This rate wouldn’t exist without “Overload”.
That seems like such a self-explanatory thing to say, but without the revelation that was “Overload”, what would amount as the Sugababes discography is likely to have been so meagre to not warrant a rate (probably enjoying a spot
here instead). That seems like such a heavy brush to paint it with, but “Overload” is that pivotal. It established a band made of three mismatched teenagers as a minor gale force on the UK pop music scene, upended expectations of what a girlband could and should be, and set the band up for a decade long stint in the industry.
The turn-of-the-millenium gifted us with so many amazing girlband débuts, from “Wannabe” to “Never Ever” to “Sound Of The Underground” to even “Right Now”, but “Overload” might very well be the pick of the crop. Not only in its innate power, but in what it would mean to the band. In totality, it doesn’t completely capture what the Sugababes ‘sound’ is, but that sound is perhaps too voluminous and diverse to be captured by a single song. What it does capture is a certain essence; of hauteur, of knowing coolness, that would come across as aloof if it wasn’t for the sheer thrill it was. It was about something a little different as a girlband. Away from the gaudiness, the noise, the synchonicity, and towards a more modest, assured and self-deprecating kinda
cool.
Like all of the band’s opuses, every element of the song comes together to just work. In the first ever instance of this though, it was postiviely divine proclamation. The production, the handiwork of Cameron McVey, Paul Simm and Jony Rockstar, is so geniusly minimal. The random whooshings, the flickering drumbeat, the keyboard rattling and the understated bass riff set up an infectious beat that bubbles the song forward. It is layered on with further keyboard effects, little Macarena shakers and the chorus-introducing clatter. It’s all joined, with one final rush, in the surf guitar solo that leads the middle eight, and somehow completes the song in unexpected measure. The whole package somehow traverses pop electronica, R&B and hip-hop with hints of funk thrown in for good measure. What is most tangible though, is that
groove; slinking, silky with porous edges. Addictive to no end.
One could try and dismiss it as a producer’s showcase, but the vocals and songwriting, credit to Mutya, Keisha and Siobhán are effective barriers to this. The gobsmacking feat of “Overload”, of course, is that the Sugababes did this at sixteen. There’s such a crispness to the vocal takes; Siobhán handling both verses such a matter of fact-ness; Keisha taking on lead chorus vocals with that buttery tone; and Mutya stepping into utterly obliterate the middle eight. It sets up, from the get go, such a harmonious balance between vocal duties and strengths, where each member is distinctly present and separately appreciable. And of course, the world’s first introduction to some of the most beautiful harmonies to exist in pop music. Filtered in as if from a tightly controlled tap, they seep over the song softly, and with subtle buildup.
Alongside the vocals, the three bare it all out with a wonderfully rich lyrical narrative. It’s one of the songs on the début that can most easily be classed as ‘juvenile’, yet there’s such poetry in how they lay out even a simple jitters-over-a-boy narrative. Practically every line is a lyrical gem. Count them: “strange fear I ain’t felt for years / boy’s coming and I’m close to tears”, “Imagination's playing round for free / In my world I take him out for tea / Oh my God, can't say no”, “it’s a one way ticket to a madman situation”, “basically probability / Says that fate's come side with me”, and the best, the blinding
exhale of “It’s been so long on my shelf”. Clever, pithy permutations of the word that spell out the trepidation, the nervousness, the internal strife of that first encounter. Sure reduce it to youth if you want, but that crackle in the air on your doorstep, at the train platform, as you check your phone … that’s all lifelong.
For me, “Overload” is most impressive in just how tightly constructed it is. Notice the featheriest of harmonies layering the second verse, or the lightest guitar riffs licking the underside of the second chorus, as step ups from the first go-around. They all create a subtle sense of progression, so that when the song’s true rupture occurs in the middle eight, what comes after – the explosion of all the song’s elements across the last chorus, and especially the full on blare of the harmonies – is entirely digestible. It’s a remarkable feat of songwriting, so prismically controlled with a vice-like grip, yet feeling as silkily smooth and airily freeform as if blown out to the winds.
