‘We Are Live’ N°15 – Vintage 2000s Music Videos

1 . The Kills – The Good Ones

“The Good Ones,” released on February 7, 2005, offers a snapshot of The Kills at their most jagged and lean, carving an identity through stark minimalism and post-punk grit.

Anchored within their sophomore album “No Wow,” this track distills the duo’s chemistry into a raw, taut framework. Alison “VV” Mosshart’s weary snarl crashes against Jamie “Hotel” Hince’s staccato guitar lines, creating a tension that feels both electrifying and claustrophobic. It’s a sound pared down to its barest essentials, trading embellishments for a serrated edge.

While “No Wow” only reached number 56 on the UK Albums Chart and peaked at number 18 on Billboard’s Heatseekers Albums chart, “The Good Ones” managed a peak of number 23 on the UK Singles Chart—a career high for a band more accustomed to cultish reverence than mainstream nods. If anything, its success might owe as much to its revenge-of-the-outsiders aesthetic as its sonic appeal. The Rojo-directed video sharpens this ethos further, a stark visual partner to the duo’s stripped-down approach.

In live performances, whether on “Later… with Jools Holland” or “Friday Night with Jonathan Ross,” the song takes on an urgency that feels more combustible than its studio incarnation, yet the sparseness persists. There’s no hiding behind sonic trickery here—what you see is what you hear, for better or worse.

What’s clear across “The Good Ones” is the interplay of Mosshart’s punk lineage from Discount and Hince’s angular guitar work honed in Scarfo and Blyth Power. But there’s an austerity to this track that risks veering into monotony on repeat listens, toeing the line between hypnotic and flat.

As part of The Kills’ catalog, “The Good Ones” isn’t weighed down by overambition but doesn’t aim much higher either. It simmers with a controlled burn, though it doesn’t explode.

Featured on the 2005 album “No Wow”.

Lyrics >> More by the same : Official Site

2 . The Coral – Put The Sun Back

“Put The Sun Back,” a 2008 single by The Coral, occupies a curious space within the band’s catalog—neither bold enough to dominate charts nor esoteric enough to intrigue niche collectors.

Lifted from their *Singles Collection*, released the same year, the track serves as a competent reminder of the band’s knack for blending psychedelic rock with indie pop sensibilities, though it peaks far below the energy of earlier hits like “Dreaming of You.”

With its peak position at number 64 on the UK Singles Chart, the song appears to have treaded water commercially, a faint echo in the band’s otherwise impactful run of singles.

Lyrically, “Put The Sun Back” parallels the wistful tones of the group’s *Roots & Echoes* era, while musically, it channels an understated elegance rather than aiming for immediacy.

The absence of notable collaborations or accolades leaves the track adrift in a sea of stronger material, nudging it toward the “for completists only” corner of the compilation.

The Coral themselves, hailing from the Wirral Peninsula and formed in 1996, had weathered internal changes by this point, including guitarist Bill Ryder-Jones’ intermittent departures, which perhaps added to the band’s nomadic creative momentum.

Despite the low stakes of this release, The Coral’s ability to weave eclectic influences—from folk to psychedelic rock—remains evident, even if “Put The Sun Back” feels like a flicker rather than a flame on their discography.

Featured on the 2007 album “Roots & Echoes”.

Lyrics >> More by the same : Official Site

3 . Nada Surf – Hi-Speed Soul

On “Hi-Speed Soul,” Nada Surf distills their alt-rock ethos into just over four minutes of vibrant instrumentation and compelling dynamics.

Released in 2003 as part of their album “Let Go,” this track eschews commercial triumph but finds its home firmly in the hearts of fans. Its foundation lies in a seamless interplay between Matthew Caws’ crisp, melodic vocals, Daniel Lorca’s driving bass, and the rhythmic insistence of Ira Elliot’s drums.

Texturally, it balances brightness with propulsion, offering sharp, fast-paced guitar work tethered to the band’s signature harmonized vocal arrangements. The bridge is a standout moment, where the combination of ethereal lyrics and intricately layered percussion creates a temporary rupture in the frenetic flow, punctuated by Lorca’s bass riff cutting through the haze like a sonic exclamation mark.

