noughties pop music

892. ‘Uptown Girl’, by Westlife

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Stung by their first ever non-number one (‘What Makes a Man’ having been kept off top spot by Bob the Builder), Westlife return with a foolproof strategy for restoring their chart fortunes. A carbon copy of a beloved classic.

Uptown Girl, by Westlife (their 8th of fourteen #1s)

1 week, from 11th – 18th March 2001

If a note-for-note cover of Billy Joel’s 1983 chart-topper was not enough of a guarantee, then making it the official Red Nose Day single was the clincher. Guaranteed, sure-fire, bookies not even letting you place bets sort of number one. And so it was, opening with Westlife’s biggest ever sales week.

And, on a very surface level, this isn’t a terrible record. It doesn’t irk in the same way that, say, A1’s cover of ‘Take on Me’ does. Probably because Westlife’s producers sensibly kept things very un-experimental, retaining the original’s doo-wop, Four Seasons-aping energy. It adds nothing, however, and you will never need to listen to the Westlife version of ‘Uptown Girl’ as long as Billy Joel’s original is available.

Actually, it’s not strictly true that nothing is added. Because this is Westlife, ‘Uptown Girl’ now has a key change. Hey ho. Again, it doesn’t ruin the song. If you squint hard enough you can imagine you’re listening to the original. Am I being overly charitable? About this charity record? Maybe. Or maybe I’m just glad that this is a Westlife number one that ISN’T A BALLAD! Of their frankly unbelievable total of fourteen number ones, I’d say that only two are officially not ballads (while I will hear arguments for ‘If I Let You Go’ being their third non-ballad #1, if anyone cares to make them…)

Westlife were following in Boyzone’s footsteps here, Ronan and his gang having released the previous Comic Relief single two years earlier: a similarly faithful redo of another eighties classic. It’s almost as if the same evil genius was behind both bands… But I will give Westlife the credit of not being anywhere near as reliant on cheesy covers as their predecessors. Over half of Boyzone’s chart-topping records were covers, whereas this was only Westlife’s second out of nine releases.

To be fair, the video is quite fun, with Claudia Schiffer as the uptown girl, and a little dig at Bob the Builder too…

891. ‘It Wasn’t Me’, by Shaggy ft. RikRok

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In today’s instalment of Ask Shaggy, we have a letter from RikRok, in Jamaica… “Dear Shaggy: I was recently caught red-handed by my wife, creeping with the girl next door. Picture this, we were both butt-naked, banging on the bathroom floor…”

It Wasn’t Me, by Shaggy (his 3rd of four #1s) ft. RikRok

1 week, from 4th – 11th March 2001

Ricardo ‘RikRok’ Ducent is in a bit of a pickle alright. How could I forget that I had given her an extra key? he asks, hand to forehead. Shaggy is not in the mood for sympathy however, offering blunt advice: deny everything. To be a true player you have to know how to play, If she say a-night, Convince her say a-day…

Caught on camera? Heard the screams of passion? Marks on your shoulder? The evidence of her very own eyes…? It wasn’t me. It’s not hard, nearly a quarter of a century on, to read a sinister subtext to this well-remembered chart-topper. It’s pure gaslighting, and not something you’d be allowed to get away with in the year of our Lord twenty twenty five.

But. At the same time, this is such a silly song, the situation so preposterous, Shaggy at his most cartoonishly alpha (especially in the video), that you cannot take it seriously. The idea that his advice will work is never supposed to enter the listener’s head. And at the end of the day, morality wins out, with RikRok deciding to ignore the advice and apologise: Gonna tell her that I’m sorry for the pain that I’ve caused, I’ve been listening to your reason, It makes no sense at all…

Compared to his two earlier hits, this is a much more pop-infused reggae than in ‘Oh Carolina’ or ‘Boombastic’. And in comparison to those hits, Shaggy is not the main attraction. Most of the story is carried by RikRok, with Shaggy delivering his two verses as the devil on his shoulder (in his trademark deliciously thick patois). But the move into pop paid off, as this was Shaggy’s first big hit in over half a decade, and the year’s biggest seller. (As well as becoming the decade’s highest-selling song not connected to a TV talent show!)

