‘Vous Avez Dit Bizarre’ N°669 – 2010s Music Videos

1 . Sam Smith – Lay Me Down

“Lay Me Down” stands as Sam Smith’s declaration of emotional transparency, a sentiment they often root their artistry in. It first appeared in 2013 as the lead single for their debut studio album, “In the Lonely Hour,” a title both accurate and understated for the introspective lyrical universe it inhabits.

Written alongside Jimmy Napes and Elvin, with production from Napes and Steve Fitzmaurice, the track situates itself as a ballad of longing and unfiltered vulnerability. Its 2013 chart placement, peaking at number 46 in the UK and an unremarkable 25 on the US Bubbling Under Hot 100, gestures toward a song that had to fight for—and eventually build—wide recognition. It wasn’t until a 2015 re-release that the track grasped greater commercial success, ascending to number 8 on the US Billboard Hot 100 and number 15 in the UK.

At its core, “Lay Me Down” addresses the universal hunger for connection, rendered through lyrics focused on the ache of absence and the courage to love unabashedly. Smith’s voice carries the song’s heavy emotional freight, weaving vulnerability into melodic precision. Yet, whether this rawness is cathartic or indulgent may be open to interpretation, depending on the listener’s tolerance for its dramatic earnestness.

The John Legend collaboration, released for Comic Relief, elevated the track with dual vocal gravitas, earning it a UK number one spot in March 2015. This version, bolstered by its charity roots, peaked during a brief chart moment defined as much by purpose as by musical merit. Its 9-week tenure on the UK Singles Chart suggests resonance but stops shy of timeless ubiquity.

Though praised for its unvarnished emotionality, the song’s reliance on predictable instrumental build-ups raises the question of whether its emotive pull relies too heavily on formulaic melodrama. Still, “Lay Me Down” is undeniably pivotal in Smith’s career, framing their journey into soul-drenched balladry and nurturing their partnership with Napes.

Featured on the 2014 album “In the Lonely Hour”.

Lyrics >> More by the same : Official Site

2 . Storm Queen – Look Right Through

“Look Right Through” by Storm Queen, helmed by Morgan Geist and featuring Damon C. Scott’s soulful vocals, is a house track steeped in both simplicity and transformation.

Originally released on 19 October 2010 through Geist’s label Environ, the song’s initial version carries a stripped-down essence, relying on a clean bassline and Scott’s aching delivery of its lyrical longing. Its appeal was strong enough for Defected Records to scoop it up in 2011, signaling the start of its remix-fueled journey.

The track’s real pivot came with Marc ‘MK’ Kinchen’s remix, released on 3 November 2013 under the combined efforts of Defected and Ministry of Sound. His ‘Morning’ Vocal Mix and ‘Don’t Talk to Me’ Dub avoided the pitfalls of over-production, injecting the track with a buoyant urgency that rocketed it to the top spot of both the UK Singles Chart and UK Dance Chart on 10 November 2013. The fact it outpaced Eminem’s “The Monster” by nearly 9,500 copies underscores its mainstream resonance without feeling overly compromised.

The song’s visual interpretations further underscore its tonal dexterity. The 2011 music video matched the original’s understated polish, while the 2013 MK remix video, staged in a surreal 1920s setting at The Cadogan Hotel, leaned into campy opulence, complete with a white lion motif straight out of art-school daydreams. True to its Brooklyn-British hybrid origins, the track accommodates both restraint and boldness.

Yet, what truly lingers is the undeniable friction between Geist’s purist artistry and the populist sheen MK brings. It is this tension—between stripped-back origins and club-crowd triumph—that defines its enduring place in house music. The song neither rewrites the genre nor innovates beyond its field, but its adaptability is its genius, proof that precision, when shuffled through the right hands, can be reinterpreted as exuberance.

Lyrics >> More by the same : Facebook

3 . James Blake – Retrograde

“Retrograde” by James Blake offers a glacially-paced yet deeply affecting glimpse into the crossroads of post-dubstep and soul.

Released on 11 February 2013 as the lead single from his Mercury Prize-winning album *Overgrown*, the track highlights Blake’s delicate balance between sparse electronic production and poignant emotionality.

The song’s foundation is its haunting, looped backing, which swirls like a distant siren while Blake’s R&B-inflected falsetto hovers above it.

Thematically, “Retrograde” explores the difficult terrain of confronting past traumas and attempting a restorative journey for love, echoing its titular backward motion, though without any pretension of resolution.

