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Last week, the highly anticipated news was announced for all pop fans. Those who appreciate the hit song “Biology” as one of the greatest of the 21st century and are dedicated fans with knowledge of Cheryl’s fear of cotton wool, were ecstatic: Girls Aloud will be reuniting and tickets are available for purchase today.
Along with the Shangri-Las and the Runaways, Girls Aloud are one of the greatest girl bands of all time. As someone born in 1989, it was probably the Spice Girls that I should have been obsessed with. Sure, I had the collectible photo album now doing a brisk trade on eBay. I could do the signature leg-kick of fellow scouser and ardent LFC supporter Mel C. But the Spice Girls never spoke to me.
The fact that Girls Aloud, a band formed on a music competition show that I didn’t follow, became successful during my angsty teenage years when I was more into listening to Interpol’s “Specialist” on repeat, shows the irresistible mix of great music and captivating personalities.
The group was not originally intended to be the standout performers of Popstars: The Rivals, a television show created by ITV and Simon Cowell as a new version of their previous show, Popstars. Even the underdogs from the original show, who formed the band Liberty X, experienced unexpected success. The concept of the revamped format was straightforward: the competing boyband and girl band would compete for the coveted 2002 Christmas number one spot.
At first, it appeared that the group with the overly long name, One True Voice, would be the winner. However, this became less probable when their unimpressive cover of a mediocre late Bee Gees song was chosen as the boys’ entry. Meanwhile, Girls Aloud came out strong with their energetic and catchy song “Sound of the Underground,” complete with surf riffs and a drum’n’bass beat. They even filmed a gritty music video in an abandoned warehouse. This song reached number one on the charts and held the spot for four weeks. This marked the arrival of Girls Aloud.
The band’s impressive achievement and enduring presence, with 21 Top 10 singles, four of which reached No. 1, can largely be attributed to the brilliant production team Xenomania. They were the masterminds behind Sound of the Underground, which reportedly drew inspiration from both the late-90s dance tune Addicted to Bass and the nursery rhyme The Wheels on the Bus. Xenomania, led by producer Brian Higgins, would eventually become longstanding partners with the band.
In Higgins’ hit factory (actually a Grade II manor house in rural Kent), he, the group and chief songwriter Miranda Cooper would squirrel away, recording songs as glorious and experimental as Biology (which kicks off with a sample of the Animals, eschews the usual linear verse-chorus structure, and changes direction three times); Love Machine (recorded in 18 parts, melding rockabilly and 80s synth sensibilities); and the frankly batshit Sexy! No No No (electro-punk with a Nazareth sample).
However, it is the less popular tracks from their albums that have a special significance to me. The eccentric “Miss You Bow Wow” from their last album, Out of Control, or its counterpart “Love Is The Key,” which transitions from a eerie hymn introduction to a lively country line-dancing beat to a harmonica solo by Johnny Marr. Another example is “Graffiti My Soul,” which has a similar sound to Run DMC and Aerosmith’s “Walk This Way,” but with a twist of Willie Nelson at the Hacienda, and then remixed by the Prodigy.
Even songs that were considered failures, like Long Hot Summer, still managed to reach No. 7 on the charts. These songs were still a step above most popular music at the time. Even the less experimental tracks, such as The Promise (which was written in only seven minutes and had a Phil Spector influence) and the ballad Life Got Cold, stood out as exceptional examples of their respective genres.
However, the female members were essential to the success. While they may have been hesitant at times with Xenomania’s unconventional ideas (Nicola Roberts expressed concern about “Sound of the Underground” because drum and bass was not popular in the north at the time), they were credited for writing multiple songs, including four of the top tracks on “Out of Control”. Their talent show background showcased their ability to sing and their unique vocal styles were a perfect fit for Xenomania’s puzzle-like approach.
My affection for the band extended beyond just their music: these five young women were navigating a time of media bias and growing online criticism with grace. Despite the constant threat of intrusive paparazzi photos and the unnecessary ridicule of Roberts for her fair complexion, their strong personalities, wit, and down-to-earth humor remained unchanged. In 2009, when the band received the Twenty Quid Music Prize from popular music website Popjustice – a light-hearted but genuine alternative to the exclusivity of the Mercury Prize – Roberts personally accepted the award at a pub.
I have listened to almost all of the indie-grunge bands signed by Sub Pop during the early 2000s, but I had never visited Seattle. I was a big fan of late 90s hip-hop and had posters on my wall, but I wasn’t completely sure which side was considered crip. However, I could relate to their use of flat vowel sounds and love for tequila shots. The band’s fashion choices in the 2000s, such as small handbags, straightened hair with BaByliss, and spaghetti strap tops, were unfortunately also relatable.
The sense of being able to bond easily with this group was strengthened by their comical appearances on the reality TV show “Off the Record” (Cheryl showing no interest in hiking up a hill in Athens for a view she could easily see in pictures), or “Ghosthunting with… Girls Aloud” (Roberts straightforwardly declining to participate in a seance, which is understandable).
I have attended the band’s live performances four times, including a highly emotional final show as a five-member group in Liverpool. They also performed as part of a strange lineup at Wembley, supporting Jay-Z and Coldplay. Despite this unusual combination, they still delivered an impressive performance. While their shows featured popular stage effects and costumes that are prevalent in today’s music scene, it did not take away from their solid set list. The band energetically performed their songs and showed immense love for their fans, particularly when playing in their hometowns.
The band released a total of five studio albums and two compilations, all of which were certified platinum. They also released two live albums. Their music was not only loved by fans like myself and Popjustice, but also gained recognition from mainstream rock publications such as NME and Q, which are known for being critical of “manufactured” music. Even Pitchfork, who is considered a tastemaker, recognized the band’s talent. Notable musicians such as Johnny Marr, Peter Hook, Bloc Party, and Arctic Monkeys have collaborated with the band and have expressed their admiration for them. The Arctic Monkeys even covered the band’s song “Love Machine” on Radio 1’s Live Lounge. Throughout their career, I never had a favorite or least favorite member of the band.
Their careers after their time in the band have been diverse. Cheryl achieved five number one singles and returned to her roots by being a judge on a talent show on ITV. Coyle pursued a career in solo music, opened a pub in Los Angeles, and gave us one of the most iconic moments on television, which has been turned into countless memes. The always composed Kimberley Walsh has found success as a stage actor and presenter. Roberts released a stunning solo album called “Cinderella’s Eyes” that combined electro-pop, disco, and even rap, as well as starting her own makeup line.
Sarah Harding, known for her vibrant personality and short blonde hair, was a hardworking individual throughout her life. From her time as a student in Stockport to her jobs as a BT call-handler and Pizza Hut waitress, she always put in a lot of effort. Even when she pursued writing a memoir, she continued to work tirelessly. Despite her wild reputation, as seen when she exclaimed “it’s about time!” upon winning a Brit Award, her soft vocals on songs like “Whole Lotta History” and “The Promise” showed a different side to her. Sadly, Harding passed away at the age of 39 from breast cancer. The 2024 reunion tour will be dedicated to her memory.
Unfortunately, several obituaries for Harding chose to highlight her tumultuous personal life rather than recognize her significant impact on the vibrant and uplifting pop history of Girls Aloud. And with a possible reunion tour in the works for May of next year, I am eagerly anticipating and determined to attend.
Source: theguardian.com