It wasn’t even supposed to be released as a single, but Shaggy and his record label were convinced after a radio DJ obtained an illegal copy of the song from Napster – nice period detail, there – and it became his most requested song. The single had a full four-month build up period before being released, and smashed in at number one with sales well over a quarter of a million.

And you have to admire Shaggy’s limpet-like ability to weather changes in style, to go for years between hits, and to still re-appear at the top of the charts every so often. In fact, 2001 will go down as his most successful year by far, with one further massive number one hit to come soon. Maybe this just proves, once and for all, that reggae is the one genre which will never truly die.

890. ‘Whole Again’, by Atomic Kitten

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The first thing that hits your ears with our next number one is the pre-set drumbeat, and synthy organs. It sounds cheap. And ‘cheap’ sets the perfect tone for one of the new millennium’s biggest ballads, and one of its biggest girl groups.

Whole Again, by Atomic Kitten (their 1st of three #1s)

4 weeks, from 4th February – 4th March 2001

If the Spice Girls were the group you’d like to have hung out with, and All Saints were the group you were terrified of running into in the corridor; Atomic Kitten were the group that would happily nick you a packet of fags from the Spar as long as you let them keep a couple. Kerry, Liz, and Tash, three likely scouse lasses.

If that sounds a bit snobby; I don’t mean it to. I imagine it was a big part of their appeal, and their success. They genuinely looked like girls from your school. They weren’t the best singers, they weren’t glamour models, and the production on their songs was largely cheap and largely cheerful. You could argue that they were to pop music what Limp Bizkit, the act they knocked off top spot, were to rock. (Though both acts, I will argue, do have brilliant names.)

I will also contest that ‘Whole Again’ is a great pop ballad, with an almost cynically heart-tugging chord progression, and a retro feel (especially in the spoken word middle-eight). If it had had a bit more money thrown at it, if it had come within five hundred metres of an actual musical instrument, and been sung by someone like Gabrielle, it would be regarded as a true classic. But it is let down by not having all of the above, and is now just a nostalgic classic, and not a song you hear all that often anymore. (Unless of course when it’s being re-written in tribute to Gareth Southgate…)

Yet, it managed to become huge. It stayed at number one for a full month, the longest stay of the millennium so far, increasing in sales for each of those four weeks. It became the 2000’s 13th highest-selling single, and Britain’s 4th biggest girl group single of all time, behind ‘Wannabe’, ‘2 Become 1’, and ‘Never Ever’. And maybe this success was exactly because it sounds so of its time: the ballad that came along in the right place, at the right time, and will forever be rooted in the winter of 2000-2001.

I actually remember hearing ‘Whole Again’ for the first time, probably the week before it went to number one. We were snowed in from school, and I saw the video on GMTV or something. And I remember thinking that it sounded like a massive hit. (I also remember the first time I heard one other #1 from 2001, and it is one of the three songs from this year to outsell ‘Whole Again’…)

This was actually Atomic Kitten’s last roll of the dice, as they were on the verge of being dropped from their record label and consigned to the girl group dustbin had ‘Whole Again’ not been a hit. Adding to their difficulties was the fact that Kerry Katona had quit the group a couple of weeks before this was released, and her parts hastily re-recorded by replacement Jenny Frost.

Still, it mattered not. The record was huge, launching Atomic Kitten Mk II, and bringing about several years’ worth of hits, including two more number ones that we we’ll get to in due course. Without giving too much away, both those chart-toppers are fairly crap, but I would argue for the quality of their earlier Mk I hits, ‘See Ya’ and ‘I Want Your Love’: catchy and experimental, the kooky brainchildren of OMD’s Andy McCluskey and Stuart Kershaw, who had created the group.