Chart performance saw it skimming varied levels of success, hitting #10 in Denmark, #87 in the UK, and landing at #56 on the Australian ARIA chart, where it eventually achieved Gold certification for 35,000 units sold, alongside its Silver status in the UK and further Gold in Denmark via 900,000 streams.

Yet the minimalist beauty of “Retrograde” occasionally strays into monotony, with the instrumentation verging on overly austere—a common tendency among post-dubstep’s quieter cornerstones.

Produced, written, and recorded solely by Blake, the track places his craftsmanship front and center, though at times the emotional register feels overly detached, as though too much space is left between its chasms of layered sound.

Visually, the music video, directed by Martin de Thurah, adds an appropriately enigmatic aura, though its exact tie to the musical narrative is arguably more abstract than additive.

“Retrograde” ultimately underscores Blake’s role as a significant voice in the post-dubstep era, even if its sparse arrangement occasionally teeters into being more hypnotic than explicitly engaging.

Featured on the 2013 album “Overgrown”.

Lyrics >> More by the same : Official Site

4 . Rihanna – Needed Me

“Needed Me,” a standout from Rihanna’s 2016 album “Anti,” stitches together an electro-R&B soundscape with a deliberate sense of detachment, both in its production and delivery.

Recorded at Westlake Recording Studios in Los Angeles, the track leans on DJ Mustard’s dubstep-inspired production, with co-producers Twice as Nice and Frank Dukes adding a textured veneer of heavy bass triggers and a pulsing, grinding bassline. The tempo, set at 111 beats per minute, feels almost too calculated, as if leaning into a club-friendly cadence without fully committing to it.

Rihanna’s vocal performance, spanning from F3 to C5, matches the mood with a slight air of disdain, as though addressing the song’s unnamed subject is more effort than it’s worth. This tonal detachment underscores the song’s theme of empowerment, but it runs the risk of veering into monotony, a trap barely avoided thanks to the layered vocal delivery and minimalist punch of the production.

The video, helmed by Harmony Korine, adds visual grit with its gunplay and strip-club aesthetics, stylized excess flirting with overkill. While it complements the song’s no-nonsense messaging, it brings a sense of shock value that, while memorable, doesn’t elevate the track itself so much as amplify its commercial aims.

Chart-wise, “Needed Me” cemented Rihanna’s mastery of the *Billboard* Hot 100, where it peaked at number seven, lingering for 42 weeks in total, a testament to its slow-burn appeal. Elsewhere, its performance on charts like the Hot R&B/Hip-Hop Songs signaled its broader resonance, even if it didn’t match the meteoric heights of Rihanna’s best-known singles.

At its core, “Needed Me” captures Rihanna channeling cool confidence into a framework that feels intentionally restrained. It’s both a strength and a limitation, delivering a mood-heavy anthem that, while impactful, doesn’t entirely transcend its parts.

Featured on the 2016 album “ANTI“.ANTI+vinyl+album&tag=radiovideom05-20′ target=’_blank’ rel=’noopener’>

Lyrics >> More by the same : Official Site

5 . Rag’N’Bone Man – Skin

Released on 26 January 2017 as the third single from Rag’n’Bone Man’s debut album “Human,” “Skin” reflects a deliberate blend of raw emotion and cinematic storytelling. With creative contributions from Rory Graham himself alongside Jonny Coffer, Jamie Scott, Mike Needle, and Dan Bryer, the track bears a collaborative weight that is as apparent in its polished production as it is in its evocative narrative.

The song’s origins lie in the relationship between Jon Snow and Ygritte from *Game of Thrones*, a detail that adds a kind of mythic gravitas to its themes of loss and yearning. One might hear echoes of Jon Snow’s brooding intensity in Graham’s deep baritone, which walks the line between soulful power and restrained vulnerability. Yet, for all its emotional heft, the production—courtesy of Jonny Coffer—opts for a radio-ready sheen that at times risks dulling the rawness of Graham’s performance.

The music video, helmed by Greg Davenport, complements the track’s cinematic leanings, depicting a young boy roaming an empty village in search of shelter. It’s a fitting visual metaphor for the song’s themes but one that pursues atmosphere over narrative clarity. Like the track itself, it’s viscerally compelling but leaves space for a deeper connective tissue.

Charting at number 10 on the UK Singles Chart and boasting a 34-week run, “Skin” demonstrates staying power not always seen in contemporary singles. Its double-platinum UK certification further underscores its commercial resonance, although whether this stems from its universality or sheer adequacy as pop fare is debatable. Elsewhere, accolades like Gold in Australia and Diamond in France enhance its global map but do little to peel back the song’s broader musical intentions.

