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Log inReleased in July 2016, Closer was the third single from The Chainsmokers’ EP, Collage. It features a duet between Andrew Taggart and Halsey, who depict two exes that hook up following a multi-year hiatus.
While Closer possesses many of the core characteristics found in hit songs, what really sets it apart is its main hook. Lifted from The Fray’s 2005 hit, Over My Head (Cable Car), it is featured in various manifestations in every section of the song, which is quite rare. As a result, this earworm is difficult to shake, but remains fresh and engaging due to its constantly changing qualities.
Since its release, Closer has risen to the top spot on over 20 charts throughout the world, including 12 consecutive weeks at #1 on the Billboard Hot 100.
Closer Deconstructed takes a deep dive into the songwriting and production techniques that helped make the song a global hit.
Overview, Highlights & Takeaways >>
Momentum/Tension/Intensity (MTI)/Energy/Waveform >>
At a Glance
Artist/Group: The Chainsmokers featuring Halsey
Song: Closer
Songwriters: Andrew Taggart, Freddy Kennett, Halsey, Isaac Slade, Joe King, Shaun Frank
Producer: The Chainsmokers
Record Label: Columbia
Primary Genre: Dance/Club/Electronic
Influences: Alt/Indie, Dance/Club, Electropop, R&B/Soul
Length: 4:00
Full Form: I-A-PC-B-IB-A-PC-B-IB-B-VB-IB-O
Key: Ab Major
Tempo: 95 BPM
First Chorus: 50 seconds / 21% into the song
Intro Length: 10 seconds
Electronic vs. Acoustic: Electronic/Acoustic Combo
Prominent Instrumentation: Bass (Synth), Claps/Snaps, Drums/Perc, Guitar (Electric), Piano (Acoustic), Synth
Primary Lyrical Theme(s): Love/Relationships, Hooking Up
Title Appearances: Closer appears 3 times in the song
Lyrical P.O.V: 1st and 2nd
Section Abbreviation Key
I=Intro
A=Verse
PC=Pre-Chorus
B=Chorus
C=Bridge
IB=Instrumental Break
VB=Vocal Break
T=Turnaround
O=Outro
Overview, Highlights & Takeaways
Closer’s main hook, which was lifted from a hook featured in The Fray’s 2005 hit, Over My Head (Cable Car), is featured in various manifestations in EVERY SECTION OF THE SONG. Note that it is extremely rare to have essentially the same hook repeat in every section.
It’s delivered vocally by Taggart and/or Halsey in the choruses, and instrumentally by an array of synths and guitar in varying levels of prominence in every section save for the third chorus. As a result, the hook melody gets firmly ingrained in the listener’s head without wearing out its welcome due to its constantly changing qualities.
The hook is featured most prominently in lead form in the chorus (vocally) and instrumental break (instrumentally). It plays more of a supportive/underlying role in the other sections of the song.
What follows is a chart detailing the specific instrument and/or vocal delivering the hook, in full or in part, in each section of the song. Reference the Vocal Melody and Music/Instrumentation sections of the report for further details.
Key
-/-: First half of a section / second half of a section
x: Slight to moderate prominence in a section
X: Major prominence in a section
Closer’s primary lyrical hook does not include the title, which is typically the case with many mainstream hits. Instead, the following phrase functions as the song’s primary lyrical hook:
“We ain’t ever gettin’ older”
It appears as the very last phrase in each chorus section, it’s the only phrase that’s repeated in the instrumental break sections, and it’s the only phrase that’s repeated in the vocal break section:
Instrumental Break
Vocal Break
While every section within Closer can technically be considered a hook center due to the fact that the main hook appears in each, there are three sections that trump the others:
- Chorus: Features the main vocal hook and underlying instrumental hook (except for chorus 3)
- Instrumental Break (Post Chorus): Features the main instrumental hook and vocal hook.
- Vocal Break (Post Chorus): Features the repetition of the “we ain’t ever gettin’ older” vocal hook coupled with the underlying instrumental hook.
Form: (I / A – PC – B – IB / A – PC – B – IB / B – VB – IB – O) Closer kicks off with the intro, and is directly followed by a 2x repeat of a verse – pre-chorus – chorus – instrumental break sectional progression. Following the second instrumental break, a differentiated sectional progression consisting of chorus – vocal break – instrumental break – outro ensues, followed by the song coming to its conclusion.
Note that the instrumental break and vocal break sections function as post choruses due to the infectious instrumental and vocal hooks they house following the chorus. Additionally, the third chorus and vocal break function as bridge surrogate sections due to the departure they provide where one would typically expect to find the bridge (i.e. around two-thirds of the way into the song).
Section Length: Each full section within Closer except for two are 20 seconds / 8 bars in length. The exceptions are the intro and outro, both of which land at 10 seconds / 4 bars.
Sectional Time Allocation: The majority of time within Closer is allocated to its two primary “hook centers” – the chorus and instrumental break post choruses. Both account for 25% of the song’s total composition. The verse and pre-chorus follow at 17%, each. The vocal break post chorus accounts for 8%, and the intro and outro account for the least at just 4%, each.
First Chorus Appearance: Closer’s first chorus occurs at 50 seconds / 21% of the way into the song. The listener’s attention is effectively held up until this point by the intro, verse and pre-chorus sections that precede it.
Sectional Segmentation: With the exception of the chorus and vocal break, each full 20 second / 8 bar section is broken into two shorter 10 second / 4 bar segments, each of which possesses a differentiated characteristic compared to one another (some subtle and some more pronounced). As a result, new elements enter the mix frequently throughout the song, which accentuates the overall engagement factor (i.e. the listener never gets bored with cookie-cutter repetition).
Closer progresses through three MTI/Energy level “waves.” Each wave begins with a relatively low energy level and progresses to an energy level peak. Each wave concludes with an energy level peak except for the last (wave 3), which brings the energy level back down in the outro.
- Wave 1: Intro – Instrumental Break 1
- Wave 2: Verse 2 – Instrumental Break 2
- Wave 3: Chorus 3 – Outro
In contrast to many Pop songs that have the chorus providing an energy level peak and tension release following a build, Closer’s energy level takes a dive in the chorus due to its breakdown/sparse accompaniment characteristic, with the tension still accruing. The energy level peak and tension release is delayed, and transpires in the instrumental break section that directly follows the chorus. The tension build chorus is a characteristic more often found in EDM-influenced hits such as I Took A Pill In Ibiza (Seeb Remix) and The Chainsmokers’ previous hit, Don’t Let Me Down.
Notice that the two sections that possess the highest MTI/Energy levels in the song – the back-to-back vocal break and instrumental break 3 – are bookended by sections that possess the lowest/close to the lowest MTI/Energy levels – chorus 3 and the outro. The combination of extremes functions to both accentuate the power of the vocal break and instrumental break, while at the same time accentuating engagement value via the stringent dynamic contrast imparted.
Closer is composed of four main influences – Alt/Indie, Dance/Club, Electropop and R&B/Soul. These influences are present in the characteristics of the vocals, backing music, or both, in specific sections and in varying degrees of prominence throughout the song.
Additionally, the song’s most recognizable element – its main hook, which is featured in some semblance in every section – is a direct lift of a hook featured in The Fray’s 2005 hit, Over My Head (Cable Car).
Closer is a love/relationship and hooking up-themed song about two exes who were involved in a relationship, broke up, and ran into one another after a four-year hiatus. Despite the issues that led to their breakup, the attraction between the two of them is still mutual, and culminates with them hooking up in the chorus.
The narrative is communicated in the past and present tense primarily from a first and second person P.O.V. It employs an effective blend of detail, imagery, place, time, action and emotion/state of mind lyrics and phrases, which heightens the overall impact of the storyline. Additionally, sectional P.O.V. shifts communicated by the protagonist (sung by Taggart) and antagonist (sung by Halsey) provide an additional degree of engagement value within the song. While specific details are utilized to communicate the narrative (e.g. Boulder, CO), the overall essence of the storyline is universal, and thus easily connects with a wide audience.
Closer appears only three times in the entire song. It’s featured as the last lyric in the first line/phrase of each chorus section: “so baby pull me closer.”
Closer features a host of different vocal characteristics throughout the song. Among them are solo male (Taggart), solo female (Halsey), harmonized lead, multi-tracking, and an assortment of effects including pitch-processing, reverb and delay. The manner in which these disparate characteristics interact throughout the song takes Closer’s overall impact to a heightened level.
Key
S: Sung
-/-: First Stanza/Second Stanza
The vocal melody in Closer spans Eb2 to Eb5.
With the exception of the verse and pre-chorus sections, which span six to eight pitches, all of the other sections span just three pitches – Ab, Bb and C (note that Halsey’s parts are an octave above Taggart). This, in conjunction with the copious amount of repetition, gets the vocal melody firmly ingrained in the listener’s head. However, effective melodic and vocal characteristic contrast is employed throughout the song, which helps to keep the melodies fresh and engaging despite their repetitive characteristics.
What follows is a breakdown of the melodic structure for each section in the song. Each part letter in its respective section represents a particular motive. These motives possess either the same, or a very similar melodic structure.
Key
(/): Divides each line in the section
Note: The part letters in each section pertain only to the section at hand (e.g. part A in the verse is not related to part A in the pre-chorus)).
- Verse 1: A/A/A/B
- Verse 2: A/A/A/A
- Pre-Chorus 1: A/A/A/A/B/B
- Pre-Chorus 2: A/A/A/A/B/B
- Chorus: A/A/A/A/A/A/A/A
- Instrumental Break: A/A
- Vocal Break: A/A/A/A/A/A/A/A
Closer features a highly effective combination of in-line, cross-line, and cross-stanza rhyme schemes, as well as repetitive lyrics – especially in the instrumental break and vocal break post choruses (i.e. “we ain’t ever gettin’ older”). Together, they do a great job of bolstering the song’s memorability factor and engagement value.
- Verse 1: XXAA
- Verse 2: XAXA
- Pre-Chorus: ABABCC
- Chorus: AAXAAXAA
- Instrumental Break: AA
- Vocal Break: AAAAAAAA
Closer features five primary instrument types in the mix that shape its sound and vibe –bass, drums/percussion, guitar, piano and synths.
Bass: A deep synth sub bass with a moderate attack (relative to the kick).
Drums/Percussion: An assortment of drums and percussion elements are featured throughout the song. They include:
- Crash Cymbal (Electronic)
- Claps (Acoustic)
- Hi Hat (Electronic)
- Kick (Electronic)
- Shaker (Acoustic)
- Snaps (Acoustic)
- Snare (Electronic)
- Wind Chimes (Acoustic)
Guitar: Electric Guitar appears in two forms throughout Closer – as a melodic element delivering the main hook, and as a supplemental element playing a repeated four-note atmospheric melody.
