Posh Spice has (rightfully) undergone a career resurgence courtesy of son Brooklyn releasing that Instagram story about the Beckham family feud.
It’s easy to dismiss Posh as a popstar. She was never considered the strongest voice in the Spice Girls and had very few lead vocals, which meant she was often easily ridiculed and overlooked. Yet, if you give her a chance and listen to her few Spice lead vocals and her own music, you realise that she actually has a rather pleasant voice – smooth, silky and clear with a lovely tone. It’s not going to be up there with the Whitneys of the world, but neither has she ever claimed it to be.
I’ve long loved Victoria’s solo career. Whilst brief, it had some brilliant pop and it’s always felt overshadowed and overlooked. It was also cut short by circumstances beyond her control (her record label towards the end, Telstar, famously bankrupted themselves signing her).
Victoria only released one album during her solo career, the creatively titled Victoria Beckham, and on it she opted for sultry R&B and shiny pop. It’s the fifth most expensive album ever recorded and ranks amongst albums by Michael Jackson and Guns N’ Roses for this.
After Victoria Beckham didn’t sell quite as hoped, she signed a £1.5 million deal with Telstar Records and 19 Management. She recorded an electropop album, Open Your Eyes, but, craving a more urban sound, she quickly made another too – the hip hop/R&B-heavy Come Together. There’s an alternative version of events that says she recorded Come Together first, but the label rejected it and pushed her towards the more radio-friendly Open Your Eyes instead. Either way, she ended up releasing a double A-side that pulled from both projects: ‘Let Your Head Go/This Groove’, almost as a test to see which direction the public wanted. Months later, Telstar announced bankruptcy and, frustrated by all that wasted studio time, Posh gave up music and waded into the world of fashion.
Below, I’ve ranked 10 of her best songs (subjective, of course). They range from her hits to tracks from her unreleased albums.
10. A Mind of Its Own
‘Stop, slow down, take a deep breath’, affirms Posh in an almost-American drawl. It regularly appears in my head when I’m a little stressed or overwhelmed, so I guess it’s got a special space in my heart.
‘A Mind of Its Own’ is a pop-garage blend with a lurchy, shuffling bounce, a clean programmed groove, smooth pads and keys, rounded bass and jittery synths. It’s a mid-tempo ballad which plays to Victoria’s strengths, and she sounds great here. The verses are comprised of spoken phrasing over jittery synths before a lovely, soaring chorus with a perfect pop melody launches in. ‘A Mind of Its Own’ is a perfectly pleasant pop song – not especially innovative or memorable, but I’ve always enjoyed it, hence why it’s here.
9. Open Your Eyes
A euphoric, pulsating dance track taken from the unreleased album of the same name. Emulating Kylie at her best (think ‘On a Night Like This’,) but in many ways feeling slightly more Dannii (I mean that as a compliment), particularly in vocal delivery, ‘Open Your Eyes’ is full of clean and quantised thumping beats, jittery synths, mechanical production with a big, glossy sheen, and Posh’s clear, deliberate vocals. It’s also a little ‘Ray of Light’ by Madonna in terms of texture and energy, and is a huge dance smash – it genuinely could have been a massive hit, had it been released.
8. That Kind of Girl
A velvety R&B slow jam, you could easily dismiss ‘That Kind of Girl’ from this list, but the fact is, Victoria’s deliberately placed, clear and silky smooth vocals were a perfect match for R&B. ‘That Kind of Girl’ is from her self-titled solo album and is very much of its time – a silky early-00s R&B jam with 90s R&B flavours. Shimmering keyboards over unhurried R&B beats and 90s chords are the perfect backdrop to Victoria’s soft lead vocal, with supportive layered backing vocals. Simply lovely.
7. I’d Give It All Away
Another track from her unreleased album Open Your Eyes, ‘I’d Give It All Away’ is a huge electropop track largely carried by its mechanical cacophony of kicking (almost march-like) drums, with programmed synth strings, wide synth pads and siren-like synths. It’s a moody yet euphoric track with a massive chorus lift, and the production style makes it just that bit cooler.
6. This Groove
I have a love-hate relationship with ‘This Groove’. I think it’s a brilliant, slinky R&B track with excellent production, and Victoria’s vocals are perfectly matched to the programmed guitar riffs, distorted bass and drum track. I guess I’m not as keen on the verses but then, that’s kinda what makes the track work – the verses are moody, sexy and pulsating before giving way to a lighter, airier chorus. It reinforces how much R&B suited Victoria. Plus the flirty, spoken ‘Hi, it’s me. You wouldn’t believe what I’m doing’ ‘phone recording’ is an absolute win.