On performance stages, the song has had moments of grandeur, such as a live recording at West London’s State Of The Ark Studios. Stripped of studio perfection, these renditions often reveal the fissures and textures that production masks, allowing Graham’s baritone to resonate like an unvarnished confession. Such performances speak to the potential durability of his artistry, even if “Skin” itself occasionally feels like a workshopped response to mainstream appetites rather than a fully realized artistic statement.

Featured on the 2017 album “Human”.

Lyrics >> More by the same : Twitter

6 . Miley Cyrus – Wrecking Ball

“Wrecking Ball,” lifted from Miley Cyrus’s 2013 album “Bangerz,” teeters between raw vulnerability and calculated bombast, cementing its place as a cultural touchstone of its era.

Initially written with Beyoncé in mind, the song’s peculiar trajectory—ending up in Cyrus’s hands—feels emblematic of its themes of unintended collision. Penned by a collective that includes Mozella, Stephan Moccio, and Dr. Luke, its lyrics tread familiar heartbreak terrain, yet the production offsets this predictability, blending soaring vocals with a dramatic, slow-building arrangement.

Chart-wise, “Wrecking Ball” made waves, debuting at No. 50 on the Billboard Hot 100 before smashing its way to No. 1, a first for Cyrus in the United States. Its peculiar journey also saw it reclaim the top spot nine weeks after initially losing it, a testament less to its quality and more to the manipulation of chart dynamics. Still, the track’s international reach—from Spain to Lebanon—underscores its ubiquity rather than its depth.

The music video, directed with all the subtlety of the titular wrecking ball, juxtaposes voyeuristic sensuality with heavy-handed symbolism. Cyrus, both nude and emotionally stripped, swings through walls as if auditioning for a modern art exhibit on destruction. The clip broke Vevo’s 24-hour viewership record, but it’s hard to tell whether its appeal lay in the song or in its shock value. Accolades followed, with nods at the MTV Europe Music Awards and the VMAs, though the wins reflect spectacle more than refinement.

Performances like the one on “Saturday Night Live” injected a measure of authenticity, yet the song’s careful polish resists full immersion into raw emotion. It is not Cyrus’s reinvention as much as an emblem of pop culture’s obsession with grand gestures. In 2023, Dolly Parton’s duet version on “Rockstar” added a different texture, but even that feels tethered to the track’s original spectacle rather than its soul.

Featured on the 2013 album “Bangerz”.

Lyrics >> More by the same : Twitter

7 . Example – Perfect Replacement

“Perfect Replacement,” lifted from Example’s 2013 album “The Evolution of Man,” embodies the artist’s blend of mainstream appeal and club-centric energy, yet not without its flaws.

Co-written and produced alongside Feed Me, the track radiates a mechanical precision, its polished production aiming squarely at the dancefloor. The song made its public debut to festival crowds, first heard live at August’s V Festival followed by the iTunes Festival in September 2012. By the time it hit Greg James’ BBC Radio 1 show in November, the single’s intent was clear: a calculated effort to both energize and expand Example’s audience.

The music itself is efficient, but perhaps too reliant on tightly programmed beats and synth layers that feel more engineered than inspired. Where “Perfect Replacement” gains traction is in its infectious rhythm, though lyrically it offers little to linger on.

Commercially, the track struggled for a foothold—it peaked at a modest No. 46 on the UK Singles Chart, though fared slightly better on niche tallies, reaching No. 9 on the UK Dance Chart and No. 7 on the UK Indie Chart. The Scottish Singles Chart logged it at No. 38, with the Irish Singles Chart hanging back at No. 56. Decent numbers, yet indicative of a song that perhaps lacked the staying power of Example’s earlier hits.

Adding heft to the release package were remixes by R3hab & Hard Rock Sofa, Danny Howard, Datsik, and Toyboy & Robin, each twisting the original into edgier, more inventive shapes. The absence of Route 94’s take, unfinished by the release date, feels like a missed opportunity given their increasing acclaim at the time.

The music video, soliciting the public to join as ravers, premiered on YouTube in the early hours of New Year’s Day 2013. While the concept added a participatory edge, the video didn’t push boundaries visually or conceptually, much like the track itself.

“Perfect Replacement” serves its purpose in Example’s catalog—a serviceable, energetic outing tuned for large crowds—but it doesn’t quite elevate itself above formulaic club filler, mirroring the lower-tier performance it achieved on the charts.

Featured on the 2012 album “The Evolution of Man”.