888. ‘Love Don’t Cost a Thing’, by Jennifer Lopez

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A few weeks ago we welcomed Beyoncé to the top of the charts, and now we welcome another twenty first century icon…

Love Don’t Cost a Thing, by Jennifer Lopez (her 1st of three #1s)

1 week, from 14th – 21st January 2001

It does seem a bit laughable to compare Jennifer Lopez with Beyoncé now, in 2025, but in the early years of the millennium there were few bigger pop stars than J Lo. And for her first number one, the Beyoncé comparison is very fitting, as I hadn’t realised how much ‘Love Don’t Cost a Thing’ owed a debt to Destiny’s Child and their fluttery style of R&B.

It’s also similar to ‘Independent Women (Pt 1)’, though Lopez compares love, rather than independence, to wealth in the lyrics: Baby credit cards, Aren’t romance, Still you’re tryna buy, What’s already yours… Call me a cynic, but I’m not totally sold on the idea that J Lo would be happy dating a pauper, but at least it gives us a treasure trove of early ‘00s slang: Think you gotta keep me iced, You don’t… If I wanna floss I got my own… Rumours at the time suggested it was a dig at her then-boyfriend, P Diddy, who apparently had the cash but not the class. Looking back, if the worst he did was buy her a few Mercedes then she probably got off quite lightly…

Musically it’s fine. It rattles along at a fair clip, not giving you a chance to pick holes with some of the now pretty dated production touches. I do like the synthy drum fills, and the break where squelchy horns take over the beat. Like most US pop songs at the time its slick and polished, though it comes nowhere close to the heights of a Britney or a Christina record from the same time.

In fact, without giving too much away, I find all three of J Lo’s number ones slightly underwhelming. She had some great tunes fall short, such as her other classic of false modesty ‘Jenny From the Block’, and the banging ‘Play’, which made #3 a few months after this chart-topper. This is decent enough pop, very much of its time – a time capsule record – but perhaps not the sort of record that would have topped the charts at any time other than January.

886. ‘Can We Fix It?’, by Bob the Builder

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Ah, the classic British Christmas. Pigs in blankets, a half-pissed Granny, more rain than snow outside, and some novelty tripe at number one in the charts…

Can We Fix It?, by Bob the Builder (his 1st of two #1s)

3 weeks, from 17th December 2000 – 7th January 2001

Bob the Builder joins Mr Blobby, Benny Hill, the kids of St. Winifred’s, Little Jimmy Osmond, and several more, in the festive hall of shame. But I will say that, while ‘Can We Fix It?’ is not a song I’m desperate to ever revisit after this; it’s far from the most heinous example of festive excess.

It’s an expansion on the theme to the popular kids’ TV show, with lots of fun musical references. It opens with a version of the escalating ‘Twist and Shout’ intro, also heard in more respectable chart-toppers from David Bowie and the Manic Street Preachers (which means that the year 2000’s first and last #1s are connected in the most unlikely way). Elsewhere there’s a pretty current 2-step garage beat, and lots of record scratches. For a song based on a children’s TV show theme it actually sounds like it could, in a not too distant parallel universe, be a real pop song.

In the video, by which novelties like this often live and die, Bob the Builder puts on various pop star guises, the most memorable of which is Liam Gallagher, complete with a parka and a sneering microphone stance. It also helps that Neil Morrissey, AKA Bob, has a Jarvis Cocker-esque drawl to his voice, sounding almost like a real rock star, but also like he’s very much not taking this seriously at all.

So, like I said, far worse musical crimes have been committed in the name of a Christmas number one. (And that’s before we mention the many God-awful, non-festive novelty chart-toppers…) But quite how this managed to become 2000’s best-selling single – in a year not short of generational classics – and the entire decade’s 10th best seller (!), I’m not quite sure. But hey, at least it kept Westlife’s ‘What Makes a Man’ off top spot, denying them a second Christmas #1 in a row.

Interestingly too, it was the only one of the year 2000’s forty-two chart-toppers that climbed to the top, entering at #2 behind ‘Stan’ the week before. It then peaked in sales in its third week, taking the coveted Christmas prize.

