I’m still not quite sure what to make of SoundGirl.

On the one hand, the first two tracks that surfaced on their SoundCloud, “The Game” and “Walking On Air,” were some of the most promising material I heard from a new artist last year.

Initially, SoundGirl evoked the things I loved most about the Sugababes — not the recent Heidi-Amelle-Jade Sugababes, but the Keisha-Mutya-Siobhan Sugababes of yesteryear. That is, SoundGirl seemed like three lovely teenagers making moody pop music, rather than three fame-starved inflatable sex dolls who happen to sing and dance. (Sorry, loves.)

“The Game” and “Walking On Air” are both likable urban-pop confections; and like the early image of Sugababes, the SoundGirl aesthetic is refreshingly age-appropriate. Izzy-B, Olivia, and Little Nikki (bear with me, folks) feel like real girls, without the hyper-sexual, focus-grouped cynicism that has accompanied acts like Jessie J or Girlicious.

But their first single, “I’m the Fool,” throws something of a wrench into the mix. Co-written by frequent Xenomania scribe Miranda Cooper, the track is a boisterous, goofy romp featuring a terrific earworm of a chorus.

And yet, “I’m the Fool” leaves me puzzled. A lackluster guest spot from an off-brand Tinie Tempah-esque rent-a-rapper named Twizzle (really?) makes the whole affair feel sort of ponderous, and a burst of pop culture references that should evoke the nonsensical whimsy of the Almighty Aloud just feels a little sad and forced. (“This ain’t Glee, I’m back on The Wire, if this was Twilight I’d be a vampire.” Wut?)

In a savvy marketing move, the group is giving away “I’m the Fool” free via their official website, and touring in support of established artists like Pixie Lott and Justin Bieber should help build the girls some hype — but I think only time will tell if SoundGirl really are the second coming of Sugababes.

Today was T4′s Stars of 2010, a major pop showcase in West London’s Earls Court featuring loads of performances from the major chart-performing artists of the year. Let’s run through some of the MuuMuse favorites that hit the stage!

Ellie Goulding truly cut loose for her performance of “Starry Eyed.” (Fitting song for the night’s theme, no?) (WATCH)

Donning a ringmaster’s jacket, the twinkling starlet had an absolute blast working up and down the stage like a madwoman and kicking around the space balls floating through the audience–she even whips her hair back and forth for a perfect Britney hair flip at the 1:44 mark! I loved it.

Alexandra Burke worked it out to her RedOne-produced hit of questionable quality, “Start Without You.” (WATCH)

Of course she did some live singing and some choreography, but the real fun doesn’t start until the very end–at the 2:40 mark–when the boys ditch their tops and give us something really worth watching. Mmm…start me up!

Pixie Lott classed it up with a performance of the latest single off of her debut album re-release Turn It Up Louder, “Broken Arrow.” (WATCH)

Pretty straightforward–a nice, solid delivery of her gorgeous new ballad.

Look! It’s The Saturdays, performing their latest Top 10 single, “Higher”! (WATCH)

While their styling is still a tremendous issue (and why are we performing on a car again?), the vocals and choreography were completely on-point. Una nailed that major note again as she did on Lorraine, and Vanessa even had a brilliant, semi-overenthusiastic note at the song’s very end! A job well done for the girls carrying us through until a better girl group comes along.

Finally, The Wanted performed their mega-smash debut single, “All Time Low.” (WATCH)

Starting out with a rather exciting burst into flames, the boys did their thing to the screams and tears of a million girls and gays. Highlights include the awkward one’s awkward white boy jig at the 0:56 mark (Jay), the torches aloft moment at 2:10, and the hot one’s general existence on stage (Max, bald one). Work it, sexy boys!

And those are the performances you should know about. Have a good rest of your weekend!

“Stomp, stomp, I’ve arrived,” Jessie J declares off the first verse of her debut UK single, “Do It Like A Dude.”

Above is Jessie J, a new-ish artist from the UK preparing to debut.