Lyrics >> More by the same : Facebook

8 . Elbow – Magnificent [She Says]

“Magnificent (She Says)” opens Elbow’s 2017 album “Little Fictions” with a flourish, layering optimism over a backdrop of upheaval.

The song’s soaring crescendo, driven by Guy Garvey’s emotive vocals, attempts to thread resilience into a time marked by political uncertainty, namely the aftermath of Brexit—a theme that subtly informs the album.

True to its name, the track leans heavily into its grandeur but resists tipping into bombast, relying instead on the band’s characteristic warmth.

As the first single, it reached a modest peak of 77 on the UK Official Singles Chart, staying there for just two weeks—hardly a commercial triumph but emblematic of Elbow’s niche appeal.

“Little Fictions” reflects a band in transition following the departure of drummer Richard Jupp, whose absence opened space for experimentation with tempo and percussion.

This freedom is palpable here: the rhythm section feels less locked-in, opting instead for a fluid, almost cinematic approach. Yet, the absence of Jupp’s textured drumming occasionally leaves the song’s dynamics feeling a touch skeletal.

Garvey’s lyrics, written amidst “internationally challenging times,” cast a hopeful lens without lapsing into naivety, though their broad strokes occasionally veer into vagueness.

It’s a track that relies on its emotional heft more than melodic innovation—well-crafted but not particularly risk-taking.

Not tied to any notable collaborations or individual accolades, its impact feels confined within the collective success of “Little Fictions,” a chart-topping album that outshines its lead single in longevity.

In the grander arc of Elbow’s career, “Magnificent (She Says)” plays it safe: affecting, yes, but not magnanimous.

Featured on the 2017 album “Little Fictions”.

Lyrics >> More by the same : Official Site

9 . Bombay Bicycle Club – Luna

“Luna,” from Bombay Bicycle Club’s 2014 album *So Long, See You Tomorrow*, is less a conventional indie rock track and more a carefully constructed mosaic of global influences.

The inclusion of the Indian Tabla drum nods to Jack Steadman’s travels through Europe and India, though the effect is more texture than transformation, adding a subtle pulse beneath the layered soundscape rather than stealing focus.

The interplay between Steadman’s lead vocals and Rae Morris’s contributions is the real standout, with their harmonies slipping in and out of synchrony like overlapping tides.

The song’s structure oscillates between introspective verses and explosive releases, a dynamic that feels both calculated and exhilarating, though the repetition of this formula comes close to overstaying its welcome.

“Luna” fared well commercially, snagging the No. 67 spot on the UK Singles Chart and racking up an impressive 64 million Spotify streams, metrics that underscore its accessibility without necessarily indicating depth.

As part of an album that topped the UK Albums Chart in February 2014, the song encapsulates the band’s ability to craft moments that resonate widely, even if the exotic elements sometimes lean more toward ornamental than integral.

Bombay Bicycle Club, formed by Jack Steadman, Jamie MacColl, Suren de Saram, and Ed Nash, often straddle the line between earnest experimentation and polished indie rock hygiene, and “Luna” epitomizes this balancing act.

Though the band’s hiatus and subsequent reunion add an air of endurance to their narrative, the track itself feels less like a bold statement and more like a well-executed exercise in aesthetic layering.

Featured on the 2014 album “So Long, See You Tomorrow”.

Lyrics >> More by the same : Official Site

10 . Tinie Tempah – Lover Not A Fighter (w/ Labrinth)

“Lover Not a Fighter,” a collaboration between Tinie Tempah and Labrinth, feels like a blueprint for radio-friendly pop-rap in the mid-2010s—brightly polished, accessible, and carefully engineered for mass appeal.

Extracted from Tinie Tempah’s second studio album *Demonstration* and produced by Labrinth, the song leans heavily on its feel-good ethos, urging listeners to prioritize leisure over conflict. Vocally, both Patrick “Tinie Tempah” Okogwu and Timothy “Labrinth” McKenzie bring a sense of rhythmic charisma, though the track rarely deviates from its safe, formulaic structure. Recorded at R1 Studios in London, its production benefits from additional programming by Da Digglar, while Phil Tan’s mixing ensures everything is tightly packed for airplay without any sharp edges left exposed.

Released as the album’s third single on 2 February 2014, “Lover Not a Fighter” achieved moderate chart success, climbing to number 16 on the UK Singles Chart and matching that peak on the Scotland (OCC) chart. It faltered slightly in Ireland, settling at number 30, reflecting a geographically varied reception. The music video, directed by Emil Nava and shot over two days in November 2013, undoubtedly contributed to the track’s visibility, though as a visual supplement, it adds little to the song’s restrained creative ambition.