5. Be With You
‘Be With You’ is an absolute banger, and a dance-pop smash! Another track from her unreleased record Open Your Eyes, it’s breezy, cool and infectious electropop. The song utilises tight, syncopated hip hop beats with a lightly chopped breakbeat skin to create a skippy, shuffled feel, complete with glassy, rounded synths, filtered synth-bass and bell-like shimmers. Leaning heavily on repetition and as few chords as possible, it’s also slightly reminiscent of the French House music of the likes of Daft Punk.
4. Out of Your Mind
Where it all began! This was Posh’s first foray into the solo Spice world, though she wasn’t strictly alone, opting to collaborate with garage production duo True Steppers (who had a handful of crossover pop-garage hits in the early 00s) and ex-Another Level member Dane Bowers.
In 2025, it almost feels like Posh and garage music would be an impossible crossover, but it happened – and it was executed perfectly.
‘Out of Your Mind’ is quintessential garage, containing that classic 2-step pattern – creating a lurchy, side-stepping bounce – with a clean and percussive programmed guitar sample which feels almost harp-like in its execution, distorted bass, vocals laced occasionally with Auto-Tune, and tight production. And of course that famous almost-silly outro from Posh herself, concluding with ‘this tune’s gonna punish you’ – ICONIC.
3. IOU
I’m possibly being controversial by putting ‘IOU’ this high, but the truth is I’ve always adored this song (co-written by one of my favourite songwriters, Chris Braide), and I think it’s a gorgeous tune.
Opening with a rich, lush string section arranged by pop-orchestra guru Will Malone, ‘IOU’ morphs into a jittery, slickly produced, slushy pop ballad with glossy synth pads and a driving bassline which carries the song forward, along with a tight, programmed drum track. It’s immaculately produced, with the lush nature of the real strings a perfect match with the R&B instrumentation, and Posh has never sounded better.
She famously performed the track to her husband David (well it was written for him, apparently) on chat show Parkinson, with incredibly cheesy zoom-ins of his reaction throughout. I adore the little touches in the production – ‘And I never could repay that look that’s in your eyes’ has a clever filter to remove the harsh delivery of ‘never’ (listen to her perform it live and you’ll see what I mean), plus the tight and precise drum programming complete with small percussion ticks and shakers. Then you’ve got the glossy pop-sheen mixing by Mark ‘Spike’ Stent (a pop genius), the fact we have a proper string arrangement here, and its general nature in which it swells. It’s cinematic, lush and gorgeous.
2. Not Such An Innocent Girl
A slick, exquisitely produced dance-pop/R&B hybrid with tight programmed beats, pulsating bass, flourishes of that classic R&B harp sound, and flutters of R&B acoustic guitar. Again, her vocals are a perfect match for the R&B instrumentation. Like much of her work, it leans heavily on slick production, and that only elevates the track further.
What many don’t realise is a lot of Victoria’s songs make clever use of layering, whether that’s layering her voice (more than once) to create a heavier sound in the chorus, or clever use of sampling spoken vocals and burying them deep in the mix to add to the song’s percussive nature. It’s produced like much of the sleek early-00s R&B dance tracks of the time – glossy with pop sparkle and tight programming. The syncopated percussion layered over the main groove keeps the track moving forwards. It’s sexy, shiny and still an absolute pop gem.
1. Let Your Head Go
Victoria’s final single – the double A-side ‘Let Your Head Go/This Groove’ – was a final hurrah. She absolutely ended her solo career on a high, with both tracks well received by critics and fans alike. ‘Let Your Head Go’ was originally going to be featured on her first unreleased album Open Your Eyes, before being reworked (for the better) for the next unreleased album, Come Together.
It’s absolutely Victoria doing a Kylie-adjacent electro/dance-pop single, although again, perhaps slightly more a Dannii track (meant as a compliment). It’s very 2003 – club-ready but radio-friendly, with filtered, edgy electropop synths, four-to-the-floor driving thumping beats, a hooky bassline, and a repetitive but flawless hook: ‘Let your head go, shake your body free, because tonight the beat’s gonna get ya’.
It carries pop sensibilities over an edgy, almost underground dance instrumentation, with little risers, drops and release elements lifting the track. An absolute triumph!
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