The Sophisticated Nuance of Sugababes
It was the late 90s. A new millennium fast approaching, Y2K scare looming. British pop was in shambles. Cracks in the presiding structure of a manufactured Spice Girls empire arose. Without their Ginger Spice it became apparent that All Saints needed to step in. To their detriment was an overreliance on brand personality and a catalogue of covers. Albeit entertaining, S Club 7 and Steps were seen as novelty acts – their biggest hits the definitive soundtrack to wedding receptions and kid’s birthdays. Contrastingly, the slick melodic R&B of American girl groups TLC and Destiny’s Child reigned supreme. In dire need of a makeover, the search for a fresh, alternative British pop sound culminated in 1998. Signed by London Records, little did teenagers Mutya Buena, Keisha Buchanan, and Siobhán Donaghy know that they were about to make music history.
Studying their GCSEs, the girls were initially likened to United Colours of Benetton campaigns – a somewhat fitting comparison for an unorthodox multi-cultural, working-class assembly. Born and raised in North West London, Mutya, of Filipino and Spanish descent, attended a mixed school alongside childhood bestie Keisha, background Jamaican, prior to meeting Siobhán, background Irish. Originally pursuing solo aspirations, as a fresh-faced trio the total Sugababes package was fundamentally an organic yet emblematic representation of their humble beginnings. With wardrobe stylings of matching bootcut jeans, vibrant tees, and hoop earrings (all noughties staples of the London high-street), the nation was introduced to the sophisticated nuance of Sugababes in 2000 - following the release of their timeless debut single ‘Overload’.
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Regarded by NME as “hauntingly infectious” and “irresistible”, these welcoming words still bear weight – a testament to the infinite power of songwriting talent and vocal harmonisation. No gimmick and no autotune, in a 2002 interview with BBC Radio 1 the Sugababes detailed how, as youths, social bonding time was sacrificed for the studio hustle. Unlike zingy behemoth ‘Wannabe’ or the peachy, groovy ‘I Know Where It’s At’, Overload is a raw, brooding debut with the ability to raise the hair on any listener’s arms. Authenticity paid off and the song sat comfortably at number six on the UK Singles Chart.
Painting a simplistic portrait of coming-of-age melancholy and uncertainty, the music video displays Sugababes in their casual threads against a plain white backdrop. Panning from member to member, separate and together, the girls never cease their gazes. An aesthetic emulated in future videos, i.e., the lonesome meanderings of London suburbia in the downtempo ‘Run for Cover’, ‘Stronger’, and ‘Too Lost in You’, elements of Sugababes’ early visuals can be seen in the future presentations of Lily Allen’s ‘LDN’ pastiche and Adele’s ‘Chasing Pavements’. In this vapid online age of self-indulgence rising girlband Flo, determined to reshape contemporary British pop, appear to be paying reference to their predecessors in the music video for their own 2022 debut - viral sensation ‘Cardboard Box’. Whereas a far more animated and upbeat approach, Cardboard Box’s video is no doubt an homage to the visual mystique of Overload – white background, matching wardrobes, female comradery.
Produced by the illustrious Cameron McVey, Sugababes released One Touch, their most profound body of work, on 27 November 2000. A surprising display of emotional maturity exemplified by distinctive soundscapes were enough to sway sceptics and critics. Siobhán’s endearing charm shines throughout, Mutya’s soulful husky tones are in full swing, and the powerhouse perfectionism of Keisha never fails to impress. ‘Soul Sound’ and ‘Lush Life’ are standouts. Even so, positive album reception couldn’t make up for poor sales. Failing to meet record company expectations, the group were eventually dropped the following year. Nevertheless, the appeal of Overload would grant Sugababes an appearance on Top of the Pops, garnering the group a growing fanbase overseas – Siobhán would later leave the group of her own accord during a 2001 promotional tour in Japan. Her replacement? Former Atomic Kitten member Heidi Range.
An eventual signing with Island Records catapulted Sugababes to stardom, ignited by the fuel of producer Richard X’s “We Don’t Give a Damn About Our Friends” – a bootleg electroclash mashup, later morphing into the underground dance classic we know and love today, ‘Freak Like Me’. A rework of Adina Howard’s original, with left-field interpolation of Tubeway Army’s ‘Are “Friends” Electric?’, the Sugababes-penned smash is sultry and seductive. Contemporary EDM and mashup culture has a lot to thank the girls for, with breakthrough Gen-Zers PinkPantheress and Amorphous proving that a UK garage or 90s R&B sample can be just as commercial through social media.
“Proving themselves relevant again to a newfound internet-savvy following, the group have solidified their pop girl heritage and legacy.”
With an audacious music video to match, like something out of a Gaspar Noé film, Freak Like Me was such a smash - in fact, it became Sugababes’ first number-one single. Carving a name for themselves in the big leagues, the group took home the Q award for Best Single in 2002 – beating industry giants Oasis and Red Hot Chili Peppers. Even new wave pioneer Gary Numan, lead singer of Tubeway Army, is a fan.
Proceeded by the forever iconic ‘Round Round’, Sugababes were fast becoming the new it-girls of British pop. The Xenomania collaboration paved the way for future Girls Aloud and The Saturdays production credits, and with a cutting-edge, high-budget ‘No Scrubs’-esque music video to amplify, the track once again peaked at number-one domestically. In 2003, it became Sugababes’ first hit in the US, peaking at number seven on the Billboard Dance Singles Sales chart.
Despite the circumstances, Heidi proved a loyal addition to the group until the ill-fated Sweet 7 era and subsequent hiatus, following line-up changes and unjust replacements alongside relentless tabloid accusations of alleged infighting. During her tenure Heidi bore witness to a string of hits including six number-one singles, peaking with saucy elevator romp ‘Push the Button’ and beloved fan-favourite ‘About You Now’; multiple UK top ten, platinum-certified albums; and six Brit Award nominations, including a win for Best British Dance Act.
Following their departures, Siobhán found solo success in the form of top 20 hit single ‘Overrated’, meanwhile Mutya’s ‘Real Girl’ album debut showcased stellar collaborations with legends Amy Winehouse and George Michael. ‘Song 4 Mutya (Out of Control)’ with Groove Armada receives regular rotation in gay bars, whilst the album’s title track continues to pack a punch as a popular TikTok sound.
After a brief stint as MKS between 2012-2014, the OG Sugababes lineup announced they would be reissuing One Touch in honour of the album’s 20th anniversary back in 2021. Following a lengthy legal battle, they won back the rights to their group name, commencing an ongoing digital marketing campaign. Society’s current obsession with nostalgia has played a vital part in the resurgence of Sugababes, the gays and girlies sporting noughties fashion altogether revelling in the memeability of hun culture. Promoting new endeavours on Twitter; sharing unseen content on Instagram; and poking fun out of viral memes with TikTok recreations, the Sugababes are back in business. Keisha’s YouTube channel is also a delight to watch.
Proving themselves relevant again to a newfound internet-savvy following, the group have solidified their pop girl heritage and legacy. A legacy that, commencing October, will see Mutya, Keisha and Siobhán hit the road again on a nationwide tour, following epic summer festival performances at Glastonbury and Mighty Hoopla.
Words: Douglas Jardim