The song’s remix package, featuring reinterpretations by Paul Woolford and All About She, gained attention through BBC Radio 1 but served more as a footnote than a centerpiece. Tinie Tempah’s live performance on BBC Radio 1’s *Live Lounge* on 4 February 2014 reflects his commitment to the promotional circuit, yet it doesn’t fully salvage the track’s lack of depth.

“Lover Not a Fighter” positions itself inoffensively within Tinie Tempah and Labrinth’s collaborative history, standing in the shadow of their more dynamic past efforts like “Frisky” and “Earthquake.” While the song enjoys moments of charm, particularly through Labrinth’s production touches, its adherence to predictable musical tropes ultimately leaves it feeling like a missed opportunity to push boundaries.

Featured on the 2013 album “Demonstration”.

Lyrics >> More by the same : Instagram

11 . One Direction – Steal My Girl

“Steal My Girl,” the lead single from One Direction’s fourth studio album “Four,” presents a curious mix of polish and predictability.

The track, penned by Louis Tomlinson and Liam Payne alongside veteran collaborators Jonathan Cain, Wayne Hector, John Ryan, Ed Drewett, and Julian Bunetta, leans heavily on tried-and-true pop formulas, evident in its melodic similarity to Journey’s “Faithfully.”

Performed in B♭ major and paced at a measured 78 beats per minute, the song opts for midtempo comfort over innovation, a choice that underscores its narrative about jealously guarding a romantic relationship from external threats.

Produced by Bunetta, Ryan, and Pär Westerlund, “Steal My Girl” is impeccably constructed sonically, but the lyrical angle—protecting one’s girlfriend as if she’s territory—lacks much-needed nuance and modernity.

Upon its release on September 29, 2014, the song managed a respectable number three spot on the UK Singles Chart and reached number 13 on the US Billboard Hot 100, signifying its commercial viability despite its creative shortcomings.

The accompanying music video, directed by Ben and Gabe Turner, is a surreal spectacle amplified by an appearance from Danny DeVito as a self-proclaimed visionary director, alongside an eclectic ensemble of sumo wrestlers, acrobats, and a chimpanzee.

This over-the-top visual introduces a forced quirkiness that might distract from, rather than enhance, the song’s thematic intent.

Each band member is handed a token “expression”—Harry as love, Niall as light, Liam as power, Louis as danger, and Zayn as mystery—yet these assignments feel as arbitrary as they are superficial.

Given the band’s 2010 formation on “The X Factor” and their heavy pop arsenal, “Steal My Girl” is less a breakout achievement and more a functional piece in their catalog, buoyed primarily by its production quality and the weight of their name at the time.

Featured on the 2014 album “Four”.

Lyrics >> More by the same : Official Site

12 . Imagine Dragons – I Bet My Life

“I Bet My Life,” the lead single from Imagine Dragons’ 2014 album “Smoke + Mirrors,” offers an earnest reflection on familial tension and reconciliation, with Dan Reynolds channeling his strained-but-unbreakable bond with his parents into a musical narrative.

Recorded at Imagine Dragons Studio in Las Vegas, Nevada, the track feels deeply personal yet strays into broad emotional strokes that some might find too calculated. The lyrics strive for catharsis but occasionally veer toward oversimplified sentimentality, as though written with arena singalongs in mind rather than nuanced storytelling.

The production, handled by the band, leans into their signature bombastic style, complete with swelling choruses and layered textures. While undeniably grand, the sonic palette risks overwhelming the song’s introspective core, trading subtlety for spectacle.

Visually, Jodeb’s direction of the music video provides a more grounded counterpoint. Featuring Dane DeHaan and Alex Neustaedter, the video unfolds amidst the rugged beauty of Arizona’s Salt River. Its striking imagery complements the track’s themes of conflict and redemption, although the Jeep branding during the American Music Awards tie-in adds a layer of corporate detachment that undercuts its emotional resonance.

Commercially, the track claimed a respectable peak at number 22 on the UK Official Singles Chart, lingering for seven weeks, and earned multiple certifications, including 3× Platinum in the U.S. The band showcased it at the 2014 American Music Awards, where their energetic performance tied neatly into their award for Favorite Alternative Artist but did little to offset criticisms of over-reliance on their polished stadium-ready formula.

In the end, “I Bet My Life” succeeds in its attempt to magnify personal stakes into a universal anthem but stumbles in its heavy-handed execution, a tension reflective of Imagine Dragons’ broader artistic identity at the time.

Featured on the 2014 album “Smoke + Mirrors”.

Lyrics >> More by the same : Official Site