Piano: Warm, acoustic piano.
Synths: A plethora of synths are used throughout Closer. They include staccato synth chords, various leads (abrasive, wobbly, low-pass filtered, bright and more), synth string pads, synth voice, risers and swells.
Closer employs two closely related chord progressions:
Progression 1: Verse, Pre-Chorus, Instrumental Break
Progression 2: Intro, Outro, Chorus, Vocal Break
Both chord progressions employ tones beyond triadic harmony, the Db(add9), a Db Major Triad (Db-F-Ab) with a major ninth on top (Eb). The primary chord progression also employs minor seventh chords, the AbMaj/Eb. The effect of these extended harmonies imparts a subtle Jazz/R&B/Soul vibe, and provides more engaging harmony than simple triads.
Reference the Harmonic Progressions section of the report for additional details.
Song Structure
Closer contains 13 sections in its framework:
- One intro
- Two verse sections
- Two pre-chorus sections
- Three chorus sections
- Three instrumental break sections
- One vocal break section
- One outro
What it DOESN’T contain is a bridge or turnaround.
The aforementioned sections are arranged into the following form:
I / A – PC – B – IB / A – PC – B – IB / B – VB – IB – O
Closer kicks off with the intro, and is directly followed by a 2x repeat of a verse – pre-chorus – chorus – instrumental break sectional progression. Following the second instrumental break, a differentiated sectional progression consisting of chorus – vocal break – instrumental break – outro ensues, followed by the song coming to its conclusion.
The 2x repetition of the A – PC – B – IB progression creates sectional flow familiarity within the scope of the song, while the B – VB – IB – O changeup accentuates engagement due to the shift it provides.
I / A – PC – B – IB / A – PC – B – IB / B – VB – IB – O
Instrumental Break Post Chorus
The instrumental break sections that directly follow choruses 1 and 2 function as post choruses due to the infectious instrumental hooks that they feature at their core. The third instrumental break section can technically be classified as a post chorus as well considering that it directly follows the vocal break post chorus (see below).
Vocal Break Post Chorus
The vocal break that directly follows the third chorus functions as a post chorus due to the infectious vocal hook that it features at its core (i.e. the repetition of the “we ain’t ever getting older” phrase from the chorus).
I / A – PC – B – IB / A – PC – B – IB / B – VB – IB – O
Considering that Closer doesn’t contain a bridge in its framework, there are two sections within the song that provide a pronounced departure compared to the other sections where one would typically expect to find a bridge (around two-thirds of the way in). These two “D” (departure) sections are:
Chorus 3: It possesses a changeup in the accompaniment and a more subdued characteristic compared to the other chorus sections.
Vocal Break: Directly following chorus 3, this is the only point in the song that features the constant repetition of the “we ain’t ever getting older” hook. It also features unique accompaniment in the scope of the song.
Each full section within Closer except for two are 20 seconds / 8 bars in length. The exceptions are the intro and outro, both of which land at 10 seconds / 4 bars.
With the exception of the chorus and vocal break, each full 20 second / 8 bar section is broken into two shorter 10 second / 4 bar segments, each of which possesses a differentiated characteristic compared to one another (some subtle and some more pronounced). As a result, new elements enter the mix frequently throughout the song, which accentuates the overall engagement factor (i.e. the listener never gets bored with cookie-cutter repetition).
The majority of time within Closer is allocated to its two primary “hook centers” – the chorus and instrumental break post choruses. Both account for 25% of the song’s total composition. The verse and pre-chorus follow at 17%, each. The vocal break post chorus accounts for 8%, and the intro and outro account for the least at just 4%, each.
This section of the report focuses on the MTI/Energy (momentum, tension, intensity) and sonic levels in each section of the song.
Closer progresses through three MTI/Energy level “waves.” Each wave begins with a relatively low energy level and progresses to an energy level peak. Each wave concludes with an energy level peak except for the last (wave 3), which brings the energy level back down in the outro.
- Wave 1: Intro – Instrumental Break 1
- Wave 2: Verse 2 – Instrumental Break 2
- Wave 3: Chorus 3 – Outro
In contrast to many Pop songs that have the chorus providing an energy level peak and tension release following a build, Closer’s energy level takes a dive in the chorus due to its breakdown/sparse accompaniment characteristic, with the tension still accruing. The energy level peak and tension release is delayed, and transpires in the instrumental break section that directly follows the chorus. The tension build chorus is a characteristic more often found in EDM-influenced hits, such as I Took A Pill In Ibiza (Seeb Remix), and The Chainsmokers’ previous hit, Don’t Let Me Down.
Notice that the two sections that possess the highest MTI/Energy levels in the song – the back-to-back vocal break and instrumental break 3 – are bookended by sections that possess the lowest/close to the lowest MTI/Energy levels – chorus 3 and the outro. The combination of extremes functions to both accentuate the power of the vocal break and instrumental break, while at the same time accentuating engagement value via the stringent dynamic contrast imparted.
Closer begins with a relatively low MTI/Energy level in the intro due to its sparse arrangement, consisting of acoustic piano, synths and effects. The subtly of the section is accentuated by the low-pass filtering that is prominent on the piano and synth at the onset, and gradually opens as the section progresses.
The momentum and intensity levels increase in the first half/part X of the first verse due to the addition of the synth block chords, snaps, synth bass, kick, and Taggart’s vocals. The momentum and intensity is further kicked up a notch in the second half of the section, part Y, due to the addition of the syncopated claps and wobbly synth (main hook and effects).
The momentum and intensity levels are further kicked up in the first half/part X of the pre-chorus due to the addition of new rhythmic elements including electronic snare, hi hats, and crash cymbal. The changeup in Taggart’s lead vocal is a factor as well – in particular his faster delivery and higher register. Note that these factors coupled with the development in the narrative also provide an increase in tension/anticipation as the song heads toward the chorus and instrumental break.
In the second half/part Y of the section the level is further increased due to the reintroduction of the wobbly synth and syncopated claps from the second half/part Y of the preceding verse.
Following two consecutive sections where the MTI/Energy level has increased, the level drops off in the first chorus. This is due to the section heading into partial breakdown/sparse mode, characterized by the warm acoustic piano, wind chimes, and synth string pad. However, the low-level electric guitar and lead vocal keep the momentum moving along as they both deliver the song’s primary hook. Note that the mostly flowing, repetitive nature of the vocals and guitar also provides an increase in tension and anticipation as the song heads toward the ensuing instrumental break.
The intensity level is ramped up a notch in the last two bars of the section as the bright lead synth and 808 drum fill enter the mix.
Following the MTI/Energy level lull in the preceding chorus, the level is thrust up to its first apex in the instrumental break. This is primarily due to the incorporation of many of the elements that were featured in the pre-chorus, coupled with the addition of the upfront, piercing, abrasive lead synth and prominent shaker.
The MTI/Energy level is brought back down in the second verse as the song reverts back to the minimal, sparse and spacious accompaniment characteristics of the first verse. Note that the overall energy level is on par with the first verse, despite the changeup in vocal duty (i.e. Halsey as opposed to Taggart).
The MTI/Energy level is kicked up in the second pre-chorus due to the inclusion of the core accompaniment elements from the first pre-chorus coupled with Halsey’s lead vocal as opposed to Taggart’s. While the vocal melody remains very similar to the first pre-chorus, the higher register of her voice coupled with the passionate delivery provides the second pre-chorus with a slightly more intense vibe compared to the first.
The MTI/Energy level is brought back down in the second chorus, just as it was in the first chorus. However, the addition of Halsey’s lead in addition to Taggart coupled with the more rich and complex timbre of the synth pad provides the section with a subtly higher level of intensity compared to the first chorus.
The MTI/Energy level is thrust up to a peak once again in the second instrumental break. Note that the level is essentially on par with that of the first instrumental break section in the song.
Following the peak in the preceding instrumental break, the MTI/Energy level is brought way back down once again in the third chorus. Note that this is the lowest level of all three choruses due to it possessing the sparsest overall arrangement – instrumentally and vocally.
Following the MTI/Energy level lull in the third chorus, the level begins to build to a grand peak in the vocal break section. This is due in part to the repetition of the “(no) we ain’t ever gettin’ older” vocals coupled with the pounding, driving, intense accompaniment. Note that the tension and anticipation builds and reaches a climax at the end of the section, releasing into the instrumental break that follows.
The MTI/Energy level peak that was reached in the preceding vocal break remains relatively constant in the last instrumental break section. The level is higher than its instrumental break 1 and 2 counterparts due to a combination of the additional synth in the mix (i.e. the synth pad), and Halsey’s more impassioned vocal delivery.
The outro, which is essentially a reversion back to the characteristics of the intro, brings the MTI/energy level of the song back down to its lowest point (a level shared with the intro). As a result, the listener is put gently back down on the ground at the conclusion of the song following the two back-to-back sections of sustained intensity.
Genres, Sub-Genres, & Vibes
Many of today’s hits feature a fusion of different genres, sub-genres and influences that helps to achieve the following:
- Provide the song with a unique nature that enables it to stand out from its mainstream contemporaries via interesting and at times unconventional pairings.
- Increase the fan base and sales potential of the artist and song by traversing multiple genres.
Closer is composed of four main influences, which are heard in varying levels of prominence throughout the song:
- Alt/Indie
- Dance/Club
- Electropop
- R&B/Soul
Key
Small x: Minimal influence
Medium X: Pronounced influence
Big X: Major influence
The song’s Alt/Indie influence is due to its non-typical mainstream Pop and EDM characteristics, in particular the characteristics of Taggart’s detached vocals. Additionally, Taggart’s quoted inspiration for the song stems from Alt/Indie bands including Blink-182, The Fray, and Taking Back Sunday.
The majority of the song possesses a mid-tempo Dance groove. The main exceptions are the intro, chorus and outro sections, which don’t feature percussion in the mix. The Club element is most pronounced in the instrumental break sections due characteristics of the lead synth, as well as the intensity build that transpires in the vocal break section.
Each section of the song possesses an Electropop influence due to the synths featured in the mix. The influence is most pronounced in the instrumental break sections due to the prominence of the lead synth.
The song possesses an underlying R&B/Soul vibe due to the employment of extended harmony (sevenths and ninths) primarily in the synth chord sections (verse, pre-chorus and instrumental break).
In an interview with Genius, Taggart cites Blink-182 and Taking Back Sunday as key inspirations for the song – in particular I Miss You and Feeling This by Blink-182.
