‘We Are Live’ N°9 – Vintage 2000s Music Videos
Maroon 5, Biffy Clyro, Alkaline Trio, The Feeling, Audioslave, Little Barrie, Ida Maria, Razorlight, Incubus, Ian Brown, Lostprophets, Bullet For My Valentine
They are the performers of twelve “live” music videos that were ranked in various charts, this week (05/52) BUT … in the Noughties 2000s.
Here, they are reunited in one glorious playlist. Enjoy!
WATCH IN FULL
For TWELVE “Look Ma, No Mike!” – Vintage 2000s Music Videos – week 05/52 – click here
AUDIO ONLY
Tracklist
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![]() 1 . Maroon 5 – Harder To Breathe“Harder to Breathe” cuts straight to the tension brewing in restrictive relationships, both personal and professional. It’s a track born out of frustration, fueled by the band’s label pressuring them to churn out more material, and the result is pure, raw energy. The biting guitar riff underlines the song’s urgency, which Adam Levine’s vocals drive home with precision as he snaps through lines laced with bitterness. Far from polished pop, this is a layered mix of rock aggression and funk-laden hooks, a balance that became a cornerstone of Maroon 5’s identity. Its chart performance speaks to its punch, snagging a respectable #18 on the Billboard Hot 100 and landing in the top 40 internationally, with notable traction in the UK, Ireland, and Australia. Marc Webb’s music video amplifies the song’s kinetic vibe, juxtaposing moody close-ups with frenetic shots of the band playing in shadowy spaces, a choice that mirrors the track’s intense themes. Originally written as an afterthought under label pressure, it ironically propelled the band onto the global stage, laying a defiant foundation for their debut album, “Songs About Jane.” Featured on the 2002 album “Songs About Jane“.
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![]() 2 . Biffy Clyro – Who’s Got A Match?“Who’s Got a Match?” grabs attention with its brevity and unapologetic intensity, clocking in at just 2:23 but packing the punch of a much longer track. Released in the wake of their 2007 album *Puzzle*, this single showcases Biffy Clyro’s penchant for merging raw lyricism with a sound equally jagged and anthemic. The production, helmed by Garth Richardson, pulls no punches—Simon Neil’s vocals hover between vulnerability and urgency, while the band’s signature dynamics push and pull the listener into their swirling alt-rock tempest. Chart-wise, the song took a long climb before peaking at No. 27 in the UK Singles Chart, a testament to its catchy, simmering intensity rather than any immediate fireworks. The accompanying music video’s surreal, fiery visuals could easily be interpreted as a nod to the song’s themes of risk and self-immolation—conceptually striking but not so avant-garde as to alienate its audience. “Who’s Got a Match?” might not have broken boundaries, but it burned brightly enough to hold its own within a strong catalogue, a razor-sharp snapshot of a band edging toward their prime. Featured on the 2007 album “Puzzle “.
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![]() 3 . Alkaline Trio – Private Eye“Private Eye” by Alkaline Trio cuts through with acidic precision, infusing punk-rock angst into a darkly melodic narrative. Emerging as the second single off their 2001 album, *From Here to Infirmary*, the track finds its footing in shadowy introspection and biting refrains. Recorded at Pachyderm Studio in Minnesota, it shows a band grappling with themes of observation and emotional distance, delivered through Matt Skiba’s incisive vocals and guitar work. Dan Andriano’s bass lays a moody foundation while Mike Felumlee’s percussion drives the momentum with a restrained ferocity. The song’s hook feels almost surgical in its simplicity, clinging to your nerves long after the music fades. The accompanying video—a patchwork of live tour footage—offers no frills, just raw energy, with Adam Willard stepping in behind the drum kit post-Felumlee’s split. It’s hard not to feel the tension that laces the seams of the composition, where catchy riffs contrast unflinching lyrics exploring themes of paranoia and detachment. Though modest in its chart success—peaking at #51 on the UK Singles Chart—it finds a longer life in the realm of gaming culture, featured in the 2014 *Watch Dogs* soundtrack. “Private Eye” doesn’t strive for grandeur; it keeps its head low, leaning on sharp, self-aware vulnerability that resonates more with every listen. Featured on the 2001 album “From Here to Infirmary”.
