BackSpin: Electro House Classics & Other Millennial Dance Club Hits! [2009 — 2010] Volume 7
Just when you thought we’d emptied the vault of bangers from this era, BackSpin Volume 7 comes stomping in with another round of club anthems that defined the dancefloors of 2009 and 2010. This was not a chill period in dance music—it was a full-throttle takeover. These weren’t just tracks you heard in the club; they were the soundtracks to pre-games, afterparties, breakups, hookups, and everything in between.
By this point, Electro House had become the default language of clubland. It didn’t matter if the artist was an underground favorite or a Disney Channel graduate—everyone wanted in on the energy. And with remixers like Dave Audé, Mike Rizzo, Jody den Broeder, and Jump Smokers consistently delivering top-shelf work, the line between pop and club music completely vanished.
Remix Culture Was King
Let’s be real—some of these tracks hit harder in their remixed versions than the originals ever could. Usher’s “DJ Got Us Fallin’ In Love” was already slick, but Jump Smokers cranked it up with a glammed-up club version that dominated summer playlists. Christina Aguilera’s “Not Myself Tonight” might’ve been polarizing on radio, but Jody den Broeder turned it into a pulsing floor-filler with an edge. Black Eyed Peas continued their chart domination with “Imma Be” and “Meet Me Halfway,” both of which got remixed within an inch of their lives—one dirty, one dreamy, and both undeniable.
And let’s talk about Lady Gaga, who basically lived on the dance charts during this period. You’ll find three of her biggest tracks here—“Bad Romance,” “Paparazzi,” and “Love Game”—all reworked by Dave Audé into high-energy triumphs that left no corner of the dancefloor untouched.
https://www.youtube.com/watch?v=Kszwg8u9--w
The Rise of Selena Gomez
One of the most fascinating shifts during this period was the arrival of Selena Gomez—best known at the time as a squeaky-clean Disney princess. But her early releases with The Scene were smart, polished pop that lent themselves surprisingly well to club remixes. “Round & Round” and “A Year Without Rain” became club favorites thanks to 7th Heaven and Dave Audé, respectively, who transformed them into soaring dance tracks without stripping away her youthful charm. Selena’s transition from Disney darling to legitimate pop artist began here, and the clubs were ready to embrace her.
Ke$ha’s Party Nation
Also bursting into the scene like a glitter bomb was Ke$ha, whose breakout hit “TiK ToK” became a global party anthem. Fred Falke’s remix gave it just enough disco-drenched sophistication while keeping its messy, rebellious spirit intact. Ke$ha’s arrival signaled a new wave of club pop—raucous, unfiltered, and entirely self-aware. She didn’t just want to party—she was the party.
https://www.youtube.com/watch?v=PIfB6k8LAJk
European Imports & Global Crossovers
This volume also shines a light on the growing influence of European club culture on the American mainstream. Edward Maya’s “Stereo Love” with its infectious accordion hook brought Romanian house to global attention, while Alex Gaudino’s “I’m In Love (I Wanna Do It)” showcased the sleek, sexy appeal of Italian house with a Wideboys polish. And let’s not forget Dennis Ferrer’s “Hey Hey,” which proved that a deep house groove could still cut through in a sea of EDM bangers—especially when remixed by Vandalism.
David Guetta: Architect of the Era
Guetta’s fingerprints are all over this era, and nowhere is that more obvious than his work on “Sexy Bitch” with Akon and his remix of Black Eyed Peas’ “Boom Boom Pow.” His production wasn’t just influential—it defined the electro-pop aesthetic of the time. His music lived at the intersection of hip-hop swagger, pop accessibility, and EDM power, helping turn club music into a true pop force.
https://www.youtube.com/watch?v=UHcE0WWAaw8
The Bold, the Brash, and the Unfiltered
This volume doesn’t shy away from explicit energy, either.
Italia