However, the song’s most recognizable element – its main hook, which is featured in some semblance in every section – is a direct lift of a hook featured in The Fray’s 2005 hit, Over My Head (Cable Car). Isaac Slade and Joe King of the Fray have since been given writing credit on Closer.
Primary Instrumentation
Closer features five primary instrument types in the mix that shape its sound and vibe –bass, drums/percussion, guitar, piano and synths.
Electric Guitar appears in two forms throughout Closer – as a melodic element delivering the main hook, and as a supplemental element playing a repeated four-note atmospheric melody.
The main guitar part is relatively dry and appears in the following sections delivering and/or reinforcing the main hook:
- Pre-Chorus 1 & 2
- Chorus 1 & 2
The atmospheric guitar part is heavily effected with reverb and delay and is featured in pre-chorus 2.
A deep synth sub bass with a moderate attack (relative to the kick) appears underneath the synth chord stabs in the following sections:
- Verse 1 & 2
- Pre-Chorus 1 & 2
- Instrumental Break 1, 2
It appears as deep sustained notes that add weight and depth to the piano in:
- Chorus 1 & 2
- Vocal Break
- Instrumental Break 3
A plethora of synths appear throughout Closer:
Staccato synth chords are featured prominently throughout the song, appearing in the following sections:
- Verse 1 & 2
- Pre-Chorus 1 & 2
- Instrumental Break 1, 2 & 3
They are low-pass filtered to varying degrees – darker in timber in the verses and pre-choruses, and brightest in the instrumental break. They have a soft attack, lacking a percussive quality but rather quickly swelling up with each strike.
The main lead synth delivers the song’s primary hook front and center in all of the instrumental break sections. It possesses a bright, overdriven, abrasive, and somewhat nasal quality that easily cuts through the mix.
Here the main lead synth is low-pass filtered and used to deliver the song’s primary hook in the vocal break section. It gradually increases in prominence as the section progresses.
The high lead – bright synth (not heavily low-pass filtered) is featured at the end of choruses 1 and 2 and helps to set up instrumental breaks 1 & 2 that follow. It returns at the end of instrumental breaks 1 and 2 where it doubles the main lead synth at an octave higher. It has a pleasant, jovial tone, similar to that of a high woodwind.
The high lead – filtered synth essentially bookends the song in the intro and outro. The use of the low-pass filter accentuates its woodwind characteristic.
The wobbly synth possesses a tremolo type characteristic and delivers/reinforces the song’s primary instrumental hook in the following sections:
- Verse 1 & 2
- Pre-Chorus 1 & 2
- Instrumental Break 1
The wobbly synth adds color and texture via non-hook melodies and effects in the following sections:
- Intro
- Verse 1 & 2
- Pre-Chorus 1
- Outro
A sampled synth voice plays upbeat eighth notes on Ab4 in the second chorus and vocal break. Its rhythm helps to add momentum to those sections.
The string pad is utilized in the following sections:
- Choruses 1, 2 & 3
- Vocal Break
- Instrumental Break 3
In the first chorus it possesses a more organic, realistic timbre, whereas in the subsequent sections it becomes more ethereal and synth-sounding. It sounds a sustained Ab3 in each occurrence except for instrumental break 3 where it sounds Ab4.
Synth risers are utilized as transitional elements into the following sections:
- Pre-Chorus 1 & 2
- Verse 2
- Choruses 1, 2 & 3
- Instrumental Breaks 1, 2 & 3
- Outro
With the exception of the transition into the third instrumental break, all of the synth risers are relatively low-pitched and subtle. Upon entering into the third instrumental break, however, the riser is higher in pitch and sounds sixteenth note triplets, which heightens excitement and anticipation at the transition point.
Synth swells are utilized as transitional elements into the following sections:
- Verse 1 & 2
- Choruses 1, 2 & 3
- Instrumental Break 1, 2 & 3
A warm acoustic piano is featured in the following sections:
- Intro
- Chorus 1, 2 & 3
- Vocal Break
- Instrumental Break 3
- Outro
It is low-pass filtered in the intro, third chorus, vocal break and outro.
A punchy electronic kick is utilized in the following sections:
- Verse 1 & 2
- Pre-Chorus 1 & 2
- Instrumental Break 1, 2 & 3
- Vocal Break
Acoustic snaps provide the back beat (2 & 4) in verse 1 and 2.
Acoustic claps play a syncopated pattern in part Y of the following sections:
- Verse 1 & 2
- Pre-Chorus 1 & 2
- Instrumental Break 1, 2 & 3
There are two snare drum sounds featured in Closer: a heavy back beat and a staccato 808 used for fills. The 808 can be heard at the end of choruses 1 and 2 and the vocal break. The main back beat snare, which possesses a timbre not unlike the snare used on Michael Jackson’s Black Or White, is used in the following sections:
- Pre-Chorus 1 & 2
- Instrumental Break 1, 2 & 3
- Vocal Break (low-pass filtered)
An electronic crash cymbal can be heard on the down beat of every other bar in the following sections:
- Pre-Chorus 1 & 2
- Instrumental Break 1, 2 & 3
- Vocal Break (onset of the section)
An electronic hi hat is utilized playing eighth notes in the following sections:
- Pre-Chorus 1 & 2
- Instrumental Break 1, 2 & 3
An acoustic shaker is utilized playing a sixteenth note-based pattern in instrumental breaks 1, 2 & 3.
A cymbal swell is heard at the end of the following sections. In each case, its decay carries over for a few bars in to the subsequent section.
- Pre-Chorus 1 & 2
- Instrumental Break 2
Wind chimes are featured subtly in the mix, providing ethereal color and texture in the following sections:
- Intro
- Chorus 1 & 2
Music & Instrumentation: Section By Section
- Acoustic Piano: (Low-pass filtered, opens over the course of section – Level: Mid) Primary placement in the mix: 12:00.
- Synth 3b – Hi Lead – Filtered: (Low-pass filtered – Level: Begins low in mix and fades up to mid-low) Primary placement in the mix: 12:00.
- Synth 4b – Wobbly – Effects: (Background textural synth effects – Level: Mid) Primary placement in the mix: 12:00.
- Synth 8 – Swell: (Subtle synth swell at transition point – Level: Low) Primary placement in the mix: 12:00.
- Wind Chimes: (Ethereal – Level: Low) Primary placement in the mix: 12:00.
Clocking in at 10 seconds / 4 bars, the intro is the shortest section in the song along with the outro. It consists of three core elements:
Acoustic Piano: The acoustic piano provides the section with a warm vibe, with melancholic and sensual undertones. This jibes with the overall connotation of the narrative (reference the Story Flow and Meaning section of the report for details).
Lead Synth: The hi-lead synth, which increases in level as the section progresses, introduces the listener to a repetitive fragment of the main hook that appears in some semblance in each section of the song.
Effects and Atmospherics: The low-level wind chimes and wobbly synth effects serve to provide the section with additional color and texture. The wind chimes in particular accentuate the warm vibe of the section in conjunction with the piano.
All three of the aforementioned elements begin with a low-pass filter effect and open up as the section progresses. This, along with the synth swell that enters toward the end of the section seamlessly transitions the listener into the verse that follows.
Transition Point (Intro into Verse 1): Turns on a dime.
- **Synth 1 – Chords: (Staccato chord stabs – Level: Mid) Primary placement in the mix: 12:00.
- **Bass: (Staccato sub bass – Level: Mid-low) Primary placement in the mix: 12:00.
- **Kick: (Punchy electronic kick, tight attack, works in tandem with the synth chords
rhythmically – Level: Mid) Primary placement in the mix: 12:00. - **Snaps: (Acoustic snaps on beats 2 and 4 – Level: Mid) Primary placement in the mix: 12:00.
Everything in Part X with the following additions:
- **Synth 4a – Wobbly – Lead: (Outlines the main hook – Level: Fades in throughout the section, peaks at end) Primary placement in the mix: 12:00.
- Synth 4b – Wobbly – Effects: (Textural effects similar to the intro – Level: Low) Primary placement in the mix: 12:00.
- **Synth 7 – Riser: (Subtle synth riser, low pitch – Level: Low) Primary placement in the mix: 12:00.
- **Claps: (Syncopated acoustic claps – Level: Mid) Primary placement in the mix: 12:00.
**Indicates the first appearance of an instrument in the mix
The first half of the section, part X, features a sparse accompaniment, consisting of just four elements:
- Synth staccato block chords
- Synth bass
- Snaps
- Kick drum
The two key words that define this part of the verse are simplicity and space:
The interaction between these elements provides the section with a minimal, cool, hipster type vibe, with a touch of retro 1980s R&B/Soul due to the characteristics of the synth chords.
The second half of the section, part Y, features the core characteristics of part X plus two new additions:
Claps: The addition of the syncopated acoustic claps provides the section with an additional degree of momentum. Their syncopated quality provides engaging contrast to the steady snaps that sound on beats 2 and 4.
Wobbly Synth: There are two wobbly synths featured in the mix. The most important is the wobbly lead, which delivers the song’s primary hook in its fully developed state (remember – it was first partially introduced in the intro). It enters at a relatively low level in the mix at the onset of part Y, and increases in prominence as the section progresses. The second are low-level wobbly synth effects, which provide the section with additional color and texture.
Together, the claps and wobbly synth provide engaging contrast compared to part X without overshadowing the core foundation of the section. Furthermore, and arguably most importantly, the main hook earworm is further reinforced in the listener’s head in an under-the-radar manner.
Transition Point (Verse 1 into Pre-Chorus 1): A synth riser effect enters the mix toward the end of the verse, followed by a crack of the newly introduced snare that ushers in the pre-chorus that follows.
- Synth 1 – Chords: (Staccato chord stabs – Level: Mid) Primary placement in the mix: 12:00.
- Bass: (Staccato sub bass – Level: Mid-low) Primary placement in the mix: 12:00.
- **Electric Guitar – Hooks: (Main hook, low-pass filtered, opens up toward the end of the section – Level: Low to Mid) Primary placement in the mix: 11:00.
- Kick: (Punchy electronic kick, tight attack, works with the synth chords rhythmically – Level: Mid) Primary placement in the mix: 12:00.
- **Snare: (Electronic snare with punchy attack – Level: Mid) Primary placement in the mix: 12:00.
- **Crash Cymbal: (Sounds on downbeat every two bars – Level: Mid) Primary placement in the mix: 12:00.
- **Hi Hat: (Eighth note pattern, emphasis on upbeats – Level: Mid) Primary placement in the mix: 12:00.
Everything in Part X with the following additions:
- Synth 4a – Wobbly – Lead: (Outlines the main hook – Level: Fades in throughout the section, peaks at end; Low-mid) Primary placement in the mix: 12:00.