The band’s ability to shift tempos and textures within a single track serves as both a calling card and a strength. These transitions are executed with precision, especially evident in live performances where “Hi-Speed Soul” becomes a showcase of Nada Surf’s agility as musicians.

Despite lacking notable chart placements or awards, the song is emblematic of the understated consistency that defines the band’s approach. It exemplifies a kind of accessibility that doesn’t pander, inviting rather than demanding engagement with its straightforward energy.

“Let Go” is often regarded among Nada Surf’s most accomplished works, and while this track doesn’t scream for attention, its enduring presence in their discography underscores its infectious charm and unpretentious craftsmanship.

Featured on the 2003 album “Let Go”.

Lyrics >> More by the same : Official Site

4 . The Strokes – Reptilia

“Reptilia” by The Strokes, from their 2003 album “Room on Fire,” strikes a balance between raw immediacy and calculated restraint.

Julian Casablancas’ vocal delivery hovers between detached and impassioned, perfectly mirroring the song’s thematic nod to the “reptilian brain,” that primal driver of base emotions like love and hate.

Gordon Raphael’s production frames the arrangement with an intentional meticulousness; the guitars of Nick Valensi and Albert Hammond Jr. churn and lock in with clockwork precision, creating a tightly wound energy that feels both mechanical and organic.

The rhythm section, with Nikolai Fraiture on bass and Fabrizio Moretti on drums, is unerringly steady, though the straight-ahead groove doesn’t necessarily aim to surprise.

Peak chart placements like number 19 on the US Modern Rock Tracks and number 17 on the UK Singles Chart showcase the song’s accessible allure, but repeated listens reveal a sharpness that elevates it beyond mere radio rock fodder.

The music video, directed by Jake Scott, abandons Roman Coppola’s usual flair for meticulous spectacle, instead zooming in on the physical—the band’s hands, faces, and instruments—underscoring the intimate yet relentless construction of the song itself.

The delayed B-side, “Modern Girls & Old Fashion Men,” featuring Regina Spektor, offers contrast but comes marred by an odd contentious crediting dispute, an insight into Casablancas’ sometimes quixotic perfectionism.

“Reptilia,” platinum-certified by the BPI, found its second life in video games like “Guitar Hero III” and “Rock Band,” a culturally apt resting place for its tightly coiled energy and straightforward rock ethos.

Despite the accolades, including a 2011 nod from NME on its “150 Best Tracks of the Past 15 Years” list, the song doesn’t reinvent the wheel, but it does roll with a purposeful swagger befitting its place in the garage rock revival of the early 2000s.

Featured on the 2003 album “Room on Fire“.

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

5 . The Datsuns – Harmonic Generator

“Harmonic Generator” stands as a combustive moment on The Datsuns’ self-titled 2002 debut album, recorded at Toe Rag Studios under the collaborative production of Liam Watson, Nick Abbot, Sonic Newth, and the band themselves.

With Rudolf “Dolf” de Borst’s gritty vocals driving the narrative, flanked by the vigorous dual guitars of Christian Livingstone and Phil Somervell, the track captures both the enthusiasm and rawness of early 2000s garage rock, echoing the fervor of post-millennium hard rock revival acts. Matt Osment’s percussion locks the chaos together, though perhaps with less nuance than needed to push beyond a straightforward onslaught of rhythm.

Peaking at number 33 on the UK Singles Chart, the song—much like its creators—embraces a brash, unpolished ethos that thrived in the sweaty venues they dominated. This success coincided with a fortuitous rise for The Datsuns, spotlighted on John Peel’s BBC Radio 1 program and splashed across the cover of *NME*, where they were lauded less for reinvention and more for invigorating a familiar template. Yet, while their acclaim as ‘Best Live Band’ at the *NME* Awards or their tours alongside The White Stripes and Ozzy Osbourne certainly validated their presence, the studio translation feels slightly constricted compared to their volcanic live reputation.

Part of a debut that achieved number one in New Zealand and a respectable number 17 on the UK Albums Chart, “Harmonic Generator” stands out less for lyrical sophistication or tonal exploration and more as an exercise in immediacy. If the Datsuns adopted velocity and volume as their metrics for engagement, this track is a textbook example of their approach—audacious, frenzied, yet hemmed in by its tight borders.

