‘We Are Live’ N°141 – 2010s Music Videos

1 . Everything Everything – Kemosabe

“Kemosabe” by Everything Everything stands as a restless concoction of art rock, indie pop, and contemporary R&B, stitched together with a flair for syncopated rhythms and sudden tonal shifts.

Released as the second single from their sophomore album *Arc* in early 2013, it bridges their idiosyncratic style with a thematic dive into fractious relationships, isolation, and absurdity—bound up with a camp nod to *The Lone Ranger*’s iconic catchphrase.

Jonathan Higgs’ elastic falsetto, leaping boldly from B♭3 to C#5, adds a layer of urgency, his voice oscillating between pleading fragility and near-manic eruption.

The production, led by David Kosten and the band themselves, shuttles between polished R&B smoothness and spiky art-rock edges, sidestepping predictable tropes, if not outright eschewing conventional pop logic altogether.

Its nomination for the 2014 Ivor Novello Awards and subsequent win at the Music Producers Guild Awards suggest its appeal cuts across listeners attuned to intricate craftsmanship.

The accompanying music video, directed by Higgs, brims with squirmy surrealist visuals, jagged editing, and cryptic storytelling, aptly matching the song’s jumpy energy.

Playing live on platforms like BBC’s “Later… with Jools Holland,” the band wielded the track’s unpredictability as a weapon of charm, loaded with teetering layers that feel on the verge of spiraling gloriously out of control.

If pop music often defaults to systemic dopamine hits, *Kemosabe* instead seems to test the listener’s patience and taste for chaos within control—an exercise less about comfort and more about attention as fragmentation.

Featured on the 2013 album “Arc”.

Lyrics >> More by the same : Official Site

2 . Conor Maynard – Animal (w/ Wiley)

Released in January 2013 and appearing on Conor Maynard’s debut album *Contrast*, “Animal” pairs the pop-leaning vocals of the Brighton-born singer with the sharp grime instincts of Wiley, a collaboration that feels simultaneously calculated and inspired.

The production, overseen by The Invisible Men and Parker Ighile, leans on slick electronic underpinnings matched with pounding militaristic beats, carving out a niche between radio-ready pop and streetwise grit.

Clocking in at just over three and a half minutes, the track flirts with themes of obsession and uncontainable passion, its lyrics treading the line between sultry and pronouncedly blunt.

More intriguing than the song itself might be its broader context—the moment Maynard sought to straddle genres, pulling a grime heavyweight into a studio-crafted pop world.

Wiley’s guest appearance complements the structure but somehow feels like a guest overstaying his welcome, even as his verses lend weight to the otherwise feather-light main hook.

The song charted respectably, peaking at number six on the UK Singles Chart, though its staying power feels less certain, more a flicker of Maynard’s early days than a blueprint for longevity.

The music video, uploaded two months before the single’s release, showcases a glossy aesthetic—bright lights, flashy effects, and a distinct lack of subtlety.

For all its mechanical polish and commercial ambition, “Animal” feels like a crossroads, one that later diverted Maynard into the broader influencer culture while Wiley remained rooted in a harder-edged scene.

Featured on the 2013 album “Contrast”.

Lyrics >> More by the same : Facebook

3 . OneRepublic – All The Right Moves

“All the Right Moves” arrives on the scene with a sense of ambition wrapped in a pop-rock package, courtesy of OneRepublic’s 2009 album, *Waking Up*.

The track, penned by Ryan Tedder and his bandmates, treads the familiar terrain of striving and cutthroat competition, but dresses it in an upbeat polish that’s more likely to keep your foot tapping than furrow your brow in contemplation.

There’s a certain theatricality baked into its DNA, not least in the Wayne Isham-directed music video, which stages the band amid Edwardian-esque masquerade ball visuals.

For all its dramatic flair, the song’s production leans a little too clean at times, sanding off any edges that might have lent it more bite or depth.

Still, chart success speaks volumes, and “All the Right Moves” didn’t fall short there, cracking the top 20 in the U.S. while climbing higher elsewhere like Ireland and New Zealand—territories with a proven soft spot for melodic drama.

Live renditions of the track, though, tread a more vulnerable line, with Tedder himself admitting the live version didn’t quite match the studio energy—a rare moment of candor that feels refreshingly human in a song so polished it gleams.

True to its title, the song does make many of the “right” moves: catchy chorus, infectious groove, a radio-friendly runtime that hits its marks with almost surgical precision.

Yet, its calculated nature can sometimes feel like a double-edged sword, leaving you yearning for a few more rough edges or lyrical surprises.