- Synth 4b – Wobbly – Effects: (Textural effects similar to the intro – Level: Low) Primary placement in the mix: 12:00.
- Claps: (Syncopated acoustic claps – Level: Mid) Primary placement in the mix: 12:00.
- Synth 7 – Riser: (Subtle synth riser, low pitch – Level: Low Primary placement in the mix: 12:00.
- *Synth 8 – Swell: (Subtle synth swell at transition point – Level: Low) Primary placement in the mix: 12:00.
- **Cymbal Swell/Decay: (Bright cymbal swell with ample decay – Level: Mid) Primary placement in the mix: 12:00.
*Indicates a new or significantly changed up instrument in the mix compared to the preceding section
**Indicates the first appearance of an instrument in the mix
Carryover Elements
The first half of the section, part X, features the following elements that carry over from the preceding verse (note that the claps and snaps have been removed from the mix):
- Synth staccato block chords
- Synth bass
- Kick drum
These familiar elements provide effective cross-section continuity of the song’s core accompaniment/rhythmic foundation from which the pre-chorus builds upon. The continuity helps to keep the listener locked in, while the new elements heighten the engagement value due to the contrast imparted.
New Elements
The following elements make their first appearance thus far in the song:
- Electronic Snare
- Hi Hats
- Crash Cymbal
- Electric Guitar
Rhythmic Contrast
The addition of the electronic snare (which takes the place of the snaps that sound on beats 2 and 4 in the first verse), hats and crash up the momentum and piercing bite of the pre-chorus compared to the preceding verse.
Main Hook Repetition & Contrast
The electric guitar takes the place of the wobbly synth in delivering the song’s primary hook, albeit in a slightly simplified manner. As a result, the hook is further reinforced in the listener’s head, while the changeup in its timbre keeps it fresh and engaging. Additionally, note that the hook functions in a relatively supportive manner as opposed to the upfront lead quality that it possesses later in the instrumental breaks sections.
New Elements
With the accompaniment from the first half/part X of the section remaining in effect, the following elements are added in the second half/part Y – both of which are recycled from the preceding verse:
- Claps
- Wobbly Synth
As they do in the second half/part Y of the verse, the syncopated claps provide the section with a heightened degree of momentum and texture, and the wobbly synth functions in both main hook and effect capacities.
Double Hook Punch
Note that at this point in the section both the wobbly synth and electric guitar are delivering the song’s primary hook simultaneously. As with the changeover from the wobbly synth to electric guitar (part Y verse to part X pre-chorus), the merging of the two in part Y of the pre-chorus keeps the hook fresh and engaging despite its repetitive characteristics.
Transition Point (Pre-Chorus 1 into Chorus 1): Toward the end of the pre-chorus, synth swell and riser effects as well as a cymbal swell begin to transition the listener into the chorus that follows. The cymbal swell peaks at the transition point and decays into the chorus.
- *Acoustic Piano: (Not filtered, warm acoustic piano – Level: Mid) Primary placement in the mix: 12:00.
- *Bass: (Legato sub bass, in conjunction with piano – Level: Mid) Primary placement in the mix: 12:00.
- Electric Guitar – Hooks: (Main hook, low-pass filtered, opens up by the end of the section – Level: Low to Mid) Primary placement in the mix: 11:00.
- **Synth 3a – High Lead – Bright: (Bright lead synth playing main hook, enters at end of section – Level: Mid) Primary placement in the mix: 1:00.
- **Synth 6 – String Pad: (Legato synth string pad sounds Ab3 – Level: Mid) Primary placement in the mix: 12:00.
- Synth 7 – Riser: (Subtle synth riser, low pitch – Level: Low Primary placement in the mix: 12:00.
- Synth 8 – Swell: (Subtle synth swell at transition point – Level: Low Primary placement in the mix: 12:00.
- Snare: (808 snare playing a drum fill – Level: Mid) Primary placement in the mix: 12:00.
- *Wind Chimes: (Ethereal, mystical effect – Level: Low Primary placement in the mix: 12:00.
*Indicates a new or significantly changed up instrument in the mix compared to the preceding section
**Indicates the first appearance of an instrument in the mix
Following the accompaniment build that transpires from the first verse through the first pre-chorus, the chorus does a 180 by heading into partial breakdown/sparse mode. As a result, the energy level of the song is brought down as opposed to thrusting the listener into a powerful chorus payoff. Delaying the payoff until after the chorus is popular with EDM influenced hits (of which Closer is a representative) as opposed to more straight-up Pop songs. EDM hits tend to favor the instrumental break providing the song’s primary payoff as opposed to the chorus.
Preceding Section Carryovers and Omissions
All of the accompaniment elements from the preceding pre-chorus save for one have been omitted from the mix in the chorus. The sole exception is the electric guitar, which continues to deliver the repetitive fragment of the song’s primary hook. Note that it doubles the lead vocal melody in the second stanza, which features the full “proper” hook, and accentuates the impact of the hook as a result.
New Instrumental Additions
Two key elements that were first introduced in the intro make a return appearance in the first chorus:
- Acoustic piano
- Wind chimes
Their addition, coupled with the legato synth string pad, provides the section with a warm, tender, romantic vibe that strongly jibes with and accentuates the hook up theme of the narrative. These elements, along with the electric guitar hook, are the primary accompaniment elements that remain in effect up until the last two bars of the section.
Bar 7 and 8 Changeups
In the last two bars of the section, two key accompaniment changeups occur:
- The high lead bright synth enters the mix, doubling the vocal with an additional layer of the main hook.
- An 808 snare delivers a drum fill.
Together, these two elements help to transition the listener from the warm, tender, romantic vibe that has defined the section up until this point into the full-on EDM instrumental break section that follows
Transition Point (Chorus 1 into Instrumental Break 1): A synth swell and riser effect enter the mix at the tail end of the chorus, coupled with a two-note pick up from the lead synth that defines the instrumental break that follows.
- *Synth 1 – Chords: (Staccato chord stabs – Level: Mid) Primary placement in the mix: 12:00.
- *Bass: (Staccato sub bass – Level: Mid-low) Primary placement in the mix: 12:00.
- **Synth 2a – Main Lead: (Raspy, full, plays main hook – Level: Mid) Primary placement in the mix: 1:00.
- *Kick: (Punchy electronic kick, tight attack, works with the synth chords rhythmically – Level: Mid) Primary placement in the mix: 12:00.
- *Snare: (Electronic snare with punchy attack – Level: Mid) Primary placement in the mix: 12:00.
- *Crash Cymbal: (Sounds on downbeat every two bars – Level: Mid) Primary placement in the mix: 12:00.
- *Hi Hat: (Eighth note pattern, emphasis on upbeats – Level: Mid) Primary placement in the mix: 12:00.
- **Shaker: (Sixteenth note pattern – Level: Low-mid) Primary placement in the mix: 11:00.
Everything in Part X with the following addition:
- Synth 3a – High Lead – Bright: (Bright lead synth doubling the main hook an octave higher, enters at end of section – Level: Mid) Primary placement in the mix: 1:00.
- *Synth 4b – Wobbly – Effects: (Textural synth effects – Level: Low) Primary placement in the mix: 12:00.
- Synth 7 – Riser: (Subtle synth riser, low pitch – Level: Low) Primary placement in the mix: 12:00.
- Synth 8 – Swell: (Subtle synth swell at transition point – Level: Low) Primary placement in the mix: 12:00.
- *Claps: (Syncopated acoustic claps – Level: Mid) Primary placement in the mix: 12:00.
*Indicates a new or significantly changed up instrument in the mix compared to the preceding section
**Indicates the first appearance of an instrument in the mix
The tension that had been accruing from the pre-chorus and chorus finally releases in the instrumental break. The section features a combination of recycled material from other sections in the song as well as new material.
Recycled Material
The staccato synth chord stabs, wobbly synth effects, synth bass, kick, snare, cymbals and syncopated claps (part Y) are all recycled from the pre-chorus. However, note that the timbre of the synth chord stabs not low-pass filtered and is more abrasive and piercing this time around. Additionally, the high bright lead synth which doubles the vocal in part Y of the chorus makes a return in the second half/part Y of the instrumental break – albeit secondary to the main lead synth (see below).
New Material
The song’s main hook, which was vocally front and center in the preceding chorus, is now instrumentally front and center in the instrumental break. Playing essentially the same pattern as the vocal, the synth that communicates the hook is abrasive, overdriven, bright, and somewhat nasal in timbre. As a result, it easily cuts through the mix and stands out. And as is the case in the other sections of the song, it’s changed up timbre keeps the hook fresh and engaging despite the in-section and cross-section repetitive characteristics.
The other new addition to the section is a shaker, which provides the section with a higher degree of momentum and intensity as well as color and texture.
Transition Point (Instrumental Break 1 to Verse 2): A synth riser and swell effects enters the mix at the tail end of the chorus, cutting off abruptly at the onset of the second verse.
- Synth 1 – Chords: (Staccato chord stabs – Level: Mid) Primary placement in the mix: 12:00.
- Bass: (Staccato sub bass – Level: Mid-low) Primary placement in the mix: 12:00.
- Kick: (Punchy electronic kick, tight attack, works with the synth chords
rhythmically – Level: Mid) Primary placement in the mix: 12:00. - *Snaps: (Acoustic snaps on beats 2 and 4 – Level: Mid) Primary placement in the mix: 12:00.
Everything in Part X with the following additions:
- *Synth 4a – Wobbly – Lead: (Outlines the main hook – Level: Fades in throughout the section, peaks at end) Primary placement in the mix: 12:00.
- Synth 4b – Wobbly – Effects: (Textural effects similar to the intro – Level: Low) Primary placement in the mix: 12:00.
- Synth 7 – Riser: (Subtle synth riser, low pitch – Level: Low Primary placement in the mix: 12:00.
- Claps: (Syncopated acoustic claps – Level: Mid) Primary placement in the mix: 12:00.
*Indicates a new or significantly changed up instrument in the mix compared to the preceding section
**Indicates the first appearance of an instrument in the mix
Following the full accompaniment of the preceding instrumental break, stringent cross-sectional contrast is imparted as the song reverts back to the minimal, sparse and spacious accompaniment characteristics of the first verse. Essentially, both verse sections feature the same accompaniment characteristics.
Transition Point (Verse 2 into Pre-Chorus 2): Essentially the same transition utilized between verse 1 and pre-chorus 1.
- Synth 1 – Chords: (Staccato chord stabs – Level: Mid) Primary placement in the mix: 12:00.
- Bass: (Staccato sub bass – Level: Mid-low) Primary placement in the mix: 12:00.