Featured on the 2002 album “The Datsuns”.

Lyrics >> More by the same : Official Site

6 . Stereophonics – Moviestar

Released on 9 February 2004, “Moviestar” is a snapshot of a band in transition, both stylistically and structurally. As the fourth and final single from Stereophonics’ *You Gotta Go There to Come Back*, it carries the weight of marking the post-Stuart Cable era, following the departure of the band’s original drummer. This shift, however, doesn’t mar the song’s self-assured swagger, even if its terrain feels slightly more polished than their earlier, grittier works.

Kelly Jones pens a narrative here that feels cinematic and observational, much like the band’s broader discography, which often taps into a blend of bluesy grit and punk-inflected urgency. The song’s ascent to number five on the UK Singles Chart and placements in Ireland and the Netherlands reflect its broad appeal, though one could argue the track’s mastered release prioritizes polish over raw spontaneity—a common critique for tracks that start as demos of fan-driven enthusiasm. Its initial availability via mobile download in 2003 offers a curious commentary on the early-2000s experimentation with digital distribution within the music industry.

The various formats, featuring live versions of tracks like “Local Boy in the Photograph” and “The Bartender and the Thief,” attempt to frame “Moviestar” within a context of the band’s earlier dynamism. Yet, the live material functions as a double-edged sword, simultaneously reminding listeners of their untamed roots while underscoring shifts in their sonic palette. The inclusion of behind-the-scenes footage, though intriguing as a concept, treads the usual territory of bonus content filler rather than offering deeper insight into craft or intention.

The song reflects Stereophonics’ ability to survive lineup changes and evolving tastes, but “Moviestar” feels less defined by groundbreaking invention and more by a particular moment caught between ambition and self-awareness. It acknowledges its lineage without necessarily transcending it. When compared to the band’s heavier hitters like “The Bartender and the Thief” or their chart-topping anthem “Dakota,” this single circles around familiar themes rather than charting new territories. Above all, though, it firmly plants itself as a bridge—connecting past iterations of the band with their ongoing evolution.

Featured on the 2003 album “You Gotta Go There to Come Back”.

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

7 . U2 – All Because Of You

“All Because of You,” slotted as the sixth track on U2’s 2004 album “How to Dismantle an Atomic Bomb,” feels like an earnest tribute that doesn’t quite find its footing.

Composed by the band and produced by Steve Lillywhite, the song echoes anthemic rock staples but struggles to differentiate itself from U2’s more polished offerings.

Bono’s vocal delivery is impassioned, yet the lyrics lean toward generic musings on gratitude, missing the sharp poetic edge he’s capable of.

The band embraces a raw energy that Bono himself has linked to The Who, but the result lacks the innovation and controlled chaos that defined the influence it’s trying to honor.

On the charts, “All Because of You” saw respectable but unspectacular performance, debuting at number 27 on the *Billboard* Modern Rock Tracks and peaking at number six—a climb that underscores its appeal without signaling a standout moment in the band’s career.

Likewise, its number-four debut on the UK Singles Chart felt fleeting, as it slipped out of the Top 40 within two weeks.

Live, the song fares better, often serving as a joyful if predictable addition to their setlists during the Vertigo Tour, where it opened the second encore, and later on the 2018 Experience + Innocence Tour.

Bono’s tambourine-playing during performances adds a playful touch, though it doesn’t elevate the song to the impact of other live staples like “Where the Streets Have No Name.”

The music video, filmed atop a flatbed truck in New York City, attempts a guerrilla-style spontaneity reminiscent of U2’s “Rattle and Hum” days, but it feels like a staged imitation of authenticity.

In the end, “All Because of You” showcases U2’s technical competence without delivering the emotional or creative heights expected from a band celebrated for albums like “The Joshua Tree” and “Achtung Baby.”

Featured on the 2004 album “How to Dismantle an Atomic Bomb“.

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

8 . The Duke Spirit – Lion Rip

“Lion Rip,” a 2005 single from The Duke Spirit, lands like a growl from the depths of an English garage, bristling with energy yet refusing to pander to slick, radio-ready formulas.