With its release, the song came with two elements that would make concrete its
raison d’être in the most comprehensive way. First, the video, which is simply shots of the three girls scrolling past from right to left on a white background, in a variety of guises, and at times seemingly breaking the fourth wall. This is interspersed with shots of the trio spinning in front of the camera and of them silhouetted in wind-machine motion. It’s such a simple concept for a video, but striking in that simplicity, being somehow innately choreographed to the rhythm of the song. And in deriving iconicness from nothing once again, the video set a marker of sorts, being shameless copied by the likes of Atomic Kitten for their
“Whole Again” video reshoot.
The second element, of course, was the choregraphy devised by the band for the song’s live performances. Just the three of them on stools, crossing and criss-crossing their legs and turning their heads in rhythm, and later hopping off the stools during the middle-eight for the most half-hearted of boyd gyrations, and then calling it a day. It made, and still makes, a complete mockery of elaborately synchronised girlband routines (not the least the routines the Sugababes themselves would go onto tie themselves up in as the band went on). There was something so invigorating about seeing the whole spectacle of pop pop reduced to a charade like that. Paired with a killer song, it’s almost uncomputable, but cashes out in the end more evidence of the song’s inventive flair. Of course, this wasn’t some sort of independent, authentic strike against “manufactured pop” or whatever; the routine, and the nascent band’s aloof demeanour in general, is just as likely to have been crafted by management behind the scenes. But, and especially from that angle, it succeeds as well as the maligned “manufactured pop” in selling a story, of offhand authenticity and detached, confident sangfroid.
“Overload” was a modest commercial success, peaking at #6 on the UK charts, and being a surprise crossover hit internationally, including hitting #3 in Germany and Austria, #5 in Switzerland and #2 in … New Zealand. Was my country stanning
talent right from the start? Yes it was,
yes it was. This was enough to impel the release of its parent album, and sustain a four-single campaign. Moreover, “Overload” was fodder for critics tiring of the rote downturn of mainstream pop at the time. The song is, to this day, the band’s most acclaimed song. It received a BRIT nomination for Best British Single. It would make
NME’s Year End Top 10 Singles for 2000, place at #51 on its list of the 150 Best Tracks of the Past 15 Years and rank at #493 on lits list of the 500 Greatest Songs of All Time. It would also rank at #432 on
Pitchfork’s Top 500 Tracks of the Decade list in 2009.
This sort of critical acclaim explains the mythos that 1.0 and
One Touch garnered, which would subsequently crystallise over the coming decade and the band’s many ructions. Enough to fuel, in part at least, the reunion of its originators, and when it so implausibly happened, for the reprisal – opening their sets and with the same routine – to be an utter triumph. The girls, women now, going through the motions of that routine with a bemused, playful sagacity, perhaps finally reflecting the intended state of mind of the performance which may have been put on thirteen years previously. That in itself was the validation of the multitude of love affairs that were set off thirteen years ago from fans buying in who yearned for that cool, an investment that the band would repay in a variety of guises over the coming years. And always, whether knowingly or not, those offerings would circle back to and around the quiet rush unleashed by “Overload”.
It was, always then, about that coolness. The kind you couldn’t fake, or feign. Three girls on three stools with three mics, singing about boy troubles but feeling and sounding beyond their years. Implaceable, irreverent and, very quietly, irresistible. Like they had the world before them, and something like lightning captured within four minutes, and they didn’t even fully know it. But
you knew.
kal (10) goes back, back to the beginning, “I remember seeing the music video on MTV when I was 11 but did not pay much attention to it at the time. In hindsight, this is the perfect song to introduce The Sugababes to the general public. The instantly infectious thumping beat was a breath of fresh air in the polished manufactured pop landscape at the time. It instantly set them apart from their peers. One of the rare songs with Mutya doing the middle eight and obliterating it. A classic.”
