Unwritten back in UK Top 20

Best believe we are still belting out that chorus just as loud as we did in 2004

Natasha Bedingfield Unwritten 2004

With January coming to a steady close we have had almost a month to reflect on the stories that have propped us up, been our mattress once we have fallen down, and given us the fighting words to stand up on our own again.Reinvention through reflection , forgiveness and healing are all semantics in Natasha Bedingfield’s 2004 track ‘Unwritten’ which reached no.6 during its initial release.

20 years later it’s back in the UKs top 20 in part due to Will Gluck’s Romcom starring Sydney Sweeny and Glen Powell. It is becoming the trend of new movies sharing a light on nougthies tracks, as seen with Sophie Ellis-Bextors- Murder on the Dancefloor featured in the final scene of Emerald Fennells disturbingly delicious ‘Saltburn’. Unwritten is not only poignant and insightful it is catchy and upbeat lending it a timeless nature that is still relevant today.

Natasha Bedingfield

Used as the soundtrack to popular American TV series The Hills in 2006 Unwritten has seen frequent pop culture attention, I refrain from using the word reveal as it seems the song never lost is significance, with Bedingfield releasing a remix for a rerun of the show in 2019.

Unwritten Natasha Bedingfield 2004

It’s R&B influences and its uptempo pop feel boast a nostalgic edge with a contemporary vibe, this song is the sound of summer, it is the sound of things to come, be them good or bad you can prepare and stay composed whatever happens it can be ‘unwritten’, you can always try again tomorrow. With will and positivity, empathy and education you can go forward, knowing you can change your circumstance or your mindset to it.

Originally associated with graduations due to its inspiring message for the future, reminding us that one day does not have to define the rest, Bedingfield wrote the song for her brother whilst on tour, considering everything she wished she had been told at his age.

We are only defined by the pen we hold and the words we write, propelled by the actions we take, the choices we make, the mistakes we learn from, the mistakes we make again. Our failiabilty, our optimism so innately human.Her lyrics and energy are empowering, reassuring and restorative, the audible equivieleint to the perfect tea and a kiss on the forehead before a deep, restful sleep.

Unwritten is full of hope, unity and independence, a mantra about taking each moment in our stride as we go through the rest of 2024.

I’m Just Ken wins Best Song at critics choice award.

but Ryan Gosling couldn’t have done it without Greta Gerwig, Margot Robbie and American Ferrara.

Ryan Gosling reacting to the news at the CCA January 2024

The 2023 blockbuster Barbie revived Cinema, set TikTok Trends and soundtracked our 2023 . It had us singing, dancing and crying all in one sitting.

Personally ‘I’m Just Ken’ sits pride of place in my frequent plays on Spotify, it is also one of the few songs I can proudly play on piano and I completely understand and truly believe it is deserving of the award. However not everyone shares this view and after seeing his reaction to the award perhaps Gosling himself  is amongst those on TikTok that do not think it was worthy of the win. Adversity to the award choose to highlight h the cruel parallels  between the meaning of the Barbie and a song about a man complaining he is not the protagonist in a woman’s story, arguing that ‘I’m just Ken’ , a song produced by a man, sung by a man, wining this award is considerably quite ironic. Perhaps they have a point and that is fine, I just don’t agree.

I’m Just Ken scene from Barbie July 2023

Dance the night away’ by Dua Lipa and ‘What was I Made for?By Billie Ellish (Both from Barbie) were also nominated with many arguing that they should have won for the sole reason they were sung by a woman,  personally the gender of the writer behind a song should not factor whether it is a success, its success should be measured by its popularity, its relevance to the film and its resonance with the audience and although what was  I made for hits bulls eye, it was I’m just ken that had us bouncing, revving us up for a workday, creating kitchen dance routines and filming TikTok’s.

Fuel to this fire was poured earlier last week when host of Golden Globes Jo Koy made a pretty low-brow and rushed joke at the origin of the film comparing it to Oppenheimer which was ‘base doff a 721 paged Pulitzer prize winning book about the Manhattan project and Barbie is on a doll with big boobies” a childish and sexist reduction to what Gerwig’s creation actually depicts, its complexities too deep and expansive to cover in what is meant to be a music review… although Gerwig herself has offered a sympathetic response saying ‘well he’s not wrong she was the first doll mass produced with breasts’

Access Hollywood Jo Kay Golden Globes Speech 2024

‘I’m just ken’ allows Barbie’s ‘love’ interest a voice, giving him a narrative in a film that is supposed to be about female actualisation, empowerment and self discovery. It not only allows him power over his won story allowing him to just be ken rather than Barbie and Ken but also demonstrates how many men also struggle with their own identity, their own emotions rarely being taken seriously. it is his redemptive arc, allowing viewers to empathise with I’m, for that is the true definition of feminists, creating equality between men and women to better the situation, 

Produced by Mark Ronson and written by Andrew Wyatt ‘I’m Just Ken’ is a modern masterpiece, with 80s influences. On the surface a fun throw away song, an excuse for a comedic choreographed dance break and for Gosling to show-off his range. The whole weight of the song is in its own inability to take itself seriously, the duo paired with visuals becomes a distracting display of thoroughly refined dance moves taking away the attention from how ken is truly feeling, detached from reality, alone in his feelings and powerless in the face of an overshadowing figurehead for his own society, it is a truly feminist anthem. 

Murder on The Dancefloor Waltzes its way back to Chart Top Spot.

Sophie Ellis-Bextor’s Return to the Charts

Sophie Ellis-Bextor Murder On The Dancefloor

Sophie Ellis-Bextor’s 2001 hit, “Murder on the Dancefloor,” has made a resounding comeback, thanks in part to Emerald Fennell’s 2023 gothic and glorious film, ‘Saltburn‘ .The film, featuring Barry Keoghan and Jacob Elordi, has propelled the colourful track back to the number 8 position, over two decades after it reached number 2 upon its initial release.

The groovy track, “Murder on the Dancefloor,” delves into the themes of tumult, jealousy and doing what you can to set the groove with similar semantics being discussed in ‘Saltburn’ it is fitting that this song would soundtrack its final scene. Depicting a disturbing dialogue about desire, deceit and the class divide ‘Saltburn’ has quickly become a cult classic with Gen Z and millennials coming together to show their love for both the film and the track in a slew of viral TikTok’s.

“Saltburn”-themed videos featuring the track have amassed an impressive 4 billion views on the app. The track also experienced a significant surge in streams on New Year’s Eve 2023, with 1.5 million streams in a single day. Furthermore, in the first week of January, “Murder on the Dancefloor” claimed the top trending spot on The Hot 100, marking its first appearance on the list.

Perhaps this musical miracle holds a motto we should carry into 2024: we may plant seeds in the day that will only grow at night- Bextor herself put it poetically in a Newsnight interview earlier this month “You have to be open to the unexpected, and you can’t plan what happens next”.