‘Vous Avez Dit Bizarre’ N°709 – 2010s Music Videos

1 . Fall Out Boy – Uma Thurman

Fall Out Boy’s “Uma Thurman” layers its energetic instrumentation with an audacious sampling of *The Munsters* theme, crafting a track that feels as iconic as the cultural references it nods to.

Released on January 12, 2015, as part of their *American Beauty/American Psycho* album, the song brings a playful yet commanding vibe, inspired by Uma Thurman’s fierce and unforgettable characters from *Pulp Fiction* and *Kill Bill.*

The fusion of rock, pop, and grunge elements gives it a texture that’s simultaneously nostalgic and refreshingly bold, a sonic rollercoaster with a whiff of mischief.

The hooks are brazenly catchy, likely part of the reason it soared to No. 22 on the *Billboard* Hot 100 and climbed charts across Rock Songs, Pop Songs, and Alternative Songs.

Its VEVO music video, a haphazard day-in-the-life of a superfan turned band assistant, feels like a chaotic montage of hyper-specific quirks tied to Fall Out Boy’s personality, featuring cameos from Big Sean, Brendon Urie, and others.

The title’s real humor, of course, lies in naming a pop-rock anthem after an actress whose association with badassery and mystique is undeniable, framing her as a metaphor for wild, untamed spirit.

This single isn’t all smirking irreverence, though—it’s also a strategic crowd-pleaser, evident in its slots across Pepsi ads during the Grammys and live performances on shows like *Late Night with Seth Meyers.*

Its triple-Platinum certification by 2023 confirms that “Uma Thurman” didn’t just aim for the charts—it stomped onto them with an unapologetic attitude and a never-tamed swagger.

In true Fall Out Boy fashion, it’s a cheeky blending of pop culture and anthemic rock cynicism, brought to life with hooks that wouldn’t know subtlety if it hit them over the head with a katana.

Featured on the 2015 album “American Beauty/American Psycho“.

Lyrics >> More by the same : Official Site

2 . All Time Low – Something’s Gotta Give

Released in 2015 as the lead single from their sixth studio album *Future Hearts*, “Something’s Gotta Give” by All Time Low captures a raw, restless energy that feels quintessentially pop punk, though it leans heavily into anthemic hooks tailored for larger audiences.

The track sees the band pairing a polished production by Alex Hope and Colin Brittain with lyrics infused with existential frustration—a call for action, change, and escape from a suffocating routine.

The repeated refrain of desperation builds into a climactic yell from Alex Gaskarth, lending an edge to an otherwise cleanly produced track, showcasing both vulnerability and grit.

The music video puts a tongue-in-cheek spin on the song’s themes, following Gaskarth as a suit-clad zombie stumbling through bizarrely mundane scenarios, offering humor without undercutting the track’s emotional weight.

Chart performance was solid but not meteoric, peaking at #14 on the US Rock charts and landing within the UK and Scottish rankings in more modest positions.

The song became a staple in their live performances, consistently appearing in setlists for the *Future Hearts Tour* and their collaborations with pop-punk stalwarts Blink-182, giving it a longevity that reflects its resonance with fans.

Premiering on BBC Radio 1 and initially dealing with takedown drama, the track’s availability eventually spiked its widespread popularity, with its thematic yearning for change ironically mirrored by its rocky journey to listener playlists.

By balancing the punchy, crowd-pleasing elements with introspective lyrics, “Something’s Gotta Give” straddles the line between the band’s punk roots and a more accessible, radio-ready sound—a tension that defines much of their evolution through *Future Hearts* and beyond.

Featured on the 2015 album “Future Hearts”.

Lyrics >> More by the same : Official Site

3 . Willow – Whip My Hair

Willow Smith’s “Whip My Hair” charges in with a swagger that’s impossible to ignore, a bold declaration wrapped in a pulsating R&B-hip-hop hybrid that flirts with dance-pop, crunk, funk, and disco.

The track, released in 2010 when Willow was just 10, straddles the line between youthful exuberance and slick studio polish, penned by Ronald “Jukebox” Jackson and Janae Ratliff, with Jackson also helming its vibrant production.

Visually, the accompanying video contrasts a drab cafeteria with explosions of paint and movement, a technicolor burst of individuality as Willow’s choreography brings vibrancy to a mundane setting, with cameos from Jaden Smith and Cameron Boyce adding a familial and youthful flair.

Critics were quick to draw comparisons to pop stalwarts like Rihanna and Ciara, a testament to the polished confidence Willow exuded even at such a young age, though murmurs about her age and the heavily engineered production surfaced as faint criticisms.

