‘Vous Avez Dit Bizarre’ N°664 – 2010s Music Videos

1 . Jennifer Lopez – Papi

“Papi,” a pulsating offering from Jennifer Lopez’s seventh studio album *Love?*, lands firmly in the Latin-infused dance-pop realm, leaning heavily on slick production by RedOne alongside BeatGeek and Jimmy Joker.

The song is a cocktail of pounding synths and driving drum beats, built to ignite clubs and radio alike, though it arguably lacks a deeper melodic core to anchor its infectious energy.

Released as the third single in 2011, it didn’t quite rocket up the charts, with a modest peak at number 96 on the US Billboard Hot 100, but Lopez’s strength in dance charts came through, earning her yet another number one on the Hot Dance/Club Songs list.

The music video, directed by Paul Hunter, offers pure chaotic theatricality as a magical cookie turns Lopez into an unintended pied piper of lovestruck men, a concept that’s as wild as it is borderline absurd.

The integration of Lopez’s energetic choreography, juxtaposed with blatant Fiat 500 product placement, both entertains and distracts, drawing criticism for prioritizing brand exposure over narrative coherence.

Critically, it’s a mirror to the gloss-filled ethos of *Love?*, sparking mixed reactions—some embracing its unashamed glitz, others questioning its artistic depth.

The track itself serves its purpose in Lopez’s catalog as a high-energy statement of devotion, dressed in glamour but never quite stepping beyond the confines of the pop-dance formula.

Its presence during performances, including major stages like the 39th American Music Awards and her Las Vegas residency, highlights Lopez’s showmanship but reiterates the track’s role as fuel for spectacle rather than substance.

Featured on the 2011 album “Love?”.

Lyrics >> Review >> More by the same : Official Site

2 . Katy Perry – E.T.

In 2011, Katy Perry released “E.T.” as the fourth single from her wildly successful “Teenage Dream” album, roping in Kanye West for a remix that elevated its out-of-this-world charm. Produced by hitmakers Dr. Luke, Max Martin, and Ammo, this track leans heavily on electronic and hip-hop influences while flirting with dubstep and techno elements—a sonic concoction that feels as alien as its lyrical theme of interstellar love. The track’s pulsating beats and atmospheric production transport listeners to a cosmic soundscape, one that dares to compare the unpredictability of love to an extraterrestrial encounter.

The accompanying music video, directed by Floria Sigismondi, is a visual feast of surreal, sci-fi aesthetics with Perry embodying an ethereal alien figure descending onto a post-apocalyptic Earth. The imagery complements the song’s themes, but its dramatic space-romance concept borders on over-the-top kitsch. It’s ambitious but undeniably memorable, packing enough visual shock value to keep it lodged in pop culture discussions well over a decade later.

Interestingly, this track wasn’t initially destined for Perry; it was reportedly pitched to Three 6 Mafia before Perry claimed it. And while the original album cut eschewed Kanye, his verses—a mix of cosmic references and slick bravado—definitely broadened its audience, contributing to its mainstream dominance. The single smashed records, including a staggering 12,330 plays on 131 stations, scoring number one positions on the Billboard Hot 100, Canadian Hot 100, and New Zealand Singles Chart. With over eight million digital sales in the U.S. alone, it’s a reminder of Perry’s then-golden grip on pop.

Critically, “E.T.” was polarizing; some lauded its boldness while others balked at its melodrama. What can’t be denied is its commercial impact. While it may not rank as Perry’s most nuanced work, the unapologetic strangeness of “E.T.” occupies a unique lane in her discography, proving that sometimes, aiming for the stars—literally—can pay off.

Featured on the 2012 album “Teenage Dream”.

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3 . Beyoncé – Run The World [Girls]

In 2011’s “Run The World [Girls],” Beyoncé creates a sonic battlefield where electropop mingles with R&B, underscored by an audacious sample of Major Lazer’s “Pon de Floor.”

The production, shared with The-Dream, Switch, and Shea Taylor, melds dancehall rhythms with sharp, mechanical beats that feel like a call to arms.

Lyrically and thematically, it functions as an anthem of female empowerment—brashly dismissing patriarchy with a repetitive, almost hypnotic refrain that drills its message into listeners’ minds.

While it didn’t dominate the US charts, peaking at #29 on the Billboard Hot 100, its impact extended beyond numbers, embedding itself into cultural discourse around gender dynamics and representation.

