What or Who to watch out for in 2010

The Noughties are over and we have to say goodbye to the first decade of the Millennium. It is a shame because there was many zeitgeist breaking moments in the decade in the music world. The irony then, that 2009 was a pretty nondescript year, is not lost. This is not to say that music production was barren, but for memorable contributions, there were few. Before the blustering starts, the death of Michael Jackson was of course an important part of the year’s music trivia, but it did not engender any inspired music releases. Although there was a surprise amongst some to see that 'Man in the Mirror' was one of the most popular songs by Jacko. With that in mind, one hopes that 2010 will be the year that things start to pick up. Here are a select few that look set to hit the big time.

The XX

Technically, The XX is entering their fifth year of existence, so it is slightly paradoxical to call them a ‘new’ prospect. However, their debut album was only released last year and pretty much went unnoticed until the requisite ‘best of...’ lists started flooding the music journalism market. Their album xx was routinely given Number 1 status in cult music mags best albums of the year and they fully justify their position. Understated and ethereal indie music has always flirted with the limelight, but tended to sit in the avant-garde section of the music world. The combination of Oliver Sim’s and Romy Madely-Croft’s soft and even shy vocals are a breath of fresh air in this world of contrivance. They are currently touring Europe and play several gigs in the UK in March. Watch this space!

Ellie Goulding

The image of the female singer-songwriter went through so many guises towards the back end of the noughties that a new addition to the pile rarely feels exhaustive. For Ellie Goulding this is an added bonus. She has a mystique to her voice that belies the down-to-earth lyrics and common angsts of an average 23-year-old. Her songs are marked by wonderfully evocative images made from the simplest of lyrics as the songs ‘Starry Eyed’, ‘Wish I Stayed’ and current single ‘Under the Sheets’. Her voice is pure, full, tear-jerkingly and poignant. There are other facets of her singing that are difficult to put the finger on, but the plaintiveness that hangs around her vocals is so moving. Yet she is not simply a balladeer in the indie-folk vein. She uses technology effectively and multi-genres to achieve a variety so rare to some young and aspiring. The electro subtleties of ‘Wish I Stayed’ – possibly the influence of Frankmusik – give her an edge over her contemporaries. Her ability to pare it down in her heart-rending cover of 'Wolves' by Bon Iver showcases the breadth of her talent.

Marina and the Diamonds

I was put on to this 24-year-old completely by chance from an article in the Daily Mirror. No high-flown music quarterly influences here! It is easy to scoff at the name and pigeonhole her in the Bat For Lashes/Florence and the Machine kooky parade. Yes, there is a stylised lilt to her vocals, but on simple enjoyment and music terms, Marina Diamandis does not disappoint. It might be the agreement with her about the awe that a country such as U.S.A can engender – demonstrated on ‘Hollywood’ – but her songs are uplifting, playful and just fun to listen to. 'Mowgli’s Road' should be, in my humble opinion, and anthem of 2010. Its childish intoning is inspired and delivery is worth a hip jiggle. Claim of her being the UK version of Regina Spektor are not unfounded, and never a truer word was said when she informs us: “Oh oh, I’m obsessed with the mess that’s America/I’m obsessed with the mess that’s America.” (‘Hollywood’).

Drake

2008-2009 was the age of auto-tune. It was everywhere. T-Pain, Kanye, Jay Sean, Lil’ Wayne, they slathered it all over their music. Jay-Z tried to put it out with his subtly named ‘D.O.A (Death of Auto-Tune)’ but it is the weapon of choice for contemporary Hip-Hop and R’n’B.

Drake, who released the widely popular So Far Gone EP in 2009, is a fresh exponent of the voice-polishing technique, but for some reason it does not infect in the way that it does when others use it. Songs like ‘Best I Ever Had’ and ‘Successful’ put him under the spotlight and ‘Forever’ featuring the big guns of Lil’ Wayne, Kanye West and Eminem cemented his place. His ability to mix up-to-date rapping with smooth R’n’B is not an easy accomplishment and with his first full-length  album, Thank Me Later, set to be released in March on Wayne’s Young Money label (a joint venture with the Cash Money label), 2010 could be Drake’s year to impose himself on one of the most demanding genres around.

B.o.B:

Another protégé of the big stars of 2009, Bobby Ray aka B.o.B is a R’n’B/Hip-Hop crossover who has the potential and variety to hit the big time this year. A number of production jobs and collaborations has deepened him imprint, and like Drake his debut record is due early in the New Year. First single ‘Nothin’ On You’ featuring Bruno Mars is a well-crafted and commercially viable number with its accessibility and lack of posturing. His dabbling in funk, alternative, techno and rock, which all feature in his influences gives him the opportunity to gain a broad fan base. A cursory listen to his MySpace music is enough to suggest that he could take up the mantle not capitalised on by Kid Cudi last year. Key tracks to take note of are ‘I Feed These Streets’ and the brilliant ‘Satellite’.

These are just a few of the potential movers and shakers in the music world and it is good to see that there is not just an American monopoly in the list of aspiring musicians. The resurgence of indie and alternative music and the reinvention of electro have allowed many acts to poke their noses out, acts that wouldn’t have had a look-in about five years ago. It is the job of those already established stars to go on and make the new decade their own. So stand up and be counted Grime, Dizzee, Florence, Leona and all the rest.

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