Commercially, the song carved out a solid space for itself, peaking at #11 on the Billboard Hot 100 and breaking into the top 10 across multiple countries, including the #2 spot in the UK.

Its broader cultural influence felt undeniable, earning gold certification in the U.S. and inspiring a slew of covers and parodies—most memorably a satirical duet by Jimmy Fallon (parodying Neil Young) and Bruce Springsteen, showcasing its permeation into pop culture.

Live performances showed Willow holding her own, gracing stages like “The Oprah Winfrey Show” and the Kids’ Choice Awards, where the vibrant energy of the track translated seamlessly, offering a glimpse into the potential of her future as an artist unafraid to experiment.

“Whip My Hair” oscillates between empowerment anthem and playful kitsch, emblematic of the era’s sound while managing to shoehorn in an unmistakable voice, loud and clear, from an artist just beginning to color outside the industry’s rigid lines.

Lyrics >> More by the same : Official Site

4 . The xx – Say Something Loving

“Say Something Loving” by The xx threads vulnerability and anticipation into a dynamic tapestry of sound, embodying their growth as artists navigating new terrain.

The track, part of their 2017 album *I See You,* pivots from the muted minimalism that defined their earlier works, leaning instead into a lush, layered fusion of indie pop and electronica, underscored by a sample from the Alessi Brothers’ 1978 soft-rock gem “Do You Feel It?”

Jamie xx’s meticulous production gives the song a pulsing heartbeat, balancing gentle synth swells with the raw intimacy of Romy Madley Croft and Oliver Sim’s alternating vocals, creating an interplay akin to a late-night confession.

The accompanying music video, directed by Alasdair McLellan, frames London’s youth in candid moments of tenderness and exploration, lending a slice-of-life realism to the song’s yearning tone.

Lyrically, it oscillates between craving affirmation and wrestling with self-doubt, mirroring a universal tug-of-war in relationships, while its warmer, more expansive sonic palette marks a deliberate step forward for the band.

This shift was met with critical approval, with *I See You* landing atop the UK Albums Chart and making its way to the upper reaches of U.S. rankings, a testament to The xx’s increasingly global appeal.

Whether performed on live TV stages or amid festival crowds at Coachella, “Say Something Loving” thrives in its emotional accessibility, a quiet plea amplified into an anthem for the guarded and the vulnerable alike.

Featured on the 2017 album “I See You“.

Lyrics >> More by the same : Official Site

5 . Droideka – Get Hyper

Droideka’s “Get Hyper” pulsates with untamed electronic energy, a track shaped by its high BPMs and an unapologetically chaotic approach to dance music.

Released as a standalone single in 2013, it harnesses a ferocious rave culture aesthetic, borrowing vocal samples that bark like commands to an audience primed for adrenaline.

KSI’s contribution to the re-release introduced a dash of internet-fueled notoriety, amplifying the song’s reach among the meme-loving gaming crowd.

The infamous looped cry, “I’mma get hyper,” blares like an anthem of overstimulation, fitting seamlessly into montages of pixelated carnage from “Call of Duty” and other frenetic showcases of virtual chaos.

It lacks subtlety, and that’s precisely the point; this is music crafted for glowsticks, distorted speaker systems, and the digital frontier where attention spans are measured in seconds.

Droideka, real name Ellis James Carter, reportedly took a hard right turn from strobe-lit clubs to IT work, but “Get Hyper” endures as a snapshot of electronic delirium at its gaudiest peak.

Lyrics >> More by the same : Instagram

6 . The Chainsmokers – Paris

“Paris” by The Chainsmokers, a 2017 single from their debut studio album *Memories…Do Not Open*, paints a vibrant narrative of youthful idealism and self-delusion.

Through its blend of EDM and pop, the track constructs a dreamy yet slightly fragile escapism, infused with romanticized notions of rebellion and detachment from societal constraints.

The uncredited vocal contribution from Emily Warren brings an understated emotional texture to the song, complementing the glossy production by Alex Pall and Drew Taggart.

The term “Paris” functions less as a geographical marker and more as a symbol of longing and the allure of an alternate reality, a place where mistakes are quietly justified by the haze of youth.

The lyrics emerge from a conversation Taggart had with a friend, grappling with the tension between personal flaws and euphoric self-idealization.

Despite its surface sheen, the song slyly critiques millennial vanity and social posturing, borrowing thematic elements reminiscent of Fitzgerald’s elegance and cynicism.

The music video, directed by Rory Kramer and featuring Martha Hunt, opts for a visual metaphor of fleeting freedom but slightly undercuts the song’s introspection with glossy aesthetics.