Deborux (10) also stans the middle eight, “this was so exciting when it came out and it still sounds great with fabulous vocals. Mutya’s middle eight in particular is phenomenal.” Mutya is a woman. Phenomenally.
Phenomenal woman. That's
her.
MrJames (10) also joins my poetry reading, “A stupidly phenomenal debut single.”
berserkerboi (10) is refreshed to the nth degree, “The song that started it all and even inspired Atomic Kitten’s best track! What a force this band seemed when this song came out. It was as if we were moving away from usual pop records completely. The identity and individuality behind the girls and their image was such a breath of fresh air! Still sounds so different to every other song out there even 15 years down the line. An undisputed classic (no matter where it ends on here - do it justice people!!)” They kinda did?
Solenciennes (10) breaks down the
legacy “that iconic intro, the whooshing, the “Reebok Matterhorn”, Siobhán leading the way, the surf guitar… so many incredible components to this wonderful song. The minimalist choreography, of course. The world was introduced to three brilliantly aloof talents with this song and it was the perfect lead single. It inspired loads of other girl bands too – Atomic Kitten pinched the music video (so Sugababes pinched one of their ex-members, what a #clapback), Girls Aloud jumped right on the underground after hearing the train was coming (so Sugababes got on the
Love Actually soundtrack and left Girls Aloud in the Pointer Sisters’ dust) and they pinched the surf guitar too! The influence this track has had extends far beyond its staying power on the charts at the time and it’s no wonder that when Mutya, Keisha and Siobhán reunited, their first single in over a decade together took all the best components of “Overload” as inspiration for “Flatline”.” *supresses sniffle*
In the Hindu epic the
Rāmāyana, the monkey deity Hanuman sets fire to the island of Lanka with his tail to aid Rama's rescue of Sita from the demon king Ravana. Lanka is this rate;
Mina (4) is Hanuman: “I’ve never gotten this song. And the video is dizzying.” Which is an
excellent reason to downvote a song. I also cannot help
VivaForever (5) find taste, because c’mon “Terribly overrated. ‘Train comes, I don’t know its destination’ is fantastic, but their voices are horrible and razor-thin on this.” Where_are_they.gif? Sigh.
Here are some more fakes, faker than this ridiculously amazing
Cowboy Bebop ripoff of the song. A tepid
ssa (6) plods “It’s cute, it’s fun, it’s spinning around. It’s also really nothing I can say I love.”
uno (6) predicts my reaction, “I know I’m probably going to get a bit of shit for ranking it so low, but this song has never done much for me. Whenever I do listen to it, it’s mostly while watching the video and swoon over how adorable they looked at that age - especially Mutya. An above average song, and a good debut, but I wouldn’t put it anywhere near their Top 10.” Well the others voters did so ha!
CasuallyCrazed (8) needs some corrective ear surgery, “I know this is the one that launched it all and the melody is undeniably iconic, but it still sounds like an unfinished demo to these ears... Siobhán is a goddess, but she struggles with the chorus.” Hatin' ass
Chanex (7) piles on, “It’s all about the chugging beat but I’m of the unpopular opinion that it doesn’t really go anywhere. And OK...this is going to get a lot of hate but I think Siobhán’s voice is super annoying-sounding at the beginning. I usually have no problem with it though!” That’s enough from you. Shiv at least has a fan in
DJHazey (8), “this one never quite became a favourite for me. But Siobhán’s verses, especially the opening stanza, always stop me in my tracks.”
cryctall (7) twists themselves into knots trying to find faults, “I used to dislike this song, but now it’s not bad. Very good from time to time. I don’t get it, I guess, just a song for me. Can’t say bad things about it, but I like about half
One Touch more than this. Enjoyed it on tour, live performance gives it a spark.”
“Timeless,” coos
Jam (10).
