![]() ![]() ![]() S Club 7 and B*Witched are the subject of much reminiscence on social media (the latter also feature heavily in Maya Erskine and Anna Konkle’s brilliant Y2K-set comedy Pen15), as is Vanessa Carlton’s 2001 hit A Thousand Miles (a particularly beloved sample of young rappers, including Rico Nasty and Yungeen Ace). ![]() Online, nostalgia for this era is off the charts. Many heard shades of S Club in Dua Lipa’s 2020 album Future Nostalgia, and Lipa’s single Don’t Start Now had more than a bit of Spiller and Sophie Ellis Bextor’s 2000 smash Groovejet in its DNA. She is not alone – the reclamation of late 90s and early 00s mainstream pop by young artists is now fully under way. Yet last month Lorde revealed that her forthcoming third album was influenced by what she calls “early 00s bubblegum pop” – in particular, tween-targeted hitmakers S Club 7, Natasha Bedingfield, Natalie Imbruglia, All Saints and Nelly Furtado. It isn’t, in other words, an era you’d expect a pop star on the cultural vanguard to be into. It was sometimes trite, occasionally rapturous and – Dido and Gray aside – frivolous, family-friendly fun. Sandwiched between Britpop and the mid-00s indie revival, it was a period dominated by talent show winners, girl- and boybands, ex-boyband and girlband members, acts with tie-ins to kids’ TV shows, and doleful singer-songwriters such as Dido and David Gray. T he turn of the millennium is not generally considered a vintage era for mainstream music in the UK. ![]()
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