We finally, then, reach the end of 2000: the longest year we’ll ever cover. I published the first number one of this year on 23rd January, real-time, and we’re now well into June. I’m not sure I can sum up a year with so many different number one singles, but I’ve enjoyed more of them than I expected to (while it’s also been a self-indulgent trawl through my fifteenth year on this planet). Back then I was frustrated at the high turnover, feeling that it devalued the charts (which it does), but I’m coming round to the feeling that variety is indeed the spice of life. Meanwhile, at the time of writing in 2025, the current UK #1 has just entered its twelfth week on top…

884. ‘Never Had a Dream Come True’, by S Club 7

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What’s a turn-of-the-century Christmas time without a downtempo ballad from one of the big pop acts of the day?

Never Had a Dream Come True, by S Club 7 (their 2nd of four #1s)

1 week, from 3rd – 10th December 2000

Ballads for Christmas are not a new phenomenon, but there has been a very specific kind of syrupy love song popping up around this time since East 17 in 1994 (none of which have come close to matching ‘Stay Another Day’). Think Peter Andre’s ‘I Feel You’, B*Witched’s ‘To You I Belong’, Steps’ ‘Heartbeat’, and Westlife’s double-A massacre for the new millennium…

So actually, ranked alongside some of those dubious hits, S Club’s addition to the canon of wintry ballads is actually fairly decent. It’s got an old-time, almost soulful, feel in the groove. And it’s helped by the fact that Jo is on lead vocals, and that she was S Club’s Mel C (i.e. the one that could properly sing). Meanwhile the video is a classic of the genre, with the group all in white, trying their best to brood amidst blasts of fake snow.

I mean, it’s nothing hugely special. But it’s a nice enough song to endure for three minutes and forty-five seconds. I imagine it soundtracking a thousand and one snogs at school discos that year, and being a conduit for teenage lust is as noble a reason for a song’s existence as I can think of. Oh, and it was also 2000’s Children in Need official single, which is almost as good a cause, and probably a big factor in it becoming a belated second #1 for S Club, as well as the year’s ninth biggest seller.

My attention, though, starts to wander sometime around the midway point. I begin to realise why this has been forgotten among S Club’s peppier hits. They acquit themselves well but really, slow songs like this aren’t what S Club were about. Interestingly, though, this was their only single to make the Billboard charts – no mean feat for a British pop act at the time – and it ascended all the way to #10.

By the time this record ends in a cascade of tinkles, I’m starting to think this might actually have tipped over into the saccharine, and might actually be a bit crap. But no! I block these thoughts because, as with Steps and the Spice Girls, I am disposed to think kindly of S Club 7, thanks to those old rose-tinted spectacles. For which I will not apologise!

883. ‘Independent Women (Pt. 1)’, by Destiny’s Child

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Question…

Independent Women (Pt. 1), by Destiny’s Child (their 1st of two #1s)

1 week, from 26th November – 3rd December 2000

Towards the end of a year jam-packed with zeitgeist grabbing choruses, where does All the women, Who independent, Throw your hands up at me… rank?

That’s before we get to the I bought it bridge, or indeed the repeatedly deadpanned question line. It’s slick turn-of-the-century R&B, minimalist in its instrumentation, with plenty of space for Beyoncé and co.’s tight harmonies, especially in the nearly a cappella break. This was the first Destiny’s Child track to feature Michelle Williams, and the only one to feature Farrah Franklin (who was only in the group for a couple of months).

‘Independent Women’ comes from the soundtrack to a movie reboot of ‘Charlie’s Angels’, and we are given no chance to forget it. From the spoken intro introducing the actresses, to the Charlie how your angels get down like that… refrain, few other movie soundtrack chart-toppers have had such strong product placement. It could have backfired, or at least left the song stranded in a very particular place in time, but it hasn’t. In fact, lines like Cameron D, Invest in me have perhaps added to its nostalgic allure.

I earlier drew comparisons between the Spice Girls’ recent ‘Holler’ and US girl-groups like Destiny’s Child, but really it’s no contest. This is so polished, so confident; another example of how American acts were setting the tempo at this time. Britain could still produce good pop (Steps!), but whenever we tried to ape this sort of hip-hop/R&B uber-pop we just couldn’t pull it off.

