The Baseballs and The Chipettes, and performed live by Miranda. Its chart longevity, including 31 weeks on the UK Singles Chart where it peaked at number 13, speaks to its stickiness, though the song’s reliance on repetition might wear thin on a closer listen.

Featured on the 2010 album “Smash”.

Lyrics >> More by the same : Official Site

11 . The Saturdays – Higher (w/ Flo Rida)

“Higher” by The Saturdays, featuring Flo Rida, operates as a polished, uptempo pop package suffused with calculated charm and strategic hits of energy.

Written by Ina Wroldsen and co-written/produced by Arnthor Birgisson, the track leans heavily on a guitar-driven melody layered over pulsating beats and a breathless chorus that dares you not to move.

Yet, the fervent production doesn’t shy away from chaos; the auto-tuned vocals and dense sonic palette can feel like an overcaffeinated sprint rather than a fine-tuned pop experience.

What sets this single apart is the almost ironic addition of Flo Rida, whose inclusion came after his prior success with “Club Can’t Handle Me” barred The Saturdays’ “Missing You” from topping the charts.

Here, Flo Rida’s rap seamlessly weaves through the song, never stealing the spotlight but lending just enough edge to amplify the track’s bravado-laden themes of independence and assertiveness.

Filmed on a Los Angeles backlot but cleverly disguised as New York, the corresponding music video takes style over authenticity, with its urban visuals serving as a backdrop for choreography and flashy group moments rather than narrative depth.

The track itself peaked at a respectable number 10 on the UK Singles Chart, spending 20 weeks in circulation and selling 330,000 copies—figures that consolidate its position as the group’s fourth biggest hit and one of 2010’s top 100 sellers.

Despite its commercial success, “Higher” feels more like a well-rehearsed push toward mainstream relevancy than a sonic innovation, but that doesn’t mean it lacks staying power in The Saturdays’ catalog of crowd-pleasers.

Featured on the 2011 album “Headlines!”.

Lyrics >> More by the same : Official Site

12 . Jonas Blue, Liam Payne, Lennon Stella – Polaroid

“Polaroid,” a collaboration featuring Jonas Blue, Liam Payne, and Lennon Stella, threads a silky R&B pop sound with a radio-ready sheen, anchored by an anthemic chorus that feels engineered to stick. Released in October 2018 under Virgin EMI Records, the track slots into Jonas Blue’s compilation album “Blue” and later into Payne’s debut, “LP1,” signaling its functional versatility as both standalone single and album filler.

Thematically, the song flirts with the romance trope of love at first sight, a concept Jonas Blue seemingly deemed exclusive to Payne’s vocal timbre—though the narrative pivot to invite Stella following Payne’s breakup with Cheryl adds a layer of intrigue to the backstory. Despite this, her contribution feels overshadowed, a warm undertone to Payne’s more confident delivery rather than a dynamic counterpoint.

Production-wise, Jonas Blue leans on familiar hooks, the groove undeniably polished but offering little beyond what’s expected: a safe concoction of shimmering beats and echoic refrains. Co-written with Ed Drewett, Sam Roman, and John Paul Cooper, the track’s careful construction feels deliberate, solidly crafted but devoid of edge.

The music video, directed by Jay Martin and shot in Central Park, wields nostalgia via the titular Polaroid while showcasing a burgeoning love story between two characters. Its setting, iconic yet conventional, mirrors the song: visually engaging, if straightforward. Blue, Payne, and Stella’s cameos round out the production, although their presence feels more ornamental than integral.

Commercially, “Polaroid” thrives, boasting Platinum certifications across markets like the UK, Canada, and Australia, and Gold in over half a dozen others, including the U.S. Such success underscores its broad appeal, though one wonders if its longevity hinges more on algorithmic playlists than emotional resonance. Still, while its irresistible groove ensures momentary replay value, its lasting impact remains up for debate.

Featured on the 2018 album “Blue”.

Lyrics >> More by the same : Official Site