It’s one of those tracks that seems destined to linger in the middle of a playlist—pleasant enough to keep on, but not impactful enough to hit repeat.

Ultimately, what stands out most isn’t the track’s originality but its sheer competence, a hallmark of OneRepublic’s brand of polished, mainstream-ready pop rock.

Featured on the 2009 album “Waking Up”.

Lyrics >> More by the same : Official Site

4 . Amy Winehouse – Our Day Will Come

Amy Winehouse’s “Our Day Will Come” revives a 1963 classic by Ruby & The Romantics, trading doo-wop nostalgia for a reggae-tinged groove.

Recorded in 2002, its release nearly a decade later on the posthumous “Lioness: Hidden Treasures” adds a bittersweet layer to the track’s optimism and talk of love’s enduring promise.

Winehouse navigates the song’s youthful sentiments with her signature vocal richness, lending maturity to lyrics that might otherwise read as saccharine.

The production by Salaam Remi balances retro warmth with subtle modern tweaks, avoiding overproduction and letting Winehouse’s artistry take center stage.

While the track didn’t prioritize chart dominance, its inclusion underscores her ability to float effortlessly between genres and eras, merging the personal with the timeless.

The accompanying video, a scrapbook of archival moments, feels more like a celebration than an epitaph, reminding us of a talent that reshaped the pop landscape.

Featured on the 2011 album “Lioness: Hidden Treasures”.

Lyrics >> More by the same : Official Site

5 . Bon Jovi – Because We Can

“Because We Can” by Bon Jovi strides boldly into the realm of arena pop-rock, blending polished production with a lyrical nod to resilience and unity.

The track launched as the lead single from their twelfth studio album, “What About Now,” hitting US radio on January 7, 2013, before arriving on iTunes the next day.

The song positions itself within Bon Jovi’s wheelhouse of crowd-pleasing anthems but opts for a more radio-friendly sheen, eschewing the raw intensity of their earlier hits.

Written by Jon Bon Jovi, Richie Sambora, Billy Falcon, and producer John Shanks, it’s soaked in lofty choruses and heartfelt delivery, though it doesn’t quite reach the anthemic heights of their best work.

The accompanying music video, directed by Fisher Stevens, leans into narrative ambition with multiple versions, a creative decision that feels both intriguing and slightly overproduced.

Critical reception wavered between appreciation for its vigor and criticism for playing it safe, underscoring its place as a calculated crowd-pleaser rather than a groundbreaking effort.

The single enjoyed commercial success, landing on Top 40 charts worldwide and claiming the top spot on Billboard’s Adult Contemporary chart, though its impact feels ephemeral compared to Bon Jovi’s earlier classics.

Its inclusion in the highest-grossing “Because We Can: The Tour” of 2013 ensured the song reached millions, even as its thematic aspirations outpaced its sonic boldness.

There’s no denying its glossy appeal, but within Bon Jovi’s discography, it feels like more of a polished product than a passionate triumph.

Featured on the 2013 album “What About Now”.

Lyrics >> More by the same : Official Site

6 . Train – Drops Of Jupiter [Tell Me]

Released in early 2001, Train’s “Drops of Jupiter (Tell Me)” straddles that peculiar intersection of pop-rock earnestness and orchestral grandiosity.

Written by lead singer Pat Monahan, the track teases at cosmic imagery and soul-searching emotions, allegedly sparked by a dream he had about his late mother.

The opening line, “Now that she’s back in the atmosphere,” seems to float through a haze of violins and piano, anchored by Monahan’s raspy vocals that walk the fine line between heartfelt and slightly overwrought.

Produced by Brendan O’Brien, the song’s lush arrangement is marked by Paul Buckmaster’s sweeping string contributions, transforming what could have been an ordinary rock ballad into something more cinematic.

Its success was undeniable; the track stormed the charts, landing at #5 on the Billboard Hot 100 and clinging to airwaves for over a year, a feat that speaks more to its broad appeal than to any lyrical subtlety.

The music video, eschewing narrative gimmicks, settles on the band performing against backdrops suggestive of galaxies—a thematic nod to the song’s celestial metaphors.

Winning two Grammy Awards, including Best Rock Song, “Drops of Jupiter” finds its strength not in complexity but in its wide accessibility, offering just enough poetic ambiguity to feel meaningful without actually saying much.

Does the song push any boundaries? Hardly.

But what it lacks in audacity, it makes up for in sheer earnestness, resonating with listeners who enjoy their heartbreak dressed up with violins and a touch of philosophical musing.

Featured on the 2001 album “Drops of Jupiter”.