What I’m noticing now, after repeated listens, is the irony of a song about women’s independence promoting a film about three (admittedly kickass) women controlled by an unseen older man. Plus, as others have pointed out before me, the independence of the women in the song seems to be measured by the fact that they can buy their own clothes, shoes, cars and jewellery.

I mentioned her in passing, but we should make more of this being our introduction to Beyoncé, who will go on to be one of the new millennium’s biggest stars, with a near twenty-five year span between this and her most recent chart-topper. And while this track is well-remembered, I’d argue that the two following Destiny’s Child singles have become even more embedded in popular culture (one of which will be shortly turning up at #1).

Before we finish, I have one final question. If this is ‘Independent Women (Pt I)’, then what of part two? Well, it’s an album track, much harder-edged, nowhere near as catchy. Case closed, Charlie.

882. ‘Can’t Fight the Moonlight’, by LeAnn Rimes

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Showing A1 just how it’s done, here is some authentic turn-of-the-century American jumbo-pop.

Can’t Fight the Moonlight, by LeAnn Rimes (her 1st and only #1)

1 week, from 19th – 26th November 2000

Can that become the standard term for this sort of huge chords, huge vocals, huge synths pop? Jumbo-pop. It’ll be my legacy. Though while Britney and Christina are obvious reference points for this record, LeAnn Rimes was first and foremost a country artist, and so this is jumbo-pop with a country twang. Which is cool.

But as with the Corrs’ Mutt Lange-produced ‘Breathless’, this makes me once again rue the fact that the Queen of late-nineties country pop, Shania Twain, never made top spot in the UK. Catchy as ‘Can’t Fight the Moonlight’ is, it is no ‘That Don’t Impress Me Much’. Very few pop songs are…

I will say that this song does almost lose the run of itself from the middle-eight onwards, with synths that sound like a garbage crusher gone haywire. It gets very cluttered and rushed, as if on a deadline, where a few more seconds runtime could have allowed the song to breathe a bit. But the way Rimes launches herself into the key change is impressive, and allows her to show off her vocals towards the end. It was written by Diane Warren, and produced by movie mogul Jerry Bruckheimer, which perhaps explains its ginormous sound.

Bruckheimer was presumably involved because this comes from the soundtrack to his movie, ‘Coyote Ugly’. It’s a film that I remember being huge among my age group at the time, but that never gets mentioned anymore. (Its 23% rating on Rotten Tomatoes might explain why…) Apparently LeAnn Rimes appears in the film as herself, while she also recorded ‘Can’t Fight the Moonlight’ for actress Piper Perabo – who played the main character – and so technically duets with herself at the end of the film. Which sounds enjoyably messy.

While this may be a bit cluttered, a bit too fast, a bit chaotic, it’s still undeniably huge and catchy. There’s something admirable about the sheer joie de vivre of so many of these recent number ones, even if not many are truly great records, which makes me miss a time when pop music came with a capital ‘P’!

Although this is LeAnn Rimes biggest hit by chart position, she is probably much better remembered for her ballad ‘How Do I Live’, which was the 6th highest-selling song of 1998 despite never rising above #7. She remains active, and seems to have moved more into Christian contemporary territory in her old age.

881. ‘Same Old Brand New You’, by A1

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Let’s purge A1’s unnecessary cover of ‘Take on Me’ from our minds, and instead revel in their second number one of the year, and some of the purest turn-of-the-century pop this side of *NSYNC.

Same Old Brand New You, by A1 (their 2nd and final #1)

1 week, from 12th – 19th November 2000

In fact, this is *NSYNC crossed with the Backstreet Boys, and with a liberal dollop of Britney Spears. It is a shameless tribute to/pastiche of/rip-off of that blockbuster, Max Martin sound so beloved of those Stateside pop juggernauts. It was co-written by Eric Foster White, who had worked with Britney and the BSBs. And it comes pretty close to being as good.

