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Paramore, Kings of Convenience, The Thrills, Morrissey, Mando Diao, Embrace, Stephen Gately, Zwan, Fat Les, Carolina Liar, The Datsuns, Lee Ann Womack
Looper, Mr Reds vs DJ Skribble, Shaft, Ian Van Dahl, H & Claire, CSS, Bhangra Knights vs Husan, N-Trance, Dino Lenny vs The Housemartins, Stephen Gately, Cosmic Gate, Groove Coverage
Bruce Springsteen, John Frusciante, Red Hot Chili Peppers, Frankie Valli, Steps, Ronan Keating, Stephen Gately, Yvonne Elliman, Elizma Theron, Ray Dylan, Jimmy Somerville, Faith No More, Céline Dion, Destiny’s Child, Sarah Brightman, Bobby Osborne
Oasis’s “Let There Be Love” balances celestial hope with Gallagher tensions, while Amy Winehouse’s “Take the Box” delivers quiet heartbreak through jazz-infused minimalism. Girls Aloud’s “Love Machine” fuses pop chaos with rockabilly zest, contrasting with Britney Spears’ glossy yet melancholic “Born to Make You Happy.” Belle and Sebastian’s “Funny Little Frog” charms as introspective indie-pop, and Nadia Oh’s “My Egyptian Lover” leans into playful electro beats. Milk & Sugar reimagine “Love Is In The Air” with house energy, maintaining its timeless hook.
Steps’ “Say You’ll Be Mine” balances group vocals and glossy ’90s pop, while Jennifer Lopez’s “Waiting for Tonight” pulses with late-’90s club energy. Christina Aguilera scored big with the radio-ready “What a Girl Wants,” and Mariah Carey’s duet with Jay-Z leaned into hip-hop polish. The Corrs’ “Breathless” brought shimmering seduction, and Savage Garden’s “I Knew I Loved You” delivered wedding-playlist romance. Robbie Williams’ heartfelt “She’s The One” fused intimacy with grandeur, while Céline Dion’s “That’s the Way It Is” embraced buoyant optimism. Boyzone’s tender “Every Day I Love You” and Pet Shop Boys’ introspective “You Only Tell Me You Love Me When You’re Drunk” reflected romantic vulnerability, offering polished pop sentiments for the era.
Robbie Williams’ “Misunderstood” shines with its emotional depth and connection to *Bridget Jones: The Edge of Reason*, balancing regret and reflection, while Westlife’s “Flying Without Wings” delivers sweeping sentimentality with enduring late-’90s appeal. The Backstreet Boys’ “Drowning” leans into melodrama, pairing lush harmonies with romantic yearning. Appleton’s “Fantasy” offers polished pop escapism post-All Saints, and Maroon 5’s “Sunday Morning” blends jazzy warmth with easy introspection. Gordon Haskell’s “How Wonderful You Are” combines understated charm with nostalgic simplicity, contrasting sharply with Darius Campbell’s more intense, hook-packed “Rushes.”