In Praise of Noughties Music

Musically, of the four decades that I’ve lived through (80s, 90s, 00s, 10s), my favourite is the nineties. It was my teenage decade, the era of personal discovery, so the music that I grew up with – Britpop, basically – has a subjective importance to me that nothing will ever match.

However, I’m moving towards the opinion that of these four decades, the noughties was objectively the best for music. At least, for the indie/pop/rock genre.

Just think of all the great bands that came out of that decade. The list goes on and on: The Libertines, The Strokes, The Killers, The White Stripes, Razorlight, Arctic Monkeys, Elbow, Muse, Franz Ferdinand, The Arcade Fire, Kings of Leon, Kaiser Chiefs, Florence and the Machine, Mumford & Sons, Keane, Snow Patrol, MGMT, The Darkness, The Yeah Yeah Yeahs and of course Amy Winehouse, are just a few of the incredible acts which were absolutely massive in the noughties.

Close behind them, you’ve got the likes of Kasabian, The Vaccines, Bloc Party, Vampire Weekend, Doves, Editors, British Sea Power, Fleet Foxes, Goldfrapp, Interpol, The Coral, The Decemberists, The Kooks, Athlete… I could keep going. OK, I will… Bat for Lashes, Rilo Kiley, The Go! Team, Wolfmother, The Zutons, The Thrills, The Delays, Cloud Control, Magic Numbers, Hal, The Noisettes… Even The Duckworth Lewis Method (Neil Hannon’s cricket themed band) got their fabulous debut album out just before the decade closed.

Even the massive commercial bands that critics and musos get a bit snobby about were actually pretty decent. It says something about the musical quality of a decade when the very worst thing it produced was Coldplay.

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