Performed live on platforms like *The Tonight Show Starring Jimmy Fallon*, it effectively capitalized on its commercial momentum, charting prominently and selling multi-platinum units in the U.S.

“Paris” ultimately operates as both an anthem for reckless optimism and a subtle interrogation of the narratives we craft to soothe our unease, meshing cultural aspiration with radio-ready ambition.

Featured on the 2017 album “Memories…Do Not Open”.

Lyrics >> More by the same : Official Site

7 . Skrillex & The Doors – Breakn’ A Sweat

“Breakn’ a Sweat” brings together Skrillex’s hard-edged dubstep with The Doors’ hypnotic, analog grit.

The track was conceived within the experimental framework of the *Re:Generation Music Project*, a documentary designed to bridge musical eras and genres.

The collaboration draws from the Doors’ surviving members: Ray Manzarek’s swirling organ work, Robby Krieger’s jagged guitar lines, and John Densmore’s understated percussion.

A Jim Morrison soundbite from 1969 speaks about the future of music-making technologies, a hauntingly fitting prediction woven seamlessly into Skrillex’s production.

The song juggles elements of psych-rock nostalgia and electrode-charged chaos without fully committing to either.

While the Doors’ shadow hangs heavily over the piece, Skrillex’s trademark bass drops and glitchy interjections dominate, for better or worse.

A Zedd remix adds further fuel, sneaking its way into *Need for Speed: Most Wanted* and his *Clarity* deluxe lineup.

Whether “Breakn’ a Sweat” captures a true symbiosis or merely pits two incompatible forces against each other depends on how nostalgic or bass-hungry you’re feeling today.

Featured on the 2011 album “Bangarang”.

Lyrics >> More by the same : Official Site

8 . Banks – Waiting Game

“Waiting Game” by Banks carries an aura of restrained melancholy that feels like a private confession whispered into a dark room.

Released in 2013 under Harvest Records, the track sits at the crossroads of pop, R&B, and downtempo electronic, producing a sound that’s both minimalist and emotionally saturated.

Producer SOHN constructs an instrumental backdrop that feels intentionally sparse, letting Banks’ sultry and aching vocals dominate the sonic landscape.

The song navigates the tumult of long-distance relationships, drenched in longing and fraught with uncertainty, which feels almost cinematic in its intensity.

The accompanying music video, directed by Francesco Carrozzini, leans into stark, black-and-white visuals, adding layers of visual tension that amplify these themes.

Whether it’s the subtle pulsating beats or the haunting repetition in the refrain, every detail seems designed to echo the feeling of a love stretched to its limits.

Its cultural footprint extends to TV shows like *Grey’s Anatomy* and *Power*, and its use in a Victoria’s Secret commercial opened it to a wider audience, though its stripped-back melancholy is far from commercial fluff.

This isn’t a song that begs you to like it; instead, it demands patience, much like the waiting it describes, rewarding listeners who lean into its deliberate pacing and emotional rawness.

Critics have lauded Banks’ ability to inhabit a song with vulnerability, though some might find the brooding nature of “Waiting Game” overbearing without the right mood.

Neon Jungle’s unauthorized cover of the track stirred up controversy, yet it only bolstered Banks’ reputation for uncompromising artistic authenticity.

With Gold certification from the RIAA and a steady rise on alternative charts, “Waiting Game” solidifies its standing not as a mainstream juggernaut, but as an anthem for solitude and suspended time.

Featured on the 2013 album “Goddess”.

Lyrics >> More by the same : Official Site

9 . The Killers – Boots

Released during The Killers’ hiatus, “Boots” arrives as a Christmas single that wears its indie rock heart on its sleeve, blending seasonal sentimentality with subtle introspection.

The track borrows sonic elements from traditional holiday music—think strings and bells—but layers them under Brandon Flowers’ distinctly earnest delivery, creating a curious cocktail of nostalgia and gravitas.

Its connection to the charitable (RED) campaign imbues the release with a sense of purpose, yet it manages to avoid feeling overly sanctimonious, a balance many seasonal songs struggle to strike.

The music video, directed by Jared Hess, adds a touch of quirk with its odd combination of clips from *It’s a Wonderful Life* and footage of New York street performer Brad Prowly, creating a visual experience that feels both fragmented and strangely cohesive.

Critically, “Boots” falls short of The Killers’ most iconic works, failing to leave a mark on mainstream charts, but its low-key charm might appeal to fans seeking a thoughtful holiday tune with a darker hue.