The music video, directed by Francis Lawrence, doubles down on this confrontation: a post-apocalyptic spectacle with Beyoncé commanding armies, flanked by dancers, exotic animals, and a symbolic mechanical horse.

If there’s a critique, it’s that the song sometimes leans too heavily on its assertive refrain, sacrificing melodic complexity for sheer force.

Yet, it is precisely this abrasiveness—an unapologetic act of defiance—that makes it endure as more than just a pop track.

Featured on the 2011 album “4”.

Lyrics >> Review >> More by the same : Official Site

4 . Marshmello – Spotlight

“Spotlight” rolls out as an intriguing mix of electronic gloss and heartfelt rawness, embodying a collaboration that feels as significant for its context as its content.

Released in January 2018, it enters the posthumous catalog of Lil Peep, born out of a request by his mother, which is a detail that adds a layer of poignancy to its existence.

The song blends Marshmello’s polished EDM sensibilities with Lil Peep’s signature moody, trap-influenced emo streak, a sonic collision that feels both unexpected and surprisingly cohesive.

Heavily centered on themes of heartache and relational disconnection, its melancholic lyrics swim in an ocean of synthesized beats and atmospheric hooks.

Chart performances in places like Austria, Hungary, and the UK Singles charts were modest at best, which may say more about how unorthodox this pairing was rather than its actual quality or appeal.

The release’s emotional weight goes beyond words, with an accompanying music video interpreting loss through abstract and urban visuals, curated under Nick Koenig’s direction.

It acts less as a celebration and more as a haunting reminder of what’s left behind, a testament to Lil Peep’s strangely enduring resonance in a crowded music scene.

If anything, its existence pushes conversations about posthumous releases, their value, and how the intimacy of grief gets packaged and consumed by the masses.

Featured on the 2018 album “Spotlight”.

Lyrics >> Review >> More by the same : Official Site

5 . Calvin Harris – Giant (w/ Rag’N’Bone Man)

Released in early 2019, “Giant” pairs Calvin Harris with Rag’N’Bone Man in a house-driven track that balances gospel undertones with dancefloor appeal.

Written in 2015 but only completed years later with production tweaks from Harris, the song reflects on childhood and shifting roles, delivering an unexpected mix of introspection and rhythm.

The baritone vocals of Rag’N’Bone Man seem built for anthemic declarations, gliding atop the polished production like a preacher at a Sunday rave.

Commercially, the track was a juggernaut, grabbing the number two spot on the UK Singles Chart and occupying top ten positions across Europe, from Germany to Slovenia, while securing multiple Platinum certifications in the process.

The accompanying music video leans heavily into pastoral imagery, offering a visual juxtaposition to the pulsing beats.

Live performances at high-profile events like the Brit Awards added extra weight to the track’s ubiquity.

Whether you see it as a deep house hymn or a soul-tinged chart pleaser, “Giant” sits at a cross-section of personal storytelling and danceable hooks.

Lyrics >> Review >> More by the same : Official Site

6 . The Black Keys – Lonely Boy

“Lonely Boy” opens with a snarling guitar riff that could jumpstart a dead battery and sets the stage for one of the sharpest gut-punches in The Black Keys’ discography.

Released in 2011 as the lead single from *El Camino*, it struts through the murky lanes of garage rock with just the right smirk of blues tinting the edges.

The interplay between Dan Auerbach’s scratchy, lovelorn vocals and Patrick Carney’s relentless percussion is as immediate and unpolished as a spilt pint in a dingy bar, but that’s the charm.

The inclusion of Danger Mouse as co-producer injects the track with a biting finesse, giving its rawness a glossy, controlled chaos that never veers into excess.

The riff, apparently cribbing inspiration from Johnny Burnette’s “Train Kept A-Rollin’,” makes the song a slapdash homage to and evolution of rock’s DNA.

The cultural buzz around its music video — Derrick T. Tuggle’s unabashed solo dance in a single shot — catapulted the song into viral territory, bridging modern internet antics with old-fashioned, riff-driven swagger.

Yet beneath the cheeky exterior, what jumps out is the sheer lack of pretense.

This isn’t a track trying to reinvent anything, nor does it feign subtlety.

Instead, it leans into the primal thrill of rock — unvarnished, loud, and unapologetically direct.

It’s the kind of song you’d play after ripping a dart outside a dive club, the night still young but already teetering on the edge of something memorable, or forgettable, depending on how the bottles stack up.

Featured on the 2011 album “El Camino”.