- *Electric Guitar – Hooks: (Main hook, low-pass filtered, opens up by the end of the section – Level: Low to Mid) Primary placement in the mix: 11:00.
- **Electric Guitar – Atmospheric: (Heavily effected with reverb and delay, repeats four-note melody – Level: Low to Mid) Primary placement in the mix: alternates 9:00 and 3:00.
- Kick: (Punchy electronic kick, tight attack, works with the synth chords rhythmically – Level: Mid) Primary placement in the mix: 12:00.
- *Snare: (Electronic snare with punchy attack – Level: Mid) Primary placement in the mix: 12:00.
- *Crash Cymbal: (Sounds on downbeat every two bars – Level: Mid) Primary placement in the mix: 12:00.
- *Hi Hat: (Eighth note pattern, emphasis on upbeats – Level: Mid) Primary placement in the mix: 12:00.
Everything in Part X with the following additions:
- Synth 4a – Wobbly – Lead: (Outlines the main hook – Level: Fades in throughout the section, peaks at end) Primary placement in the mix: 12:00.
- Synth 7 – Riser: (Subtle synth riser, low pitch – Level: Low) Primary placement in the mix: 12:00.
- *Synth 8 – Swell: (Subtle synth swell at transition point – Level: Low) Primary placement in the mix: 12:00.
- Claps: (Syncopated acoustic claps – Level: Mid) Primary placement in the mix: 12:00.
- *Cymbal Swell/Decay: (Bright cymbal swell with ample decay – Level: Mid) Primary placement in the mix: 12:00.
*Indicates a new or significantly changed up instrument in the mix compared to the preceding section
The second pre-chorus features the same core accompaniment characteristics as the first pre-chorus. The primary difference is that a heavily effected, atmospheric guitar has been added into the mix. While it’s not playing the repetitive hook that the other guitar in the mix is playing, it plays sparse melodic fragments based on the main hook.
Essentially, it’s primary function is to provide the section with atmospherics and engaging “like” and cross-section contrast.
Transition Point (Pre-Chorus 2 into Chorus 2): Essentially the same transition utilized between pre-chorus 1 and chorus 1.
- *Acoustic Piano: (Not filtered, warm acoustic piano – Level: Mid) Primary placement in the mix: 12:00.
- *Bass: (Legato sub bass, in conjunction with piano – Level: Mid) Primary placement in the mix: 12:00.
- Electric Guitar – Hooks: (Main hook, low-pass filtered, opens up by the end of the section – Level: Low to Mid) Primary placement in the mix: 11:00.
- *Synth 3a – High Lead – Bright: (Bright lead synth playing main hook, enters at end of section – Level: Mid) Primary placement in the mix: 1:00.
- **Synth 5 – Voice: (Upbeat eighth notes, “eh” sounding vocal on Ab4 – Level: Mid) Primary placement in the mix: 12:00.
- *Synth 6 – String Pad: (Legato synth string pad sounds Ab3, more complex timbre than first chorus – Level: Mid) Primary placement in the mix: 12:00.
- Synth 7 – Riser: (Subtle synth riser, low pitch – Level: Low Primary placement in the mix: 12:00.
- Synth 8 – Swell: (Subtle synth swell at transition point – Level: Low Primary placement in the mix: 12:00.
- Snare: (808 snare playing a drum fill – Level: Mid) Primary placement in the mix: 12:00.
- *Wind Chimes: (Ethereal, mystical effect – Level: Low) Primary placement in the mix: 12:00.
*Indicates a new or significantly changed up instrument/vocal in the mix compared to the preceding section
The second chorus features the same core accompaniment characteristics as the first chorus, with the following new additions:
- The synth pad has grown more complex in timbre, offering more breathy overtones and creating an overall more ethereal vibe.
- The synth voice enters in the section half/part Y, playing upbeat eighth notes. This provides the section with additional color and texture, as well as a heightened degree of momentum.
Transition Point (Chorus 2 into the Instrumental Break 2): Essentially the same transition utilized between chorus 1 and instrumental break 1.
- *Synth 1 – Chords: (Staccato chord stabs – Level: Mid) Primary placement in the mix: 12:00.
- *Bass: (Staccato sub bass – Level: Mid-low) Primary placement in the mix: 12:00.
- *Synth 2a – Main Lead: (Raspy, full, plays main hook – Level: Mid) Primary placement in the mix: 1:00.
- *Kick: (Punchy electronic kick, tight attack, works with the synth chords rhythmically – Level: Mid) Primary placement in the mix: 12:00.
- *Snare: (Electronic snare with punchy attack – Level: Mid) Primary placement in the mix: 12:00.
- *Crash Cymbal: (Sounds on downbeat every two bars – Level: Mid) Primary placement in the mix: 12:00.
- *Hi Hat: (Eighth note pattern, emphasis on upbeats – Level: Mid) Primary placement in the mix: 12:00.
- *Shaker: (Sixteenth note pattern – Level: Low-mid) Primary placement in the mix: 11:00.
Everything in Part X with the following addition:
- Synth 3a – High Lead – Bright: (Bright lead synth doubling the main hook an octave higher, enters at end of section – Level: Mid) Primary placement in the mix: 1:00.
- Synth 7 – Riser: (Subtle synth riser, low pitch – Level: Low) Primary placement in the mix: 12:00.
- Synth 8 – Swell: (Subtle synth swell at transition point – Level: Low) Primary placement in the mix: 12:00.
- Claps: (Syncopated acoustic claps – Level: Mid) Primary placement in the mix: 12:00.
- *Cymbal Swell/Decay: (Bright cymbal swell with ample decay – Level: Mid) Primary placement in the mix: 12:00.
*Indicates a new or significantly changed up instrument in the mix compared to the preceding section
The accompaniment in the second instrumental break is nearly identical to that of the first. The primary difference, as subtle as it is, is that the wobbly synth effects are not present this time around.
Transition Point (Instrumental Break 2 into Chorus 3): Essentially the same transition utilized between instrumental break 1 and verse 2.
- *Acoustic Piano: (Filtered, opens throughout section – Level: Mid) Primary placement in the mix: 12:00.
- *Synth 6 – String Pad: (Legato synth string pad sounds Ab3, more ethereal than previous chorus – Level: Mid) Primary placement in the mix: 12:00.
*Indicates a new or significantly changed up instrument/vocal in the mix compared to the preceding section
The third (and final) chorus in the song is also the sparsest from an accompaniment standpoint. While it features the pad and acoustic piano from the other chorus sections, it DOESN’T feature the bright synth, drum fill, or electric guitar hook. Note that this is the only section in the entire song that doesn’t feature an instrumental iteration of the hook.
Transition Point (Chorus 3 into the Vocal Break): The synths from the ensuing vocal break pick up at the tail end of the third chorus, followed by a crash cymbal hit on the first downbeat of the section.
- *Acoustic Piano: (Filtered, opens throughout section – Level: Mid) Primary placement in the mix: 12:00.
- *Bass: (Legato sub bass, in conjunction with piano – Level: Mid-low) Primary placement in the mix: 12:00.
- *Synth 2b – Main Lead – Filtered: (Main lead from instrumental breaks low-pass filtered – Level: Mid) Primary placement in the mix: 12:00.
- *Synth 5 – Voice: (Upbeat eighth notes, “eh” sounding vocal on Ab4 – Level: Mid) Primary placement in the mix: 12:00.
- *Synth 6 – String Pad: (Legato synth string pad sounds Ab4, more complex timbre than first chorus – Level: Low) Primary placement in the mix: 12:00.
- *Synth 7 – Riser: (Higher pitched than previous risers and sounds 16th triplets – Level: Low) Primary placement in the mix: 12:00.
- *Synth 8 – Swell: (Prominent synth swell at transition point – Level: Low) Primary placement in the mix: 12:00.
- *Kick: (Low-pass filtered, opens throughout; plays straight 8th notes in conjunction with the snare – Level: Mid) Primary placement in the mix: 12:00.
- *Snare: (Low-pass filtered, opens throughout; plays straight 8th notes; additional 808 snare fill enters at end of section – Level: Mid) Primary placement in the mix: 12:00.
- *Crash Cymbal: (Sounds on first downbeat of the section – Level: Mid) Primary placement in the mix: 12:00.
The vocal break post chorus functions as the song’s primary “bridge surrogate” section due to the pronounced departure that it provides in lieu of a bridge. While all of the instruments are featured in other sections, many appear in an altered state here.
Chorus Carryovers
The acoustic piano and its associated progression carries over from the preceding chorus. However, note that a low-pass filter effect has been applied, and begins to open up as the section progresses. The synth string pad carries over as well, albeit quite buried in the mix.
Other Recycled Instruments
- Bass: Legato sub bass is featured in conjunction with the piano, providing the section with a deep bottom end.
- Kick and snare: Both are low-pass filtered and play straight eighth notes throughout the majority of the section. The result is an intense, driving quality that does not transpire anywhere else in the song. Toward the end of the section, the 808 snare plays the same fill that transitions choruses 1 and 2 into the ensuing instrumental break sections.
- Lead synth: The lead synth that plays a defining role in the instrumental break sections delivers the primary hook in the vocal break. However, its timbre is differentiated due to the low-pass filter effect that’s imparted.
- Synth Voice: Initially featured in the second half of the second chorus, the synth voice makes a return appearance in the vocal break and remains in effect throughout the section.
Together, along with the vocals, the vocal break accompaniment takes the intensity and tension of the song to a feverish high, releasing in the final instrumental break section that follows.
Transition Point (Vocal Break into Instrumental Break 3): The drum fill that was utilized to transition choruses 1 and 2 into instrumental breaks 1 and 2 is put into play here to transition the vocal break into instrumental break 3. Additionally, Halsey’s prolonged “old-er-er-er,” which begins at the end of the vocal break, carries over right past the transition point into the instrumental break.
- *Acoustic Piano: (Not filtered, warm acoustic piano – Level: Mid) Primary placement in the mix: 12:00.
- *Synth 1 – Chords: (Staccato chord stabs – Level: Mid) Primary placement in the mix: 12:00.
- Bass: (Sustained sub bass – Level: Mid-low) Primary placement in the mix: 12:00.
- *Synth 2a – Main Lead: (Raspy, full, plays main hook – Level: Mid) Primary placement in the mix: 1:00.
- Synth 6 – String Pad: (Legato synth string pad sounds Ab4 – Level: Mid) Primary placement in the mix: 12:00.
- Kick: (Punchy electronic kick, tight attack, works with the synth chords rhythmically – Level: Mid) Primary placement in the mix: 12:00.
