Some songs refuse to stay in the decade that made them. Eamon’s “F_ck It (I Don’t Want You Back)” spent four weeks at No. 1 in the UK in 2004, led Billboard’s European Hot 100, and became the first UK chart-topper with an explicit word in its title. Twenty-two years later, Ely Oaks and sirinens have rebuilt that blunt kiss-off as a high-tempo club record, out now on JINX Music as “F_ck it (I don’t want you back).”
The pitch is simple and the execution is louder. Fast, bright, and built to work on the radio as well as at peak time in a club or on a festival main stage, the single keeps the original’s recognizable breakup message and puts it on a high-tempo electronic beat. The structure is clean and straight to the point. The energy is sized for big rooms, the kind of record a crowd can shout back at the booth.
Ely has been clear about where the idea started. “The idea came from Siri [sirinens] and we both absolutely love the original Eamon song,” he said. “It’s definitely one of those songs that immediately triggers an emotion especially if you know it from earlier times.” The moment that sold him on the remake was the bass chords. They add energy and a darker vibe against the laid-back beat of the 2004 original, and he says that shift almost gives the song a new meaning. A short version had already gone viral on Instagram and TikTok. This is the full version.
That darker bassline is the whole point of the update. Peak-time techno and bass house live or die on low end and forward motion, and this cut leans into both. Where the original sat back, the new version drives. Driving percussion and a booming bassline turn a bitter message into something a dancefloor can use. Submitted as Peak / Driving Techno and Bass House / Electro House, it sits in the lane Ely has been owning: commercial dance accessibility with underground weight, short enough for playlists, built hard enough for a main-stage drop.
The timing is not accidental. The single follows “Self Aware,” out September 11, and his remix of Gryffin, BUNT. and Inéz’s “World Away,” out September 18. The year has already included his official remix of Taylor Swift’s “Opalite” and “Gravity,” his collaboration with Steve Aoki and SACHA. A September run that dense is how a dance artist stays in the algorithm and on the road at the same time.
Born in the ski-resort town of Kitzbühel, Austria, and now based in Berlin, Ely Oaks is one of the busiest names in that crossover space. He is sitting at roughly 9.4 million monthly Spotify listeners, with more than a million followers across TikTok and Instagram. In 2024, TikTok named him the most-followed DJ in Germany. “Running Around” is past 180 million streams and landed in Spotify’s Songs of Summer 2025 campaign. “Borderline” with LAVINIA hit No. 35 on the UK Singles Chart and No. 17 in Germany, and is also past 180 million streams. Other standouts include “Tsunami” with Alok and “Sound Of Da Police” with Timmy Trumpet, plus official remixes for Marshmello, Nate Dogg, and James Hype.
The path into that catalog was not a straight dance-music one. Early obsessions ran from Foals to a teenage metalcore phase around Bring Me The Horizon, a school band that kicked him out, and EDM discovered through a Skrillex remix. After dubstep experiments and a stint in the touring duo ZOOTAH, he launched the solo project in 2021. A viral remix of Florence + The Machine’s “Spectrum (Say My Name)” was the breakthrough. Since then the sets have reached Tomorrowland, Ultra Australia, Ushuaïa Ibiza, and EDC Orlando, and the releases have gone out through the German indie label JINX Music.
The single is also the tone-setter for the next long stretch of shows. An extensive North American tour starts in November and runs into 2027, with stops in Dallas, Portland, Seattle, Boston, Houston, New York, Miami, Austin, Detroit, San Francisco, Denver, Orlando, Toronto, Montreal, San Diego, Los Angeles, and more. Dallas is already on the books for November 5 at SILO, with Portland and Seattle right behind it. A record that went viral as a short clip is the one he is taking into rooms from Seattle to Miami.
Remakes of 2000s pop are everywhere in dance right now, but most of them only borrow a hook. This one keeps the emotion that made the original stick and changes the rhythm underneath it. That is the difference between a nostalgia edit and a peak-time record.
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What do you think of this take on Eamon’s kiss-off? Drop a comment if the darker bassline works for you, or if you still want the 2004 version.