Lyrics >> Review >> More by the same : Official Site

7 . The Maccabees – Pelican

The Maccabees’ “Pelican” represents a tightly woven example of indie rock’s knack for marrying eclectic visuals with driving rhythms.

Released as the lead single of their third album, *Given to the Wild*, in late 2011, it showcases the band’s shift into more expansive, atmospheric territory while maintaining their post-punk roots.

Thematically, “Pelican” is a contemplative meditation on the passage of time, illustrated by its frenetic pace and strikingly symbolic music video.

Directed by David Wilson, the video features a cascade of split objects—ranging from baby bottles to globes—set against a stark black backdrop, a visceral metaphor for the fragmented yet linear “journey of life.”

Instrumentally, the track balances spiky guitar lines with a relentless bass groove, its layered production pulsating with forward momentum.

The song made modest chart appearances but found its way into cultural touchstones like the *Forza Horizon* soundtrack and *Top Gear*’s season preview—moments that elevated its reach beyond commercial metrics.

Its critical reception culminated in winning Best Contemporary Song at the Ivor Novello Awards, an accolade that underscored its artistic depth.

“Pelican” is not just a sonic snapshot of The Maccabees’ creative evolution; it’s a smart, visually striking piece that invites scrutiny of both its conceptual layers and musical craftsmanship.

Featured on the 2011 album “Given To The Wild”.

Lyrics >> Review >> More by the same : Official Site

8 . NF – Let You Down

Released in 2017, “Let You Down” by NF grips listeners with a haunting portrayal of regret and broken communication, manifesting as a melancholic yet commercially potent hit.

Emerging from NF’s third album, *Perception*, the track doesn’t merely skim the surface of emotional struggle; it plunges headfirst into a fraught parent-child relationship where words fail and silence festers.

The production by Tommee Profitt and David Garcia crafts an atmosphere that feels like walking through mist—layered vocals, poignant piano lines, and subdued beats form a backdrop for NF’s introspective flow.

Peaking at #12 on the Billboard Hot 100 and earning multiple platinum certifications across the U.S., Canada, and Australia, its reception highlights its universal relatability, even crossing into non-hip-hop audiences.

The accompanying music video reflects this internal battle visually, portraying a surreal scene between older and younger versions of NF witnessing personal failures echo through generations.

What struck a chord wasn’t merely the technical polish but the vulnerability; NF’s repetition of “I’m sorry that I let you down” feels less like an apology and more like an echoing cry into an emotional void.

Critics might argue that the track leans too heavily on commercial tropes—catchy hooks and familiar production choices—but dismissing it for accessibility misses the rawness pulsating just beneath its polished veneer.

Instead of indulgent histrionics, NF offers a tightly controlled implosion, the kind that resonates with anyone who’s ever stared at their reflection and seen only questions staring back.

Featured on the 2017 album “Perception”.

Lyrics >> Review >> More by the same : Official Site

9 . Noel Gallagher’s High Flying Birds – If I Had A Gun…

“If I Had A Gun…” by Noel Gallagher’s High Flying Birds feels like a love letter written in the margins of a philosophy book, wrestling with grandiosity and vulnerability.

Released in 2011 as part of the band’s self-titled debut album, it stakes its claim as an understated ballad rather than an arena-rock anthem.

Chart-wise, it stretched its legs just enough to reach number 95 on the UK Singles Chart and carved out a more tangible presence on niche charts like the UK Physical and Vinyl Singles Rankings.

What makes it intriguing isn’t just its evocative lyrics — “shoot a hole into the sun” is both absurd and oddly sincere — but the way its influences live in the tension between Gallagher’s Britpop roots and something more introspective.

The production, co-helmed by Gallagher and Dave Sardy, doesn’t bathe the song in excessive gloss; instead, it finds elegance in its restraint, with a wistful guitar line that nods more to emotive clarity than psychedelic indulgence.

The music video leans into a surreal narrative with a wedding that can’t quite decide if it’s romantic or just bizarre, tying into an interconnected trilogy with other tracks from the album.

While the song doesn’t carry the swagger of Gallagher’s Oasis past, it feels refreshingly unforced — a quiet declaration rather than a shouted one.

Its success in live settings underscores its intimate, contemplative appeal, especially during festival gigs like Coachella or as part of the “International Magic Live at The O2” recording.

If anything, it’s a song that thrives on contradictions: theatrical yet tender, dreamy yet grounded, nostalgic yet forward-looking.

Far from Gallagher’s most commercially dominant work, it nonetheless invites listeners into a space where melancholy and hope intertwine, mirroring the quiet ambitions of his post-Oasis career.