- *Snare: (Electronic snare with punchy attack – Level: Mid) Primary placement in the mix: 12:00.
- *Crash Cymbal: (Sounds on downbeat every two bars – Level: Mid) Primary placement in the mix: 12:00.
- *Hi Hat: (Eighth note pattern, emphasis on upbeats – Level: Mid) Primary placement in the mix: 12:00.
- *Shaker: (Sixteenth note pattern – Level: Low-mid) Primary placement in the mix: 11:00.
Everything in Part X with the following addition:
- Synth 7 – Riser: (Subtle synth riser, low pitch – Level: Low) Primary placement in the mix: 12:00.
- Synth 8 – Swell: (Subtle synth swell at transition point – Level: Low) Primary placement in the mix: 12:00.
- *Claps: (Syncopated acoustic claps – Level: Mid) Primary placement in the mix: 12:00.
*Indicates a new or significantly changed up instrument in the mix compared to the preceding section
The third (and last) instrumental break section in the song features the same core accompaniment characteristics as found in the instrumental break sections. The primary difference is that the synth pad from the vocal break remains in effect throughout the section, which along with the vocals provides it with a more intense vibe compared to the preceding two, as well as engaging “like” section contrast.
Transition Point (Instrumental Break 3 to Outro): Turns on a dime.
- *Acoustic Piano: (Low-pass filtered, does not change filter cutoff throughout – Level: Mid) Primary placement in the mix: 12:00.
- *Synth 3b – Hi Lead – Filtered: (Low-pass filtered – Level: Begins low in mix and fades up to Mid-low) Primary placement in the mix: 12:00.
*Indicates a new or significantly changed up instrument in the mix compared to the preceding section
The outro is essentially a reversion back to the accompaniment characteristics of the intro, minus the wobbly synth effects. As a result, the song is bookended by the filtered piano and synth hook, ending the song on a familiar note.
Consisting of low-pass filtered acoustic piano, low-pass filtered hi lead synth (once again playing fragments of the main hook), and a “static” sounding delay ring out that stems from the lead synth in the preceding section, the energy level of the song is brought all the way back down, putting the listener gently back down on the ground as the song comes to a conclusion.
Additionally, note that the last note in the synth hook pattern doesn’t conclude on the tonic, and leaves the listener hanging as a result (i.e. a “false” ending).
Closer employs two closely related chord progressions.
The primary chord progression is featured in the verse, pre-chorus, and instrumental break sections.
In Ab Major, this chord progression, Db(add9) – AbMaj7/Eb – Fm7 – AbMaj7/Eb can be displayed as IVadd9 – I6/5 – vi7 – I6/5. The inverted Abmaj7 chord allows for stepwise motion in the bass, from Db-Eb-F. Note that the only instance of the tonic chord (Ab) is in this progression, but is inverted.
![Harmonic-2](https://reports.hitsongsdeconstructed.com/wp-content/uploads/2016/11/Harmonic-2.png)
![Harmonic-2](https://reports.hitsongsdeconstructed.com/wp-content/uploads/2016/11/Harmonic-2.png)
![Harmonic-2](https://reports.hitsongsdeconstructed.com/wp-content/uploads/2016/11/Harmonic-2.png)
The secondary chord progression is featured in the intro, outro, chorus and vocal break sections.
In Ab Major, this chord progression, Db(add9) – Eb – Fm7 – Eb can be displayed as IV(add9) – V – vi7 – V or more simply, IV – V – vi – V. It’s worth noting that no tonic chord is included in this progression, and that only the IV, V and vi chords are used.
Both chord progressions employ tones beyond triadic harmony, the Db(add9), a Db Major Triad (Db-F-Ab) with a major ninth on top (Eb). The primary chord progression also employs major seventh chords, the AbMaj/Eb. The effect of these extended harmonies imparts a subtle Jazz/R&B/Soul vibe, and provides more engaging harmony than simple triads.
There are two key characteristics that make Closer’s chord progressions feel cyclic and unresolved:
The tonic chord (I chord), Ab, never appears in root position in the song. It does appear on weak beats, the “&” of beats three and four in the primary progression, but as a major seventh chord in second inversion (Eb in the bass). This allows the chord progression to never feel quite settled.
As mentioned above, the tonic chord, Ab only appears on weak beats in the middle of phrases. This leaves a sense of uncertainty as to what the tonic chord is because it is never resolved to on a downbeat.
An example of a chord progression that begins away from the tonic but resolves to the tonic chord is The Who’s “Baba O’Riley” (V-IV-I). A song that doesn’t feature the tonic in its primary chord progression but does resolve to the tonic on the downbeat of the chorus is Taylor Swift’s “Style” (Verse: vi – IV and ii – iii – IV | Chorus: I – V and I – IV – vi – VI). Some other songs like Closer that feel unresolved are The Weeknd’s “Can’t Feel My Face” (V-IV-vi) and Pink’s “Just Like Fire” (vi – IV – I – ii).
Both the primary and secondary chord progressions employ the same bass movement: Db – Eb – F. This is in effect for the entire song, providing continuity between sections. The primary difference between the two is that in the primary progression the bass is fragmented and staccato, like the synth chords, and in the secondary progression the bass is sustained and legato like the piano.
Vocal Assignments/Characteristics
Closer features a host of different vocal characteristics throughout the song. Among them are solo male (Taggart), solo female (Halsey), harmonized lead, multi-tracking, and an assortment of effects including pitch-processing, reverb and delay. The manner in which these disparate characteristics interact throughout the song takes Closer’s overall impact to a heightened level.
Vocals featured in the mix:
- Primary Lead: Taggart
Line 1: Hey, I was do-in’ just fine before I met you
Line 2: I drink too much and that’s an is-sue, but I’m o-kay
Line 3: Hey, you tell your friends it was nice to meet them
Line 4: But I hope I ne-ver see them a-gain
The first verse features a solo male lead vocal from Taggart. It’s minimally processed with reverb and delay, which provides it with an up-front and intimate vibe. The most pronounced delay effect is audible on the lyric “o-kay” at the end of line 2.
Vocals featured in the mix:
- Primary Lead: Taggart
- Lead Multi-Tracking 1: Taggart
- Lead Harmony 1: Taggart
- Independent Background: Low-pitch-processed vocal
Line 1: I know it breaks your heart
Line 2: Moved to the cit-y in a broke down car (And)
Line 3: four years, no calls
Line 4: Now you’re look-in’ pret-ty in a ho-tel bar (And)
Line 5: I, I, I can’t stop (plus very low-level unintelligible pitch-processed vocal)
Line 6: No, I, I, I can’t stop (plus very low-level pitch-processed “can’t sto-op”)
The first stanza/part X in the pre-chorus features a greater degree of effect processing compared to the first verse. In particular, there is more reverb and Taggart’s vocal is now multi-tracked as opposed to singular. As a result, it doesn’t possess the same upfront and intimate vibe as heard in the first verse.
The second stanza/part Y features a pronounced shift compared to part X. This is due to additional vocal layers that harmonize with Taggart’s lead, providing additional color, texture and contrast. However, note that the vocal remains all male – Halsey has not made an appearance thus far in the song.
Additionally, a very low-level, heavily pitch-processed male vocal enters the mix at the end of lines 5 and 6. The phrase at the end of line 5 is unintelligible, and the phrase at the end of line 6 is a repeat of the lyrics “can’t sto-op.”
Vocals featured in the mix:
- Primary Lead: Taggart
- Lead Harmony 1: Taggart
- Lead Harmony 2: High-Pitch-Processed
Line 1: So ba-by pull me clos-er
Line 2: In the back seat of your Ro-ver
Line 3: That I know you can’t af-ford
Line 4: Bite that tat-too on your shoul-der
Line 5: Pull the sheets right off the cor-ner
Line 6: Of the mat-tress that you stole
Line 7: From your room-mate back in Boul-der
Line 8: We ain’t ev-er get-tin’ old-er
The entire chorus features Taggart’s harmonized lead vocal. As the section progresses, an increasing amount of reverb is applied, though it comes across only subtly in the final mix.
Additionally, a high-pitch-processed vocal doubles Taggart’s lead throughout, which provides increased color, texture, and contrast compared to the preceding sections. It also enables the chorus vocal to further stand out and connect with the listener.
Vocals featured in the mix:
- Primary Lead: Taggart
- Lead Harmony 1: Taggart
- Lead Harmony 2: High-Pitch-Processed
Line 1: We ain’t ev-er get-tin’ old-er
Line 2: We ain’t ev-er get-tin’ old-er
The instrumental break post chorus features the same core lead vocal characteristics as the preceding chorus.
Vocals featured in the mix:
- Primary Lead: Halsey
- Lead Multi-Tracking: Halsey
Line 1: You, look as good as the day I met you
Line 2: I for-get just why I left you, I was in-sane
Line 3: Stay, and play that Blink One-Eight-y-Two song
Line 4: That we beat to death in Tuc-son, O-K
The second verse marks the first appearance by the song’s featured artist – Halsey – and a solo female vocal accordingly.
The first stanza/part X features a mostly singular (non-multi-tracked) vocal, which is processed with ample reverb and a delay effect that is most audible in the silence that follows the first lyric at the beginning of both stanzas (i.e. “you” and “stay”). Note that this is in contrast to Taggart’s singular lead in the first verse, which is less processed and more intimate.
Line 3 in the second stanza/part Y continues on in essentially the same manner, and line 4 adds multi-tracking to Halsey’s lead. This provides engaging contrast in the scope of the section in addition to enabling the line to further stand out in the mix.
Vocals featured in the mix:
- Primary Lead: Halsey
- Lead Multi-Tracking: Halsey
- Lead Harmony 1: Taggart (low level)
- Independent Background: Low-pitch-processed vocal
Line 1: I know it breaks your heart
Line 2: I moved to the cit-y in a broke down car and
Line 3: four years, no calls
Line 4: And now I’m look-in’ pret-ty in a ho-tel bar and
Line 5: I, I, I can’t stop (plus pitch-processed “can’t sto-op”)
Line 6: No, I, I, I can’t stop (plus pitch-processed “can’t sto-op”)
The second pre-chorus essentially features the same vocal characteristics as the preceding verse, though their arrangement in the scope of the section differs. Lines 1 and 3 in the first stanza/part X feature pronounced multi-tracking, while lines 2 and 4 feature less pronounced multi-tracking. The contrast between lines 1 / 3 and 2 / 4 provide the stanza with an engaging flow.
In the second stanza/part Y, Taggart provides low-level harmony to Halsey’s lead. The result is and a fuller, richer, lead vocal that jumps out at the listener on a more pronounced level.