The a cappella intro is striking, and well sung; and the chorus is a peach. The chords are huge, the production has that clanking industrial sound that makes everything feel epic. It’s also got a cheeky title, almost palindromic. No song called ‘Same Old Brand New You’ is going to be dull. But why don’t I rate it as highly as, say, ‘Oops!… I Did It Again’?

Sad to say, it’s probably because it’s A1, and there’s something a bit budget about them. If this has been recorded by Justin Timberlake and his crew, maybe I’d be more effusive. We Brits tend to knock our own while being in thrall to anything from across the Atlantic. I felt the same about Billie Piper’s foray into similarly hard-edged pop, ‘Day and Night’.

Though if I had to give a specifically musical reason for this song falling short of classic status, I’d point out the hugely clunking robot-voice sections. They go on too long, are too distorted, and are simply incomprehensible. The lyrics get completely lost: something, something, not keeping your promises… (To my ears it sounds like never gonna change your passwords…)

But it’s still a lot of fun, and a song I admit I’d completely forgotten about. Despite being a chart-topper, it’s definitely been lost among the year 2000’s more illustrious number ones. This was from A1’s second album, and they had one more in them. That gave us their last big hit – the also pretty decent ‘Caught in the Middle’, which made #2 in early 2002. They split soon after, but have reformed since. Like Westlife in my previous post, A1 were hugely popular in Asia, so popular that there were four teenage girls sadly crushed to death when the band turned up for a signing in Jakarta.

As it is still just about Eurovision season, it would be remiss to finish without mentioning that A1 almost represented Norway at the contest in 2010. Meanwhile Ben Adams did, as one half of Subwoolfer, finishing in 10th place in 2022, with the memorably titled ‘Give that Wolf a Banana’.

880. ‘My Love’, by Westlife

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So, Westlife replace The Spice Girls at number one, and in doing so break the Girls’ record for consecutive chart-toppers…

My Love, by Westlife (their 7th of fourteen #1s)

1 week, from 5th – 12th November 2000

I’ll come clean… this is my favourite Westlife number one. I know, I know, just having a favourite Westlife number one is not something to admit in polite company, let alone revealing which song it is. But here we are. Something about ‘My Love’ just bloody well does it for me.

Despite it being one of their most unashamedly old-fashioned ballads, with all the tinkly production, drenched in echo and gloop, there’s something appealing about it. I’ve always thought it had the feel of ‘Mull of Kintyre’, and apparently the songwriting team responsible did have Wings’ mega-hit as a deliberate reference point. It’s Celtic enough, with a timeless melody and lyrics about meeting a long-lost love where the fields are green, without resorting to the bejaysus sort of Irishisms that B*Witched were so fond of.

Though I’m pretty sure I also compared ‘Fool Again’ to ‘Mull of Kintyre’. (There’s a chance Westlife’s entire career was based around ‘Mull of Kintyre’.) Anyway. Of course, a majestic key change is pulled off for the final chorus, and things end in suitably soaring fashion. In the video the lads find themselves finally back on the Emerald Isle, on the Cliffs of Moher. I may cast doubts on the singing abilities of certain other boybands, but I don’t think anyone could accuse Westlife of shirking their most basic responsibility. The boys can sing.

I’ll move on, however, before I find myself lavishing any more praise on Westlife than is strictly necessary. For those not so enamoured, you’ll be glad to note that we’ve already reached the halfway point in terms of the band’s number ones. The end is almost in sight!

What’s interesting is that while in the UK ‘My Love’ doesn’t make Top 10 on the list of Westlife’s best-sellers, for much of the rest of the world it is their signature song. Ask anyone on the streets of Hong Kong, Bangkok, or Kuala Lumpur to name a Westlife tune, and they’ll probably say this one. In South Korea it has apparently never left the International Karaoke Charts since they began in 2010…

Like I said, this was Westlife’s seventh consecutive number one, and it broke the Spice Girl’s record of six in a row from debut. This is all rendered moot, really, by the fact that the Beatles managed eleven in a row between ‘From Me to You’ and ‘Eleanor Rigby’ (their first two singles having not made #1). And Westlife’s run will come crashing to an end with their next release, foiled by a cartoon construction worker…