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![]() 4 . The Feeling – I Thought It Was Over“I Thought It Was Over” by The Feeling channels the exuberance of ’80s pop with an unmistakably modern twist. The track, from their sophomore album *Join with Us*, revels in pulsating synths and uplifting melodies, balancing nostalgia with sharp contemporary production. The lyrics wistfully recount a relationship intertwined with the historical backdrop of the Berlin Wall’s fall, framing personal heartbreak against colossal societal change. Clocking in at just under four minutes for the album version, it tightly packs introspection and euphoria, switching seamlessly between reflective verses and an absolutely buoyant chorus. The music video complements its retro-futuristic vibe, placing the band in a collapsing, glitch-soaked building that feels part haunted house, part sci-fi dystopia—handsomely surreal yet unashamedly fun. Released in 2008, the single hit number nine on the UK charts, cementing the band’s knack for crafting addictive hooks while flirting with existential undertones beneath the glossy surface. Featured on the 2008 album “Join with Us”.
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![]() 5 . Audioslave – CochiseAudioslave’s “Cochise” introduces itself with a sonic artillery barrage, tethering the track in explosive hard rock energy that hardly lets up. As the opening statement of their 2002 self-titled debut, the song lands like a declaration of war—heavy, uncompromising, and unapologetically loud—with Tom Morello’s jagged guitar riffs scorching their way across Tim Commerford’s rumbling basslines and Brad Wilk’s pummeling drums. Chris Cornell’s voice stretches between anguish and authority, delivering lyrics that veer into abstract contemplation, leaving just enough space for the listener to project their own struggles onto the cacophony. For all its brash exterior, “Cochise” doubles as a mirror for Cornell’s internal battles, particularly against addiction, making it as much a personal plea as a collective anthem. The title itself nods to an Apache chief, though any metaphorical ties between the historical figure’s resistance and the band’s aggressive sound seem more coincidental than deliberate. The accompanying music video, an audacious spectacle of fireworks and industrial grit filmed near Los Angeles’ Sepulveda Dam, amplifies the track’s raw energy. Directed by Mark Romanek, the visual chaos—which prompted mistaken emergency calls from concerned locals—feels in sync with the unrelenting nature of the music itself. If Audioslave’s formation marked the unlikely collaboration between former Rage Against the Machine members and the voice of Soundgarden, “Cochise” ensured their union would demand attention, not sidelong glances. Featured on the 2002 album “Audioslave”.
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![]() 6 . Little Barrie – Free Salute“Free Salute” by Little Barrie sidesteps the grandiosity of mainstream rock, opting instead for grit and groove over polish. Released in 2005 as part of their debut album “We Are Little Barrie,” the song nods to the band’s garage-blues foundations while weaving in subtle funk undertones. The guitar work, sharp and textured, has invited comparisons to Hendrix, though it veers closer to a stripped-down, streetwise swagger than cosmic showmanship. The vocals carry an understated confidence, complemented by Motown-inspired backing harmonies that add texture without overshadowing the raw edges of the track. Produced in collaboration with Edwyn Collins, the song found a peculiar resonance within niche circles, even catching a nod from Morrissey, though its appeal lies less in name-dropping and more in its unvarnished energy. The rhythm section keeps things tight and propulsive, harking back to the grooves of early ’60s R&B while grounding the song firmly in a contemporary context. It’s less about reinvention and more about excavation—peeling back decades of influences and stitching them together in a lean, focused package. As part of a band that made its name gigging relentlessly through London’s underground haunts, “Free Salute” feels like a snapshot of scrappy determination dressed up in vintage threads. The mix of garage, funk, and blues suggests a self-assured band playing not for approval but for the sheer thrill of performing, bolstered by a rhythm that demands attention without resorting to flashy gimmicks. Featured on the 2005 album “We Are Little Barrie”.
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![]() 7 . Ida Maria – Oh My God“Oh My God” by Ida Maria burns with frantic energy and punk-infused chaos, capturing the volatile frustration of being overwhelmed by life’s stressors. From her debut album *Fortress Round My Heart*, the track channels raw emotion through wailing vocals and unrelenting guitar riffs, delivering a cathartic, heart-on-sleeve anthem bursting with untamed spirit. The song’s in-your-face rebellion has stitched itself into pop culture, appearing in everything from Netflix’s *Big Mouth* to *This American Life*, with its blunt title seemingly tailor-made for cinematic and TV punchlines. Its second act came via a 2009 remix featuring punk icon Iggy Pop, whose gruff backing vocals add an extra layer of anarchic grit. The pairing enhances the song’s gritty, frenzied textures, cementing its position as an enduring indie rock shout-along. Critics at *NME* and *Time* clearly appreciated its volatile charm, each praising its high-octane delivery and jagged immediacy. It’s a messy, loud, and exhilarating slice of indie catharsis that refuses to sit still. Featured on the 2008 album “Fortress Round My Heart”.