As standalone singles go, it’s an unusual creature, quietly nestled between the band’s commercial peaks and their consistent desire to marry music with larger causes.

Featured on the 2010 album “(Don’t) Waste Your Wishes”.

Lyrics >> More by the same : Official Site

10 . Pendulum – Crush

“Crush” burns with a restless energy, a swirling fusion of drum and bass accents and edgy electronic rock reminiscent of Pendulum’s knack for genre-busting chaos.

Released in 2010 as part of their chart-topping album *Immersion*, the track adds undeniable intensity to the record, teetering on the brink of emotional implosion.

The songwriting credits lie with Rob Swire, whose production incorporates Gareth McGrillen’s bass, Peredur ap Gwynedd’s searing guitar, and KJ Sawka’s dynamic acoustic drumming—each layer adding a sense of urgency and abrasion.

Lyrically, “Crush” drapes its jagged edges in themes like rage, regret, and a desperate loss of control, as Swire’s vocal delivery shifts between brooding and combustive.

The accompanying video, launched in early 2011, ups the tension with a psychological horror narrative centered on murder, guilt, and unraveling sanity, complemented by disorienting visuals and rapid-fire cuts.

While the track didn’t linger long on the UK Singles Chart, peaking briefly at 92, its live renditions electrified festival crowds, bolstered further by the album’s success.

Even within the ambitious lineup of *Immersion*, including collaborations with acts like Steven Wilson and In Flames, “Crush” stands out for its violent emotional vortex, inviting listeners into a hypnotic spiral of chaos and catharsis.

Featured on the 2011 album “Immersion”.

Lyrics >> More by the same : Official Site

11 . David Bowie – Blackstar

“Blackstar” defies categorization, wrapping a nearly 10-minute mosaic of art rock, avant-garde jazz, and electronic experimentation into one sprawling, enigmatic package.

The track opens with an eerie, hypnotic cadence, teetering between menacing rhythms and ethereal serenity as shifting time signatures keep listeners on edge.

Its baroque undercurrent, courtesy of Donny McCaslin’s jazz ensemble, lays a foundation for Bowie’s haunting vocals, which oscillate between sacred chant and spectral lament.

The lyrics weave cryptic narratives of mortality and existential uncertainty, pulling threads from sources like Aleister Crowley’s esotericism and Elvis Presley’s obscure “Black Star.”

Originally pitched as the theme for *The Last Panthers*, the song quickly outgrew its brief, embodying Bowie’s deliberate farewell to his audience with chilling poignancy.

The Johan Renck-directed video, blending surreal and grotesque imagery with cosmic allegory, intensifies the song’s otherworldly aura, creating a sensory overload that feels part Kubrick, part Lynch.

Peaking modestly on traditional charts, its impact resonates far beyond its rankings; “Blackstar” doesn’t court popularity, it looms as Bowie’s audacious embrace of the unknown.

Unfolding like an abstract painting stretched through sound, the track transcends genre limitations, asserting itself as art rock’s haunting eulogy to one of its most iconic figures.

Featured on the 2016 album “Blackstar“.

Lyrics >> More by the same : Official Site

12 . London Grammar – Nightcall

London Grammar’s “Nightcall” is less a cover and more a full-scale reimagining of Kavinsky’s original track, dialing down the neon-lit bravado of *Drive’s* synthwave anthem into something mournful and hypnotic.

This 2013 rendition, nestled within their debut album *If You Wait,* swaps the mechanical pulse of the original for a sparse, ambient arrangement, framing Hannah Reid’s haunting vocals as the focal point.

It’s the kind of soundscape that feels like it belongs in an empty warehouse at midnight, where every note carries a heavy-lidded melancholy on its back.

Yet for all its moodiness, there’s a crispness to the production—every pluck, hum, and echo feels meticulously calculated, almost to the point of sterility.

Where Kavinsky’s version swaggered with 1980s-inspired drama, London Grammar trades swagger for introspection, a choice that undeniably plays to their strengths but might leave some yearning for a bit more grit.

The accompanying music video doesn’t shy away from this nocturnal aesthetic, casting the band against shadowy, surreal backdrops that resonate with the song’s otherworldly undertones.

Undoubtedly, “Nightcall” fits snugly into the album’s overarching tone, contributing to the commercial success and critical acclaim of *If You Wait.*

The band’s ability to reinterpret such an iconic track with such restraint is admirable, but whether it heightens or flattens the emotional punch of the original likely depends on the listener’s tolerance for reverb-laden elegance.

Featured on the 2013 album “If You Wait”.

Lyrics >> More by the same : Official Site