While there’s not a lot of information on Mizz J at the moment, her official website offers a few important hints: She’s major label (Universal Republic/Island), she’s got an album coming out soon called Who You Are, and she loves being covered in paint.

She’s also got a debut single, and it’s a stormer called “Do It Like A Dude”: “I can do it like a brother, do it like a dude / Grab my crotch, wear my hat low like you,” the lady taunts above the song’s hard-hitting chorus. It’s the very definition of a ‘boss bitch’ track, as Miss J works her swag along the song’s infectious array of grinding drum beats.

For fans of Rihanna‘s Rated R album, Ciara‘s “Like A Boy,” and X Factor‘s Cher Lloyd, you’ll want to give “Do It Like A Dude” a try.

Yet the other songs on Jessie’s MySpace reveal a versatility than one probably wouldn’t expect after hearing “Do It Like A Dude”: Songs like “Who’s Laughing Now,” “Price Tag” and “Casualty of Love” take a step away from the drum machines and into swinging ’60′s melodies, all while revealing the singer’s incredibly melodic natural voice.

In fact–it isn’t just melodic, it’s major. The power and force she supplies in her live vocals is actually awe-inspiring. Want proof? Look no further than her YouTube account, which features several jaw-dropping, show-stopping acoustic covers recorded on the fly.

With her other songs, the singer tackles issues of fame, fortune, and all the insecurities that come along for the ride, all while supplying some excellent R&B and soul-infused Brit pop in the process–not unlike Pixie Lott, Natasha Bedingfield, or even Alicia Keys.

Strange array? Just listen to the songs–you’ll see: This ain’t no one-genre pony.

For more on Jessie J, check out her MySpace or her official website.

Thanks to Muuser Calen C. for bringing her to my attention.

Working with Kylie is like working with every artist I have ever wanted to and continues to be as exciting and fresh every time we do something new.

As promised, here comes part two of my interview with the sensational producer, remixer, songwriter and musical director (amongst other titles!), Mr. Steve Anderson.

Go ahead and read on to learn about Anderson’s unreleased electro-ballad with Britney (“Grow”) and much, much more Kylie gossip (Unreleased tracks! Scrapped setlist ideas!), as well as Anderson’s thoughts on remixing, the music industry today (including a killer list of artists to watch), and his latest project: Launching his latest chanteuse Elouise into the seemingly impenetrable territory that is North America.

Click “Read More…” to read the full second half of the interview.

Missed part one? Or just want to brush up on last week’s installment? Click here to see the first half!

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I don’t want to tempt fate, but if that’s not a number one, I’ll eat my sofa.

As the man responsible for such songs as Diana Vickers‘ “The Boy Who Murdered Love,” The Saturdays‘ “Chasing Lights,” and Will Young‘s “Anything is Possible,” as well as some of the upcoming material from Pixie Lott and JLS, pop songwriter and producer Chris Braide has seen his fair share of glory in the UK Top 40 recently.

Two weeks ago, I had the great pleasure of speaking with the busy producer from his studio in London (which is about to be packed away and carted stateside!)

I’m quite proud of this interview–we touched upon all sorts of artists and ended up having a really in-depth discussion about the very nature of pop itself.

Read on to hear all the gossip from behind Braide’s soundboard–loads of pop nerd chatter ahead!

Click “Read More…” to view the entire interview.

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Above is the newly released video for “Gravity,” the latest single from Pixie Lott.

I’ll admit, I’m a bit late jumping onto the P. Lott bandwagon. Additionally, I don’t think “Gravity” is anywhere in the league of the songs that initially attracted me to her (please see ““Mama Do” and “Boys and Girls”).

Nonetheless, I still think it’s a pretty solid pop tune. Very airy, very fluff…it’s all a bit Natasha Bedingfield meets Jordin Sparks‘ “No Air.”

In case you’re thinking of counting her out as a one-dimensional pop tart, don’t. Just Check out her Live Lounge cover of 2009′s summer smash “When Love Takes Over” by Kelly Rowland and David Guetta and tell me that isn’t some raw talent.

“Gravity” will be released on March 8.