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![]() 8 . Razorlight – Stumble And Fall“Stumble and Fall” by Razorlight captures the restless spirit of early-2000s indie rock, brimming with scrappy enthusiasm and raw energy. Anchored by Johnny Borrell’s earnest vocals and the band’s jangling guitar work, the track is unapologetically straightforward, straddling a line between melancholy and defiance. Rather than aiming for polished grandeur, the production by John Cornfield leans into the song’s imperfections, lending it a sense of immediacy that resonates with the impatient swagger of its era. Peaking modestly at number 27 on the UK Singles Chart, the song’s chart presence belies its deeper impact as a scruffy anthem for nights that stretch too long and feelings that cut too deep. The accompanying music video amplifies the gritty urban vibe, serving as a visual counterpart to the track’s frayed-around-the-edges soundscape. While Razorlight would later flirt with polish and wider commercial success, there’s an unvarnished charm here, a snapshot of a band that hadn’t yet stumbled into the traps of overproduction or sanitized ambition. “Stumble and Fall” thrives not on what it perfects but on what it refuses to smooth over—an apt metaphor for its take on bruised persistence and the unavoidable false steps along the way. Featured on the 2004 album “Up All Night”.
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![]() 9 . Incubus – Wish You Were Here“Wish You Were Here” by Incubus captures a moment frozen in time, where serenity and longing intersect in a swirl of ocean waves and diamond-strewn skies. The song, released as the lead single from their 2001 album “Morning View,” showcases a band at the peak of alt-rock relevance, balancing mainstream success with personal introspection. Opening with Brandon Boyd’s confessional lyricism, it transports listeners to idyllic landscapes that shimmer with natural beauty: “The ocean looks like a thousand diamonds strewn across a blue blanket.” The track thrives on its dreamy chord progressions and layers of shimmering guitar textures, courtesy of Mike Einziger, which elevate its wistful mood. Delivered during a reflective period in Boyd’s life, the lyrics evoke both the weight of solitude and a poignant appreciation for the present—an interplay that remains emotionally resonant. The song’s dual music videos mirror this thematic duality, oscillating between surreal and straightforward interpretations, a choice that underscores the track’s introspective nature. Live renditions, such as their 2001 New York performance immortalized in “The Morning View Sessions,” add an edge to its ethereal qualities, translating its polished recording into raw, cathartic energy onstage. Its lasting appeal is evident through its inclusion in compilations like “The Essential Incubus” and its unmissable presence on digital platforms—a staple of late-stage alt-rock nostalgia. Charting at #2 on the US Alternative Songs chart, it’s a restrained but powerful entry in Incubus’s catalog, resonating with anyone seeking to lose—or find—themselves in a fleeting moment of clarity. Featured on the 2001 album “Morning View”.
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![]() 10 . Ian Brown – Time Is My Everything“Time Is My Everything” by Ian Brown teeters between introspection and experimentalism, a hallmark of his post-Stone Roses career. Appearing on the 2004 album “Solarized,” the song reflects his penchant for layered meanings, with the titular phrase forming an acronym that underscores his wordplay-centric approach first seen in “F.E.A.R.” The track merges alternative rock with global musical textures, a direction that defined much of Brown’s solo work. “Time Is My Everything” carries a restrained urgency, with its reflective lyrics set against a backdrop that blends string arrangements and rhythmic grooves, giving it a hypnotic quality. A minimalist yet evocative music video accompanies the song, visually reinforcing its meditative nature. Although it did not dominate the charts or receive critical awards, it succeeded in carving out a space within his live performances, becoming a reliable fixture. The song exists as both a reminder of his lyrical inventiveness and a snapshot of the philosophical lens through which he viewed his artistic journey post-stardom. Featured on the 2004 album “Solarized”.
