Girls Aloud are back – and pop will be better and weirder for it

The announcement that pop enthusiasts who appreciate the power of Biology and the peculiar fear that Cheryl has for cotton wool had been eagerly anticipating finally arrived just last week. The long-awaited news that Girls Aloud, now known as a mononym, were coming back together again and that tickets were up for grabs was the stuff every dedicated fan's dreams are made of.

Girls Aloud, Shangri-Las, and Runaways are some of the most exceptional girl bands ever. Although I was born in 1989 and should have been a huge Spice Girls fan, I wasn't. Even though I had their collectible photo album, which is now selling well on eBay, and could perform Mel C's famous leg-kick, being a fellow scouser and avid LFC supporter, they just didn't connect with me.

I never watched the music talent show that gave birth to Girls Aloud. During my moody teenage years, I preferred to listen to Interpol's "Specialist" on repeat. However, Girls Aloud's success is proof of their excellent music and compelling personalities.

The group was not originally intended to become the major success story of Popstars: The Rivals, a television program that was a new variation of their prior show Popstars (where another team unexpectedly gained popularity as Liberty X). The revised format was straightforward: the two bands, made up of boys and girls, would compete for the top spot on the Christmas charts in 2002.

At first, it seemed like One True Voice was going to win, but things changed when they chose a lackluster song from a late Bee Gees album. Meanwhile, Girls Aloud debuted with an energetic song called "Sound of the Underground," complete with surf riffs and drum'n'bass beats, and an impressive music video shot in an abandoned warehouse. The song nabbed the No. 1 spot and held it for four weeks. Girls Aloud had arrived.

The band has achieved an astounding amount of success and has been able to maintain it over time, with a whopping 21 singles that have made it into the top 10, four of which have reached the number one spot. This can, at least in part, be attributed to the brilliant team of producers at Xenomania. They were the ones behind the creation of the hit song "Sound of the Underground" which, as the story goes, was inspired by a popular dance track from the late 90s called "Addicted to Bass" as well as the classic nursery rhyme "The Wheels on the Bus." This group, led by producer Brian Higgins, became a regular partner of the band over time.

Higgins and the group he works with, along with main songwriter Miranda Cooper, record their songs in a Grade II manor house located in rural Kent. Their songs are creative and magnificent, such as Biology which starts off with an Animals sample and goes against the usual verse-chorus structure, changing direction three times. Another song, Love Machine, is recorded in 18 different parts and combines elements of rockabilly and 80s synth vibes. Then there's Sexy! No No No, which is an electro-punk track that even samples Nazareth. These songs are daring and unique.

However, it's the less popular tracks of their albums that I cherish the most. One of my favorites is "Miss You Bow Wow" from their last album, Out of Control. Another one that resonates with me is "Love Is The Key," which starts with a creepy hymn-like introduction and then transitions into a line-dancing country feel, accompanied by a harmonica solo played by Johnny Marr. "Graffiti My Soul" is also a standout for me, as it has a unique sound that blends Run DMC and Aerosmith's "Walk This Way" with Willie Nelson's country music style. Moreover, it has a touch of the Hacienda music culture and Prodigy's remixing skills.

Even the songs that some might consider failures, like Long Hot Summer, still managed to reach No. 7 and were better than the majority of mainstream music. Additionally, the tracks that weren't as innovative, such as the Spector-influenced The Promise, written in just seven minutes, or the slow ballad Life Got Cold, were still exceptional and stood out in their particular genres.

The female members played an important role in the success of the group. Even though they were sometimes unsure about some of Xenomania's unconventional ideas (Nicola Roberts had concerns about Sound of the Underground because it wasn't a popular music genre where she was from), they still contributed to the songwriting of four of the top tracks in Out of Control. Their beginnings on a talent competition show showcased their singing abilities, with each member possessing a unique vocal style that worked well with Xenomania's unusual music production techniques.

I really loved the band, and not just their recordings. These five young women were very likable, even though they had to deal with a lot of negativity from the media and people online. They were constantly at risk of having embarrassing photos taken by the paparazzi, and some of them were even bullied for the way they looked. Even so, they stayed strong and kept their sense of humor. They were from the north of England or Northern Ireland, and they were very confident and funny. In 2009, they won a prize from a website called Popjustice. It was a big deal because it was an alternative to other music awards that were seen as too exclusive. One of the band members, Roberts, went to a pub to collect the prize.

I've heard almost all of the bands that Sub Pop, the indie-grunge label, released in the early 2000s, but I never visited Seattle before. I adore the hip-hop music of the late 90s, its posters adorned my walls. However, I'm not entirely certain which side was the crip side. But we share a common liking for their flat vowel sounds and taking shots of tequila. The fashion sense of the bands from the 00s cannot be forgotten - tiny handbags, straightened hair using BaByliss, and spaghetti tops were the defining styles of the time, and quite relatable to me.

The sense of being able to quickly become friends with this group was strengthened by their amusing appearances on the E4 reality show, Off the Record (for instance, Cheryl not caring at all about climbing a hill in Athens just to see a view she could easily find in pictures) and Ghosthunting with...Girls Aloud (where Roberts firmly declined to participate in a seance, which is understandable).

I had the pleasure of witnessing the band play live on four separate occasions. One of these was particularly poignant as it marked their last performance as a group of five. This took place in Liverpool and was highly emotive. On another occasion, they played alongside Jay-Z and Coldplay at Wembley Stadium. Despite the lineup being somewhat unexpected, they held their own and delivered an impressive performance. Although their shows were full of flashy costumes and impressive set pieces, these elements never detracted from the incredible energy and passion with which they performed their set list. The band clearly had a deep love for their fans, especially evident when they played gigs in their hometowns.

The band put out five studio albums and two collections which were all certified platinum. They also released two live albums. They had lots of folks like me and Popjustice who really loved them, and they received attention from mainstream rock-oriented publications like NME and Q. Even Pitchfork, who are usually critical of anything "manufactured", respected them. The band had some cool collaborations with folks like Johnny Marr, Peter Hook, Bloc Party, and Arctic Monkeys. In fact, Arctic Monkeys even covered Love Machine on Radio 1's Live Lounge. I never had a preferred member of the group, nor did I have one that I didn't like.

After their time in Aloud came to an end, the girls all pursued different paths. Cheryl became a judge on a TV talent show and had five successful singles that reached No. 1. Coyle ventured into the music industry as a solo artist, opened a pub in Los Angeles, and created one of the most popular memes in TV history. The wise and grounded Kimberley Walsh found success in a new career as a stage actor and presenter. Roberts released a phenomenal solo album called "Cinderella's Eyes," which features a mix of electrifying pop, disco, and even rap. She also launched her own line of makeup products.

Next up is Sarah Harding. She was a lively rebel with short blonde hair and had always put forth effort into everything she did, whether it was being a student in Stockport, answering calls at BT, serving customers at Pizza Hut, or even writing a memoir. Despite her wild reputation, which she celebrated when she won a Brit award by shouting "it's about time!", she was known for her soft and beautiful singing on songs such as Whole Lotta History and The Promise. Sadly, Harding passed away from breast cancer at the age of 39, and the reunion tour scheduled for 2024 is dedicated to honoring her memory.

It's disappointing that Harding's obituaries mostly highlighted her tumultuous personal life, rather than celebrating her vital role in Girls Aloud's dynamic and uplifting pop legacy. Looking ahead to the group's upcoming reunion tour in May, I'm eager and determined to attend.