Featured on the 2011 album “Noel Gallagher’s High Flying Birds”.

Lyrics >> Review >> More by the same : Official Site

10 . Kanye West – All Of The Lights

Kanye West’s “All of the Lights” is as audacious as it gets: a maximalist hip-hop anthem that throws everything at the wall, and most of it sticks.

The fourth single from *My Beautiful Dark Twisted Fantasy*, this 2010 release is both chaotic and meticulously crafted, a song that spent two years in production but still feels electrifyingly spontaneous.

It blends thundering drums, blaring horns, and Elton John’s piano into a cacophonous symphony of fame and fallout, with Rihanna’s vocals punching through the mix like a warning siren.

West assembles an all-star cast of uncredited contributors, from Kid Cudi to Alicia Keys, crafting a stunning patchwork quilt of voices that somehow feels cohesive in its grandeur.

Thematically, it’s heavy—domestic strife, fractured families, and a struggle for redemption, all under the blinding glare of celebrity.

The accompanying Hype Williams-directed video is equal parts seizure-inducing typography and neon-drenched melodrama, earning both acclaim and controversy for its visuals.

Commercially, the track held its own, spending 15 weeks in the Top 40 while gathering awards, including a Grammy for Best Rap/Sung Collaboration.

“All of the Lights” never pretends to be subtle, and that’s the point—it’s a flashing, stomping, screaming behemoth of modern music.

Featured on the 2010 album “My Beautiful Dark Twisted Fantasy”.

Lyrics >> Review >> More by the same : Official Site

11 . Machine Gun Kelly – Home (w/ Machine Gun Kelly, X Ambassadors & Bebe Rexha)

“Home” brings Machine Gun Kelly, X Ambassadors, and Bebe Rexha together in a song crafted for Netflix’s *Bright*, a film that leans heavily on gritty spectacle over substance.

Released in November 2017 as part of *Bright: The Album*, the track aims to stitch the themes of belonging and struggle into its patchwork of hip hop, pop, and rock influences.

MGK’s verses grapple with feelings of loss and isolation, allegedly drawing inspiration from the passing of the late Chester Bennington, while Bebe Rexha’s soaring chorus leans into emotional resolve, though at times ventures dangerously close to over-polished melodrama.

X Ambassadors, meanwhile, provide a sturdy, if somewhat predictable, rock backbone, their input reliable but unremarkable in a collaboration that could have dared to take bigger risks.

The music video, overseen by *Bright* director David Ayer, features dystopian landscapes and fleeting celebrity cameos, including Snoop Dogg and A$AP Rocky, doubling as a shameless extension of the movie’s promotional machinery.

The production by D. Phelps and David Pramik is sleek, designed to fill a stadium or playlist without necessarily leaving much behind for listeners to linger on.

Chart performance flirts with mediocrity—modest heights in Canada and Australia but a lukewarm reception stateside, peaking at No. 90 on the Billboard Hot 100.

Though it avoids outright failure, “Home” feels more like background noise for an urban fantasy film’s end credits than a standalone triumph in any of the genres it tries to inhabit.

Lyrics >> Review >> More by the same : Official Site

12 . P!nk – What About Us

Released on August 10, 2017, “What About Us” by P!nk serves as the lead single from her seventh studio album, “Beautiful Trauma.”

Co-written by P!nk, Johnny McDaid, and Steve Mac, who also produced the track, it signals a shift towards an electronic dance-pop sound steeped in politically charged undertones.

Layers of synthesizers, repetitive piano chords, and machine-driven beats craft a backdrop where the lyrics tackle themes of societal disillusionment and collective yearning for accountability.

The song charted impressively, peaking at #13 on the Billboard Hot 100 and dominating categories like Adult Pop Songs, where it marked P!nk’s ninth chart-topper, surpassing the record she previously shared with Katy Perry.

Globally, it saw equal acclaim, hitting #6 on the Canadian Hot 100 and earning triple platinum status there, while in the US it achieved Platinum certification from the RIAA.

The music video, directed by Georgia Hudson, amplifies the track’s message through interpretive dance and imagery of marginalized communities, resonating with protests against injustice and inequality.

Its Grammy nomination for Best Pop Solo Performance further reinforced its cultural impact, firmly establishing it as a standout piece in P!nk’s discography, even if its anthemic overtones sometimes veer towards the formulaic.

Featured on the 2017 album “Beautiful Trauma”.

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