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![]() 11 . Lostprophets – Last Train Home“Last Train Home” by Lostprophets serves as a snapshot of early 2000s emo-rock ambitions with its anthemic hooks and soaring melodies. Emerging as the second single from their album “Start Something,” it succeeds in blending emotive vulnerability with stadium-sized intensity. Recorded at Barefoot Studios in Los Angeles and guided by Eric Valentine’s polished production, the song occupies that sweet spot between accessibility and angst. The track’s striking presence on the UK Singles Chart, peaking at number 8, marked it as a breakthrough moment for the band, while its dominance on the US Alternative Songs chart reinforced its transatlantic appeal. The accompanying music video captures gritty exuberance, with the band performing on a truck bed amidst sun-drenched scenes of urban camaraderie—skateboarding, vintage Impalas, and all. Not without its ironies, the song later took on an awkward historical context, indirectly serving as an introduction between Geoff Rickly and members who would form No Devotion after public disgrace marred the band’s legacy. At its peak, “Last Train Home” served as a rallying cry for listeners navigating the volatility of their teenage years, fusing catharsis with radio-ready charm. Though its once-commanding presence has waned, the track retains a strange nostalgia for a generation now removed from the melodrama it once thrived upon. Featured on the 2004 album “Start Something”. |
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![]() 12 . Bullet For My Valentine – Scream Aim Fire“Scream Aim Fire” tears through its runtime with ferocity, setting the tone for Bullet for My Valentine’s heavier sophomore album. Its crisp production heightens the razor-sharp riffs and pummeling drums, while straddling a fine line between thrash metal and melodic hooks. The track’s chart success and video game features speak more to its accessibility than its raw aggression. The stormy energy of “Eye of the Storm” matches its title—fast-paced, unrelenting, and unapologetic. Released as part of a promotional campaign, it reflects the album’s intent to grab listeners with thunderous precision, though it doesn’t fully break new ground in the genre. In “Hearts Burst into Fire,” the band leans into a more emotive side without abandoning their guitar-driven intensity. Its acoustic counterpart feels less like an afterthought and more like a deliberate contrast, offering a stripped-down interpretation of its melodic core. “Waking the Demon” kicks things up a notch with venomous riffs and an almost primal energy. It’s a visceral reminder of the band’s shift to thrashier elements while still rooted in their metalcore origins. Its aggressive instrumentation feels like a deliberate showcase of their evolving style. The intensity carries over to “Disappear,” which builds on the thrash influences of the album yet doesn’t quite pull itself out of the shadows of its louder cousins. A competent inclusion, but it lacks a distinct edge to make it truly memorable. “Deliver Us from Evil” continues the aggression but incorporates moments of more melodic interplay. This track reinforces the album’s tonal focus, though it feels more like part of the collective experience than a standout in its own right. With “Take It Out on Me,” the guest appearance by Benji Webbe adds a unique layer to the album. Its heavy-meets-melodic approach underscores the variety the band sought within this record’s confines, even if cohesion sometimes feels lacking. “Say Goodnight” serves as a moment of relative calm amidst the chaos, but it’s no ballad—it merely dials back certain elements while retaining emotional weight. It hints at versatility but doesn’t linger long enough to leave a sustained impact. “End of Days” attempts a balance between melody and aggression, though its ambition outpaces its delivery. While cohesive within the album’s structure, it struggles to differentiate itself from the surrounding tracks. The brevity of “Last to Know” does little to mask its straightforward approach. While competently executed, it hangs in the background rather than grabbing attention, serving as more of a palate cleanser than a defining moment. Rounding out the main tracklist is “Forever and Always,” one of the album’s lengthier pieces. While its runtime suggests ambition, its pacing skirts indulgence, leaving it with moments of resonance but an uneven overall impact. The bonus tracks—“Road to Nowhere,” “Watching Us Die Tonight,” and “One Good Reason Why”—showcase the overabundance of material from these recording sessions, though they occasionally fall into the trap of feeling more like outtakes than essential additions. The covers (“No Easy Way Out,” “Creeping Death,” and “Crazy Train”) offer glimpses into the band’s influences. While competently played, their central appeal stems more from the source material than any reinterpretation, leaving them enjoyable but inessential. “Ashes of the Innocent” emerges as one of the more robust bonus entries, retaining the combative energy that defines the album while exploring melodic nuances more effectively than some of the main tracks. “Hearts Burst into Fire” (Acoustic) strips away the distortion to reveal its emotive core. It doesn’t rewrite the song’s identity but amplifies its emotional resonance, giving the album’s softer edges room to breathe. Featured on the 2008 album “Scream Aim Fire”.
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