Additionally, a heavily processed pitch-shifted vocal sings “can’t stop” at the end of lines 5 and 6. This is the same vocal type that is found at the end of the same lines in the first pre-chorus, albeit more audible in the mix.
Vocals featured in the mix:
- Primary Lead: Taggart & Halsey
- Lead Harmony 1: Taggart
- Lead Harmony 2: High-Pitch-Processed
Line 1: So ba-by pull me clos-er
Line 2: In the back seat of your Ro-ver
Line 3: That I know you can’t af-ford
Line 4: Bite that tat-too on your shoul-der
Line 5: Pull the sheets right off the cor-ner
Line 6: Of the mat-tress that you stole
Line 7: From your room-mate back in Boul-der
Line 8: We ain’t ev-er get-tin’ old-er
The second chorus features the same core vocal characteristics as the first with one primary difference – Taggart and Halsey are harmonizing at relatively equal prominence in the mix. This provides engaging contrast compared to the first chorus, as well as in the overall scope of the song (this is the first time that they harmonize with each other on a pronounced level).
Vocals featured in the mix:
- Primary Lead: Taggart & Halsey (harmonized)
- Lead Harmony 1: Taggart
- Lead Harmony 2: High-Pitch-Processed
Line 1: We ain’t ev-er get-tin’ old-er
Line 2: We ain’t ev-er get-tin’ old-er
The second instrumental break post chorus features the same core characteristics as the first, with the exception being that the Taggart and Halsey continue harmonizing as in the preceding chorus.
Vocals featured in the mix:
- Primary Lead: Taggart
- Lead Harmony 1: Taggart
- Lead Harmony 2: High-Pitch-Processed
Line 1: So ba-by pull me clos-er
Line 2: In the back seat of your Ro-ver
Line 3: That I know you can’t af-ford
Line 4: Bite that tat-too on your shoul-der
Line 5: Pull the sheets right off the cor-ner
Line 6: Of the mat-tress that you stole
Line 7: From your room-mate back in Boul-der
Line 8: We ain’t ev-er get-tin’ old-er
In contrast to the second chorus which features a harmonized Taggart/Halsey duet, the third chorus features only Taggart. The low harmony and high pitched-processed vocals are present in this chorus as well, at a very subtle level.
Vocals featured in the mix:
- Primary Lead: Taggart
- Primary Lead: Taggart & Halsey (harmonized)
Line 1: We ain’t ev-er get-tin’ old-er
Line 2: No, we ain’t ev-er get-ting’ old-er
Line 3: We ain’t ev-er get-tin’ old-er
Line 4: No, we ain’t ev-er get-tin’ old-er
Line 5: We ain’t ev-er get-tin’ old-er
Line 6: We ain’t ev-er get-tin’ old-er
Line 7: We ain’t ev-er get-tin’ old-er
Line 8: No, we ain’t ev-er get-tin’ old-er
The vocal break is the only section in the song that features alternating prominence of Taggart and Halsey on each successive line throughout the section. The odd numbered lines (1, 3, 5, 7) prominently feature Taggart. The even numbered lines (2, 4, 6, 8) feature Halsey at a prominent level in the mix, with Taggart harmonizing at a slightly lower level.
The alternating flow provides the vocal break post chorus with a highly infectious and engaging characteristic, and prevents the otherwise very repetitive essence of the section from becoming overly monotonous.
Vocals featured in the mix:
- Primary Lead: Taggart & Halsey (harmonized)
- Lead Harmony 1: Taggart
- Lead Harmony 2: High-Pitch-Processed
Line 1: We ain’t ev-er get-tin’ old-er
Line 2: No, we ain’t ev-er get-tin’ old-er
The last instrumental break section in the song features a harmonized duet between Taggart and Halsey. Both are featured at a relatively equal level in the mix, though Halsey pierces through at a slightly higher level due to the timbre of her voice. Additional harmony vocals from Taggart are in the mix as well as the high-pitch-processed background vocals.
Vocal Melody
*The starting and ending points in the sections that feature both Taggart and Halsey reflect Taggart (i.e. the lower-register vocal).
Begins on Eb3 and ends a minor third lower on C3.
Begins a minor sixth higher on Ab3 and ends a major second higher on Bb3.
Begins on the same pitch, Bb3 and ends a step lower on Ab3.
Begins on the same pitch, Ab3, and ends a major third higher on C4.
Begins a minor third higher on Eb4 and ends a perfect fifth lower on Ab3.
Begins an octave higher on Ab4 and ends on the same pitch.
Begins a minor seventh lower on Bb3 and ends a major second lower on Ab3.
Begins on the same pitch and ends a major third higher on C4.
Begins a major second lower on Bb3 and ends a major second lower on Ab3.
Begins and ends on the same pitch, Ab3.
Begins on the same pitch, Ab3, and ends a major third higher on C4.
Line 1: Hey, I was do-in’ just fine before I met you
Line 2: I drink too much and that’s an is-sue, but I’m o-kay
Line 3: Hey, you tell your friends it was nice to meet them
Line 4: But I hope I ne-ver see them a-gain
High: Eb3
Low: Eb2
Key
Bold: Subtle phrase or line segmentation put into effect by a prolonged lyric or short rest (i.e. sixteenth note)
(/): Pronounced phrase or line segmentation put into effect by a rest that is an eighth note or longer
Each line is close in their respective syllable count, ranging from 10 to 13.
In-Line Segmentation:
- Lines 1 & 3: The first lyric, “hey,” is segmented from the rest of the line via a half rest.
- Line 2: The two eighth notes that comprise “is-sue” act in the manner of a comma, subtly segmenting the phrases on the line from one another.
Cross-Line Segmentation:
The lines in each stanza are subtly segmented from one another by prolonged lyrics (i.e. eighth note at the end of lines 1 and 3) and a short rest (i.e. the sixteenth rest at the end of line 3).
Cross-Stanza Segmentation:
Both stanzas (parts X and Y) are segmented from one another by a lengthy whole rest, which is implemented at the end of line 2.
The first verse features a 1-1-1-2 melodic structure. The first three lines all feature a part 1 classification due to their core similarities. However, each possesses differences as well, hence the part 1a, 1b and 1c distinctions. The last line in the section, line 4, deviates the most from the preceding three, and is provided with a part 2 classification accordingly. However, it too possesses certain similarities with the aforementioned part 1’s which reinforces the overall melody in the listener’s head.
Motives: Verse 1
Line 1: Hey, I was do-in’ just fine before I met you
Line 2: I drink too much and that’s an is-sue, but I’m o-kay
Part 1a: “Hey, I was do-in’ just fine before I met you”
Line 1 is composed of part 1a. It begins in a very minimal manner, consisting of a single Eb sixteenth note on the lyric “hey,” and followed by a half rest. The space created between this single note/lyric and the balance of the line that follows provides the song with a very engaging and unexpected characteristic right at the onset of the song, which further pulls the listener in.
The balance of the line features an infectiously engaging combination of ascending and descending “platform” melodic progressions, which defines the other lines with the section as well. Platform 1 begins on Ab, which is a fifth lower than the lyric “hey” that precedes it:
- Platform 1 (Ab-Ab-Ab) “I was do-”
- Platform 2 (Eb-Eb-Eb) “-in’ just fine”: Up a fifth from platform 1
- Platform 3 (C-C) “be-fore”: Down a minor-third from platform 2
- Platform 4 (Bb-Bb) “I met”: Down a major second from platform 3
- End of Line (Ab: Tonic) “you”: Down a major second from platform 4
Rhythmically, the first four syllables consist of short sixteenth notes, which essentially function as a pickup to the main descending platform progression that follows. The descent from Eb to Ab consists primarily of longer eighth notes, save for the syllable “be” in “be-fore,” which is a sixteenth note. Together, the combination of short and longer notes provides the full line with an engaging flow.
Part 1b: “I drink too much and that’s an is-sue, but I’m o-kay”
Line 2 is composed of part 1b. It features the core melodic shape and a similar rhythm as line 1 that precedes it, which imparts familiarity and accentuates memorability as a result. However, there are key differences as well, which keeps things fresh and engaging.
Similarities with Line 1:
- It begins on a Ab sixteenth note and then leaps up a fifth to Eb, where it embarks on a descending Eb-Eb / C-C / Bb-Bb platform progression.
Differences with Line 1:
- It doesn’t begin with a single eighth note followed by a lengthy half-rest.
- If features a shorter Ab sixteenth note pickup at the beginning (i.e. a single note as opposed to three).
- It features a slightly differentiated rhythm.
The most pronounced difference occurs at the end of the line. Instead of concluding on C, which seemingly brings the phrase “I drink too much and that’s an is-sue” to a conclusion, an additional phrase is tacked on at the end, which is unique in the scope of the section:
“but I’m o-kay” (Ab-Ab-C-Bb / sixteenth-sixteenth-eighth-eight)
Note that the longer eighth notes that comprise the lyric “is-sue” act in the manner of a comma that segments the two phrases from one another. The effect is heightened due to the shorter sixteenth notes that directly precede and follow:
“I drink too much and that’s an is-sue, but I’m o-kay”
Line 1 ends on the tonic, Ab. Line 2 ends a step higher on Bb, which leaves the mood a bit less resolved.
Line 3: Hey, you tell your friends it was nice to meet them
Line 4: But I hope I ne-ver see them a-gain
Part 1c: “Hey, you tell your friends it was nice to meet them”
Line 3 is composed of part 1c. It features both core commonalities as well as differences with lines 1 and 2 that precede it:
Commonalities:
- It begins in the same manner as line 1, with the Eb eighth note “hey,” followed by the prolonged half-note rest.
- The balance of the line starts with a single Ab note (same as line 2), leaps up to Eb, and then follows a descending “platform” progression down to the tonic, Ab, which is the note that line 1 concludes on.
Differences:
- In contrast to line 1, which begins with short sixteenth notes and concludes with longer eighth notes, line 3 begins with longer eighth notes and features a higher concentration of short sixteenth notes for the balance of the line.
- The C note platform consists of three syllables as opposed to two.
Part 2a: “But I hope I ne-ver see them a-gain”
Line 2 is composed of part 2b. While it features certain similarities with the part 1’s that compose lines 1 – 3, it is the most changed up in the scope of the section, and provided with a part 2 classification accordingly.
Part 1 Similarities:
- It begins with a sixteenth note Ab pickup.
- Following the pickup, there is a melodic leap, followed by a descending platform progression.
Part 1 Differences:
- The leap at the beginning spans a major second as opposed to a fifth (Ab – C vs. Ab – Eb).
- The platform descent consists of major seconds up until the final one, which descends a fourth down to, Eb. This is the lowest register in the entire section.