Robinho#1 (9.5) elaborates, “It has been well over a decade and it still sounds refreshing. Timeless.”
tylerc904 (10) sounds the timeless klaxon for a third time, “Timeless. Such a brilliant debut, worthy of every single praise. Cannot believe these girls were teenagers when they unleashed this beast on the world.”
mrdonut (10) concurs that “This classic remains incredible for many reasons: the concentration of maturity and sophistication in a debut single from a band aged only 15 or 16 at the time; its talent to be infectious without losing quality or credibility; those wonderful harmonies that tease what’s to come in the following years. “Overload” probably deserves to win this rate solely based on what it achieved and how it broke through the surrounding pop landscape with a winningly unique and inventive sound.” Sadly, it didn’t come very close to winning, being separated from the winner by some 35+ points. It did deserve to do at least a few positions better than this, if only because some of the remaining songs just don't feel as Important.
xondus (10) goes on, “This will never sound outdated, out of place or anything less than fantastic. Siobhán’s young vocals makes this song and that surf guitar solo is still everything.”
P’NutButter (10) calls it “a classic, truly one of the best girl group tracks ever.”
Voodoo (10) meanwhile behoves themselves to speak for all other girlbands “An absolutely perfect pop that just had to be their debut. The other girl groups were SHOOK when they heard this.” Yas hunny!
Sprockrooster (8) blurts out some actual blasphemy, saying they prefer acts of fraudery and scammery more, “Yes I am bringing up
“Make Over” too and since Christina shamelessly stole the beat, that version has won it for me in time. That does not take away this is still quite nice.” I, too, prefer the copy of Starry Night I picked up for a few euro from a sketchy vendor by the Seine to the original. Over time, of course. I’m still bemused that Kleptina Aguilera and Linda Robbery thought they could get away with it; it did get the girls credits on later pressings of Stripped and a settlement for Linda to write a song for them later (though your mileage may vary on “Nasty Ghetto” as suitable punishment).
PCDPG (7) tries and fails to rate from the head, “I don’t have a biased view or memories attached to this song (or One Touch as a whole). Therefore I most likely rate it lower than other people on this forum. I recognize that it’s an amazing pop song. However I find it a little bit to long and don’t like Siobhán’s vocal delivery. The high rating is more based on the fact that it was the foundation for the legacy of the Sugababes. I appreciate what it’s done for pop music, however I don’t find it that special. I wish I was older when “Overload” came out. That way I would have memories attached to it and maybe it would have had an impact on me while growing up.” I mean I was barely in my teens when it came out, and that didn’t stop me.
remorque (10) provides some memories to maybe prove
PCDPG’s point right, “As far as girlband debuts and even their album debuts go, it doesn’t really get better than this. Siobhán’s cold verses, Mutya’s attitude-filled little middle eight and the girls’ ad-libs at the end over that robotic chorus that is complimented by those ghostly background harmonies make for one of the most interesting listens in girlband history. I still remember being mesmerised by these three girls just sitting on chairs on
CD:UK all those years ago. Absolutely fantastic.”
roux (10) meanwhile provides a counterpoint that yes you can be young and still recognise talent, “Surely one of the greatest debuts ever? I liked it at the time but was too young to truly appreciate its genius. It’s even more remarkable when you consider how young they were. I’ll never forget how they did the absolute least with the dance routine - there was nothing cooler than being totally aloof at the turn of the millennium.”
londonrain (10) also stans The Routine, “ What a great debut single. I remember hearing this when it came out and being immediately drawn in. Also, the routine with the stools was a great decision (as opposed to every other girl group, who was off learning full choreography.)”
Ironheade (10) is lost in that groove and makes a bold declaration, “The best career kick-off you’ll ever find. This really grooves in a way that’s vanishingly rare now, with its smooth, lively funk bass and uncluttered percussion arrangements, and some splashes of acoustic guitar that send things skipping ahead nicely. Siobhán’s appealing air of vulnerability in the verses really sells the song, and for all the doubts contained in the lyrics of the chorus, Keisha’s astonishingly smooth and assured vocal sure as hell isn’t letting you in on it. And ohhhh man, Mutya making her presence known over that clanky piano and metallic percussion just screams "I am the standout member of the group!", with an ice-cold yet girlishly eager edge that is downright indelible. Plus, it has the most badass guitar solo ever to be on a girl group song. (Hear me, teen pop stars of the world? If the Sugababes can make this at sixteen, what’s your excuse?)” Indeed.