Lyrics >> More by the same : Official Site

7 . Kaiser Chiefs – I Predict A Riot

“I Predict a Riot” by Kaiser Chiefs brings a frenetic energy that contrasts sharply with its biting satire of nightlife chaos in Leeds.

Released on November 1, 2004, and reissued in 2005 as a double A-side with “Sink That Ship,” its ascent from No. 22 to No. 9 on the UK Singles Chart is a testament to its resonance with audiences hooked on its power pop indie rock blend.

Stephen Street’s production captures a manic urgency, pairing perfectly with Ricky Wilson’s yelps and the jangling guitars that barrel forward like a runaway pub brawl.

The lyrics, inspired in part by drummer Nick Hodgson’s offhand remark at a grimy club, serve as a tongue-in-cheek but painfully vivid chronicle of small-town excess and unrest, delivered with a flair that’s both self-aware and ironic.

The accompanying music video doubles down on the comedic chaos, navigating a neon-lit blur of drunken scuffles and absurd misadventures.

The song’s staying power extends beyond its 2× Platinum certification and UK sales surpassing 1.2 million; it has found a home in the popular memory, cropped up at cultural moments like Liz Truss’s dramatic 2022 farewell, and even dropped into soundtracks as diverse as “Pro Evolution Soccer 5.”

Critics might scoff at its straightforwardness, yet dissecting its garage-tinged simplicity reveals a sharp precision: every chord seems designed to grab you by the lapels and thrust you into the thick of the fray.

Even now, its audacious tone feels oddly prophetic—predicting more than a riot, but a reckless abandon that resonates far beyond any particular night out or political footnote.

Featured on the 2005 album “Employment”.

Lyrics >> More by the same : Official Site

8 . The Clutha Appeal – Won’t Forget

Tragedy doesn’t often lend itself to easy melodies, but “The Clutha Appeal – Won’t Forget” takes a brave stab at memorializing the devastating Clutha Bar disaster of 2013 in Glasgow.

Clocking in at a respectful 3 minutes and 25 seconds, the song avoids the overwrought tropes you might expect in a charity single, instead opting for what feels like a stripped-down folk or traditional arrangement.

The tone leans towards somber reverence, undoubtedly appropriate given the song’s dedication to the survivors and victims of the helicopter crash that claimed ten lives.

There’s no grandiose production here—the lack of a named producer or flashy label probably works in its favor, keeping the focus squarely on the message rather than any surrounding fanfare.

A music video on YouTube serves as a visual companion, providing context and imagery that bring the story closer to home.

For all its earnestness, the song does tread on familiar territory; charitable odes like this often struggle to balance artistic depth with their moral purpose.

Still, what sets this one apart is its humility—there’s no overreaching bid for mass appeal, just a quiet nod to a community still healing.

While it won’t be climbing any charts or etched into the annals of timeless music, it finds meaning in what it seeks to represent: remembrance, collective grief, and maybe, just a bit of hope.

More by the same : YouTube

9 . Robbie Williams – Go Gentle

Who knew a swing-drenched serenade could feel this personal? Robbie Williams’ “Go Gentle” positions itself as a tender ode to his daughter, Teddy, while cloaked in the theatrics of a brassy, piano-backed swing arrangement.

Released in November 2013 as the lead single from *Swings Both Ways*, the track’s charm lies in its carefully balanced sentimentality and polished production, courtesy of Guy Chambers.

The lyrics read like heartfelt advice wrapped in timeless melody, with lines like “When you need me, I’ll be there for you” resonating universally without tipping into saccharine territory.

“Go Gentle” didn’t exactly set charts ablaze, peaking at #10 in the UK and modestly elsewhere, yet its emotional thread struck a chord.

The accompanying music video, directed by Marc Klasfeld, adds a whimsical twist: Williams cosplaying a naval captain, steering through a cheerful Los Angeles parade, toeing the line between kitsch and heartfelt metaphor.

Amid the spectacle, there’s genuine warmth anchoring the narrative—proof that beneath the polished swing facade lies a sincere heart.

Critics like Digital Spy’s Lewis Corner applauded its tender tone, yet it’s hard not to question whether this was a product tailored more for chart positioning than pure artistry.

Nonetheless, it’s a track well-suited to his stage antics, as evidenced by his polished performance on *The X Factor* and subsequent live renditions across Europe.

Is it a career-defining moment? Hardly.

But nestled within the large pop catalog of a showman like Williams, “Go Gentle” doubles as both a love letter to fatherhood and a wink to the swing genre’s nostalgic allure.

Featured on the 2013 album “Swings Both Ways“.