Released through Loog Records on February 7, 2005, it charts at 25 on the UK Singles Chart—noticeably respectable for a band still consolidating its identity in the post-Britpop wilderness.

Liela Moss’s vocals teeter between calculated ferocity and hypnotic detachment, channeling a raw spirit more evocative of warehouse gigs than polished studio perfection.

The interplay between Luke Ford and Toby Butler’s guitars carves out jagged sonic terrain, while Rich Fownes on bass and Olly Betts on drums keep the pulse tight, albeit never flashy. It’s not designed to dazzle; it’s meant to simmer and snarl.

Though untied to any studio album as a title track, “Lion Rip” emerges during a period marked by the band’s relentless touring and soundtrack contributions, including their later 2011 track “Creature” for the “Batman: Arkham City” soundtrack.

Moss’s penchant for collaboration—appearing with Unkle on “Mayday” in 2007 and dabbling in Brakes’ rendition of “Jackson” in 2005—hints at her broader creative versatility, but here she’s commanding lead without dilution.

The Duke Spirit’s discography spans five studio albums, including “Cuts Across the Land,” yet “Lion Rip” serves as a standalone snapshot of their early ambitions: a band driven more by textured moodiness than dramatic hooks.

If anything, its greatest strength might also be its Achilles’ heel—an intentional avoidance of refinement that risks coming across as self-limiting for a wider audience. But then again, taming a lion was never the point.

Featured on the 2005 album “Cuts Across the Land”.

Lyrics >> More by the same : Official Site

9 . Biffy Clyro – 57

“57” from Biffy Clyro’s 2002 debut album, “Blackened Sky,” is a well-calibrated snapshot of early 2000s alternative rock, albeit one with evident fissures.

Produced by Chris Sheldon and recorded at The Practice Pad in Glasgow, the track wears its rawness not as an indulgence but as a badge of earnestness. Simon Neil’s guitar and vocals slice through the mix with a jagged resolve, while James and Ben Johnston’s bass, drums, and backing vocals supply a rhythm section that veers between controlled tension and outright combustion. Yet, for all its sonic heft, the song doesn’t entirely escape the traps of its post-grunge lineage.

Lyrically and structurally, “57” flirts with ambition, shifting from its standard 4/4 time signature to an outro in 6/4, suggesting a band unafraid to tweak formulaic conventions. The song’s live iterations, often played at faster tempos, inject a crackling energy, though one wonders if this adrenaline rush occasionally obscures the underlying intricacies of their arrangements. Notably, an earlier version of the track appeared on their debut EP, “thekidswhopoptodaywillrocktomorrow,” showcasing a looser, less refined set of vocals and guitars—an intriguing but uneven precursor.

As the third single, “57” peaked at a modest number 61 on the UK Singles Chart, lingering there for two weeks, a performance that underscores its role as a stepping stone rather than a breakout. B-sides like “Hope For An Angel (Radio 1 Session)” and the enigmatically titled “Time As An Imploding Unit/Waiting For Green” supplement the single with quirkiness, though their placement feels more functional than revelatory.

In context, “57” is essential for understanding Biffy Clyro’s trajectory. It reflects the Scottish trio’s nascent identity—rooted in alternative rock while hinting at the genre-blending ambition that would later define their catalog. Its imperfections, while notable, add to the unpolished charm of a debut effort looking both inward and forward at once. Whether it fully clicks may depend on your patience for homage-tinged experimentation that occasionally colors within the lines. B

Featured on the 2002 album “Blackened Sky”.

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

10 . Hal – What A Lovely Dance

“What a Lovely Dance” by Hal is a breezy slice of mid-2000s indie pop that shimmers with a kind of understated elegance, despite its unassuming title.

Hailing from Ireland, Hal—anchored by siblings Dave and Paul Allen, alongside Paul Hogan and Stephen O’Brien—crafted this track as part of their self-titled debut, which arrived in 2005 under the Rough Trade banner. Yet, while not the titular centerpiece of the album, “What a Lovely Dance” asserts itself with its soft-spoken charm, reaching No. 19 on the Irish charts and a respectable No. 36 in the UK. Not bad for a band barely into their second year together.