Filler (9) goes off on one of his tangents, “I was convinced for years that the ad-lib in the last chorus, I think "our secret’s safe in bed"?, was actually "I’LL SLEEP WITH ANY MAN". I’ve just Googled it and it brings up a bunch of ropey Polish lyrics sites that all call them "Sugar Babes". Big fan of the Sugar Babes. Well this commentary has got off to a brilliant start.” I may or may not have misheard it similarly.
Runawaywithme (10) gushes like the Hoover Dam during a catchment release, “I love this song so much. Siobhán really shines here, the production still sounds like a breath of fresh air now like it did all those years ago. It just effortlessly blends so many styles. I remember listening to it on the radio at my nana’s house when I was really really young. Siobhán really shines here she sounds so mature and sassy, her unique voice really suits this song and her parts turn a very good song to a fucking amazing song, she sounds so cool and calm. It’s a shame we didn’t get to watch her grow in the group in some ways, but in others in very glad she discovered herself through her own music as she clearly wasn’t happy in the bad, but she put her stamp all over this bop.” That is a really interesting question that’s not posed enough: what watching Siobhán grow up with the band would have been like.
Epic Chocolat (9.8) deems it “A memorable and disctintive debut.” “This is still such a weird song! I love it!” exclaims
CorgiCorgiCorgi (10).
Constantino (10) hollerates “BOPPP! This is such a classic and happens to be my favourite debut single by any girlband ever. It’s just so different, fresh and yet TOTALLY and UNEQUIVOCALLY of its era. The harmonies are on point there’s just something so sharp and hypnotizing about it that I just live for. I would argue that, because of these factors, it is one of the best debut singles ever. This holds a special place in my heart and it better make the top 10.” It did!
Blayke (10) blurts “Alas! This is where it all began. It seems fitting that this rate begins with this because this very amazing song started a legacy. From the iconic growly mood from the girls, to the lack of choreography, this song demonstrated cool. To me it was like a junior version of All Saints. They had that edge. This song is forever a staple in their legacy and the history of pop and girl groups. I didn’t feel right when 2.0 or 3.0 performed this song. Mutya Keisha and Siobhán performing this song recently really reignited the magic of this song.”
acl (10) has convinced themselves out of the studio version, “This is of course a brilliant perfect 10 classic and although I prefer other songs on this album is iconic and deserves respect. When it was released my favourite part was Keisha’s yeah yeah yeah and situation add libs. I don’t listen to the original though and instead prefer the live acoustic version as their sweet vocals give me life.”
Canada has produced many queens: Céline, Shania, Carly Rae, and now
ohnostalgia (10), “Can you imagine your teenage self in the early 00s picking up
One Touch on a whim at the local record shop, plugging in your headphones, and immediately being immersed in the musical universe that is “Overload”? I’m lowkey furious that I deprived myself of that moment and I shall be trying to atone for the rest of my life. I think there’s something so special about that propulsive bass line and the soundtrack-esque production coupled with the line "train comes, I don’t know its destination, it’s a one way ticket to a mad man’s situation." When you’re young the future is usually scary in the absolute best way, but as you grow older and older you’re conditioned to think of future uncertainty as failure. Somehow this song morphs both realities into one delightfully twisted soundscape well beyond their years.” YAS MUTHA.
“Overload” equals the standing record for 11s in the rate again (matching “Situation’s Heavy” and “Conversation’s Over”. Though one wonders
when the record will actually be broken...) One of the 11s,
theincredibleflipper, is here to comment and relive, “It’s a stone cold classic for me. I always felt it is way more popular in Germanyx than it is in the UK? I remember hearing it on an UK chart newsflash on a German radio station and waited so patiently to finally get an important single CD at a record store. Good times.”
Good times.