Lyrics >> More by the same : Official Site

10 . Noel Gallagher’s High Flying Birds – Ballad Of The Mighty I

“Ballad of the Mighty I” steps out with flair, setting up a unique tension between Noel Gallagher’s signature rock style and an unexpected disco sheen. The track emerges from the album “Chasing Yesterday,” and it feels as though Gallagher is trying to rewrite the playbook without abandoning his roots entirely.

Johnny Marr’s guitar work steals the spotlight, layering textured riffs that add a shimmering, almost hypnotic quality to the song. Gallagher himself admitted Marr’s contribution elevated the entire track, which says a lot given Gallagher’s penchant for self-assuredness. The musical collaboration nods to a larger dialogue between two towering figures of British rock, weaving past influences into something distinctly of its time.

The accompanying music video, directed by Gareth Jennings, is a curious blend of urban wandering and shadowy intrigue. Noel struts through city streets, guitar in hand, encountering characters who feel more cryptic than charismatic, while a mysterious figure looms just out of reach. It mirrors the track’s oscillation between introspection and collective celebration, though visually, it’s more puzzling than profound.

The song’s production carries a polished, almost cinematic feel, a slight departure from the raw urgency fans might expect. Critics seemed to enjoy its deviation from the norm, praising the lush instrumentation and deeper dive into melodic experimentation, though some argue it leans a bit too hard into its disco-rock influences. The track’s initial chart performance—peaking at a modest 54 in the UK—might suggest it resonated more with niche audiences than the mainstream, but its enduring appeal lies in its ambition rather than mass consumption.

Performed live during Gallagher’s extensive 2015–2016 tour, the track added an interesting layer to his setlist. It stood apart, not blending seamlessly with the rockier offerings but carving out its own space. The ambitious blend of styles shows Gallagher pushing his creative envelope, even if it occasionally flirts with indulgence. Its presence on YouTube continues to grow, with millions of views underscoring its afterlife as a unique gem in Gallagher’s catalog.

Featured on the 2015 album “Chasing Yesterday”.

Lyrics >> More by the same : Official Site

11 . Biffy Clyro – Black Chandelier

“Black Chandelier” by Biffy Clyro is a brooding piece carved from the raw emotional core of the band’s sixth studio album, *Opposites*, released in 2013.

The song balances melancholy and aggression, with Simon Neil’s forlorn vocals weaving through crashing guitars and sulking basslines, as if lamenting a personal apocalypse beneath a looming “black chandelier.”

Thematically, it’s a dissection of a deteriorating relationship, with lyrics painting metaphors of decay and abandonment, which Simon Neil himself called an “anti-love song” influenced by marriage struggles.

The accompanying music video, a surreal blend of melting wax and youthful rituals, reinforces the song’s themes of loss and emotional complexity without wallowing in cliché.

Despite its dark overtones, the track is arrestingly melodic, offering a hook-laden chorus that feels both cathartic and damning, a hallmark of the Scottish band’s take on alternative rock.

Though the album itself hit #1 on the UK charts, “Black Chandelier” stopped short at #14, yet remains a standout for its introspection paired with orchestral bombast.

Biffy Clyro’s ability to turn dysfunction into something both cinematic and anthemic proves their knack for emotionally charged grandeur without veering into melodrama.

Featured on the 2013 album “Opposites”.

Lyrics >> More by the same : Official Site

12 . Bring Me The Horizon – Shadow Moses

In “Shadow Moses,” Bring Me The Horizon delivers an icy blast of metalcore energy wrapped in existential weight, striking a visceral balance between aggression and melody.

Released in 2013 as the lead single from *Sempiternal*, the track captures the band teetering on the edge of reinvention, introducing electronic textures courtesy of keyboardist Jordan Fish without discarding their heavy roots.

The title tips its hat to *Metal Gear Solid*, though the lyrics paint a picture of inner turmoil rather than covert ops, with the recurring refrain “This is Sempiternal, will we ever see the end?” anchoring the theme of cyclical struggle.

Production-wise, Terry Date’s touch ensures every layer, from Oli Sykes’ tortured vocals to the thunderous breakdowns, hits with precision.

The accompanying video, with its eerie mirrored visuals and frosty German landscapes, mirrors the track’s desolation while maintaining an otherworldly allure.

Critics embraced the song’s polished chaos, with its chart climb reflecting its punch, landing second on the UK Rock & Metal chart—a testament to its anthemic pull.

By the time it became a staple at the Reading and Leeds festivals, “Shadow Moses” cemented its place as both a fan favorite and a marker of the band’s evolution.

Featured on the 2013 album “Sempiternal”.

Lyrics >> More by the same : Official Site