The song is light-footed, effortless in its melody, suggesting a band enchanted by the art of restraint. Dave Allen’s vocals are breezy but never entirely weightless, finding their center in O’Brien’s warm keyboard accents and Hogan’s delicate drumming. It is music that nods, winks, and shuffles without ever insisting on your attention. A kind of musical wallpaper, perhaps—but wallpaper with an enviable sense of taste.

Their climb to mild notoriety was undoubtedly fueled by relentless touring in 2004 and 2005, opening for acts like Doves and Grandaddy. Such touring chops eventually landed them the Irish Post Best Newcomer Award and the European Border Breakers Award—fine accolades for a debut-era band, if ones that are rarely career-shaking.

Though celebrated by tastemakers like Mojo and Uncut, there’s a carefulness here that can feel less like poise and more like playing it safe. “What a Lovely Dance” never quite threatens to implode or surprise, which, for all its winsome charm, might explain its relatively modest chart performance outside Ireland. Borderline pleasant but measured to a fault—the song is a polite wave rather than a reckless leap.

Featured on the 2005 album “Hal”.

Lyrics >> More by the same : Facebook

11 . The Motorettes – Super Heartbeats

“Super Heartbeats” by The Motorettes is a punchy slice of mid-2000s British rock that hums with the kind of energy one would expect from a band deeply rooted in the UK indie scene.

Released in 2005 on the album of the same name, this track wastes no time establishing itself as a product of its era, riding high on upbeat melodies and an exuberant vitality that seems bottled straight from the adrenaline of live performances.

The Motorettes, while not extensively documented in terms of high-profile shows or chart dominance, carve out a distinct sound here—a blend of sweet hooks and taut rhythms that nod to their ability to hold their own on the indie circuit.

“Super Heartbeats” makes its case less through groundbreaking innovation and more through sheer momentum, barreling forward with a youthful earnestness that can feel both refreshing and slightly one-dimensional at times.

The absence of details like iconic producers or studio lore only heightens its raw focus on the essentials: energy, effort, and execution.

This song feels like it was built for sweaty vinyl-stacked record shops and the tightly packed UK venues the band presumably frequented, though its relative obscurity outside that bubble speaks to its perhaps limited reach.

Still, there’s something unpretentious in its charm, a rhythmic pulse that aligns well with the band’s affinity for capturing the fleeting allure of a sound tied to its time. It’s a moment as much as it is a track.

Featured on the 2006 album “The Motorettes”.

Lyrics >> More by the same : Wikipedia

12 . Paloalto – Fade Out/In

“Fade Out/In,” released in 2002 by the Los Angeles rock band Paloalto under the guidance of producer Rick Rubin, straddles the bittersweet intersection of introspection and atmospheric grandeur.

Drawing influence from Pink Floyd and shoegazer stalwarts like Swervedriver and My Bloody Valentine, the song threads a melancholic yet polished fabric. James Grundler’s vocals balance earnest vulnerability with a controlled theatricality, evoking a sense of yearning without tipping into melodrama. For a band named after a preschool rather than the city, Paloalto leans decidedly toward big, mature themes instead of youthful whimsy. The instrumentation, soaked in reverb and slow-burning crescendos, mirrors the aesthetic ambitions of its contemporaries while borrowing cues from ’90s alternative rock stylings.

Despite being part of the movie *Daredevil*’s soundtrack, the track didn’t make it to the final film lineup—a misstep, perhaps, given its cinematic scope. The broader discography of Paloalto, as seen in their debut *Paloalto* (2000) and their sophomore *Heroes and Villains* (2003), suggests a band willing to experiment within the confines of radio-ready rock. This particular track, however, plays it safe—a layered production but lacking the visceral punch of their other works like “Breathe In,” which gained exposure on *The O.C.*

The guitar work by Marc Boggio and rhythm section of Tommy Black and Steve Clark echoes familiar alt-rock patterns, but rarely surprises. Despite its limitations, the song succeeds in capturing a fleeting moment of emotional pause—much in the way its title implies. “Fade Out/In” may not fully escape the shadows of its influences, but it leaves a faint impression, like a fading photograph.

Featured on the 2003 album “Heroes and Villains”.

Lyrics >> More by the same : Facebook