- The last two-syllable lyric in the section, “a-gain,” features a pronounced leap from Eb to C. Ending on C rather than the tonic Ab leaves the melody unresolved heading into the next section.
- Rhythmically, it consists mostly of eighth notes, and contains no syncopation. Every part 1 has some degree of syncopation.
Notice that the smaller leap interval at the onset of line 4 coupled with descending to the lowest register in the entire section compared to line 3 that precedes it provides the line with a less excited vocal quality. This cleverly jibes with and accentuates the connotation of the lyrics:
More excited – positive connotation (leaps up a fifth): “Hey, you tell your friends it was nice to meet them”
Less excited – negative connotation (leaps up a major third): “But I hope I ne-ver see them a-gain”
Line 1: You, look as good as the day I met you
Line 2: I for-get just why I left you, I was in-sane
Line 3: Stay, and play that Blink One-Eight-y-Two song
Line 4: That we beat to death in Tuc-son, O-K
High: F4
Low: Ab3
Key
Bold: Subtle phrase or line segmentation put into effect by a prolonged lyric or short rest (i.e. sixteenth note)
(/): Pronounced phrase or line segmentation put into effect by a rest that is an eighth note or longer.
As is the case in the first verse, each line is close in their respective syllable counts, ranging from 10 to 12.
The second verse features essentially the same core in-line, cross-line, and cross-stanza segmentation methods as utilized in the first verse.
The second verse features a 1-1-1-1 melodic structure. Each line possesses core similarities and differences with one another as well as with their verse 1 counterparts, hence the 1d, 1e, 1f, and 1g distinctions.
Note that the second verse is sung an octave above the first, as it features Halsey as opposed to Taggart.
Motives: Verse 2
Motives: Verse 1 Reference
Line 1: You, look as good as the day I met you
Line 2: I for-get just why I left you, I was in-sane
Part 1d: “You, look as good as the day I met you”
Line 1 is composed of part 1d. It features key similarities to its verse 1 counterpart and other verse 1 lines as well, but also possesses noticeable differences.
Similarities:
- It begins with a single Eb eighth note, followed by a prolonged rest.
- It features a descending “platform” progression via Eb – C – Bb – Ab.
Differences:
- In contrast to all of the lines in the first verse, line 1 in the second verse begins on Eb as opposed to Ab. As a result, there is no initial leap up to the highest point of the “platform” progression.
- It features a differentiated rhythm compared to lines in the first verse. Of the 10 syllables on the line, the first 4 feature an eighth note value, the three that follow are shorter sixteenth notes, and the three that conclude are longer eighth notes. Note that the last lyric, “you” possesses the longest note value on the line – a dotted eighth. This this helps to segment line 1 from line 2 in lieu of a rest.
Part 1e: “I for-get just why I left you, I was in-sane”
Line 2 is composed of part 1e. With the exception of the first three syllables (“I for-get”), line 2 in the second verse is virtually identical to its verse 1 counterpart.
The first three syllables possess an eighth note value and ascend via C-Eb-F. Note that this is the only point in both verse sections where a line begins on C and then climbs to F, which is the highest pitch in both verse sections, is unique to the second verse.
This changeup at the beginning provides the melody with increased color and excitement, as well as engaging contrast in the scope of the song. The rhythmic and melodic similarities for the duration heightens the memorability factor due to the familiarity imparted.
The line concludes on Bb rather than the tonic Ab, where all other lines of this verse end. Similar to line 2 in the first verse, this leaves the mood unresolved and the listener hanging going into the second stanza.
Line 3: Stay, and play that Blink One-Eight-y-Two song
Line 4: That we beat to death in Tuc-son, O-K
Part 1f: “Stay, and play that Blink One-Eight-y-Two song”
Line 3 is composed of part 1f. It’s essentially a hybrid of characteristics stemming from lines 1 and 3 in the first verse.
Verse 1 Similarities:
- Line 3, Verse 1: The Eb – prolonged rest – Ab – Eb – Eb – Eb progression. Each Eb is an eighth note, though the Ab is a sixteenth, which differs from its verse 1 counterpart.
- Line 1, Verse 1: The balance of the line features the same melody and almost the same rhythm as line 1 in the first verse (C-C-Bb-Bb-Ab / sixteenth-eighth-eighth-eighth-dotted eighth). Note that the last lyric in the first verse is an eighth as opposed to a dotted eighth.
Part 1g: “That we beat to death in Tuc-son, O-K”
Line 4 is composed of part 1g. It features the most in common with its verse 2, line 2 counterpart as opposed to the lines in the first verse. Following the climb from Eb to F, which is pinnacle pitch #2 in the scope of verse sections, it drops a fourth and follows a descending C-C-Bb-Bb “platform” progression. However, it steps back up to another C platform, before progressing via Bb-Ab to conclude.
Note that the syllable “-son” in “Tuc-son” is the longest on the line – a dotted eighth. This acts in a manner of a comma, cleverly separating the city from the state:
“That we beat to death in Tuc-son, OK” (i.e. Tucson, Oklahoma).
Line 1: I know it breaks your heart
Line 2: Moved to the cit-y in a broke down car
Line 3: And four years, no calls
Line 4: Now you’re look-in’ pret-ty in a ho-tel bar
Line 5: And I, I, I can’t stop
Line 6: No, I, I, I can’t stop
High: Eb4
Low: Ab3
Key
Bold: Subtle phrase or line segmentation put into effect by a prolonged lyric or short rest (i.e. sixteenth note)
(/): Pronounced phrase or line segmentation put into effect by a rest that is an eigth note or longer
The first four line in the section alternate short/long, consisting of 6 -11- 4 -12 syllables, respectively. The last two lines feature an almost identical syllable count, consisting of 7 and 8, respectively.
In-Line Segmentation:
- Each line flows straight through without a pause.
Cross-Line Segmentation:
- In the first stanza/part X, lines 1 and 2 as well as 3 and 4 are subtly segmented from one another by a prolonged lyric at the end (quarter note). Line 2 is segmented from line 3 in a more pronounced manner, by a dotted quarter rest. Note that the rest follows the FIRST LYRIC of the line follows – line 3 – see below for details.
- In the second stanza/part Y, lines 5 and 6 are segmented from one another by a dotted half rest.
Cross-Stanza Segmentation:
- The first stanza/part X flows directly into the second stanza/part Y without a pause.
Pre-chorus 1 features a 1-1-1-1-2-2 melodic structure. The first four lines all possess core commonalities with one another, hence the part 1 classification. However, they feature differences as well, hence the 1a, 1b, and 1c distinctions. The last two lines in the section completely differ from the preceding four, and are provided with a part 2 classification accordingly. Both part 2 lines are almost identical to one another, and are provided with a 2a distinction.
Motives: Pre-Chorus 1
Line 1: I know it breaks your heart
Line 2: Moved to the cit-y in a broke down car
Part 1a: “I know it breaks your heart”
Line 1 is composed of part 1a. Melodically, it features a monotone Ab run up until the last two lyrics/syllables, which are a step higher on Bb. Rhythmically, the first three lyrics/syllables are short sixteenth notes, and the last three consist of two eighth notes and a quarter note to conclude. Note that the quarter note functions in the manner of a period, segmenting line 1 from line 2 in lieu of a rest.
Part 1b: “Moved to the cit-y in a broke down car. And”
Line 2 is composed of part 1b. It features the same core melodic shape and rhythmic structure as line 1, save for the additional lyrics and syllables and the eighth note at the beginning. The primary difference occurs at the end of the line, where instead of concluding on Bb, it drops a step down to the tonic Ab.
While the drop down to Ab at the end of line 2 isn’t that drastic, the manner in which it relates to the narrative is. Grammatically, the line should technically end on the lyric “car”:
“Moved to the cit-y in a broke down car” (“AND”)
However, the melodic run flows seamlessly up until the end on the lyric “and,” which begins line 3:
(“AND”) “four years, no calls”
The dotted quarter rest that follows “and” and precedes line 3, “four years no calls” provides the section with a clever twist, and heightens anticipation for subject matter that follows the aforementioned vocal silence following the lyric “and.”
Line 3: And four years, no calls
Line 4: Now you’re look-in’ pret-ty in a ho-tel bar. (And)
Part 1c: “four years, no calls”
Line 3 features the same core Ab-Bb progression as found on lines 1 and 2. There are two primary differences, however:
- It’s the shortest line in the section, consisting of just 4 syllables.
- It features the longest successive note values in the section, consisting of three eighth notes followed by a quarter note to conclude.
Additionally, note that the quarter note value of the lyric “calls” acts in the manner of a period, segmenting line 3 from line 4 in lieu of a rest.
Part 1b: “Now you’re look-in’ pret-ty in a ho-tel bar. And”
The last line in the first stanza is essentially a melodic and rhythmic carbon copy of line 2. The only differences are that it’s one syllable longer and doesn’t feature an eighth note on the first syllable (it’s a straight-through sixteenth note run up until the last four syllables on the line).
Additionally, notice the same “and” scenario that defines lines 2 and 3 happens again between lines 4 and 5. The only difference is that there isn’t a rest that follows this “and.” It instead flows directly into line 5.
Line 5: And I, I, I can’t stop
Line 6: No, I, I, I can’t stop
Part 2a: “I, I, I can’t stop”
Line 5, which is the first of two lines in the second stanza, features a pronounced departure compared to lines 1 – 4 that precede it. It possesses a fragmented structure centered on the lyric “I,” which starts on Eb and works its way down an octave before the changeup at the end. This provides the second half of the section with an infectious spin, which ultimately accentuates the engagement value for the listener:
- Fragment 1: “I” (Eb/eighth) / Sixteenth rest
- Fragment 2: “I, I” (C-Bb / sixteenth-eighth) / Sixteenth rest
- Fragment 3: “I, I” (Ab-Eb / sixteenth-quarter)
Note that the quarter note value of the last “I” provides subtle segmentation against the “can’t stop” lyrics that follow.
The last two lyrics, “can’t stop,” begin a major sixth higher than the last “I,” followed by a step down to Bb to conclude. The pronounced melodic direction reversal coupled with the longer dotted eighth value of the lyrics compared to most of the other lyrics that precede it enables the lyrical crux of the section to jump out at the listener independently of the infectiously fragmented “I” descent that precedes it.
Part 2a: “No, I, I, I can’t stop”
Line 6 is identical to line 5 except that it contains an additional Eb eighth note lyric/syllable at the beginning – “no.” Both lines end on Bb, building tension and leaving the mood and the melody unresolved heading into the chorus.
Line 1: I know it breaks your heart
Line 2: I moved to the cit-y in a broke down car (And)
Line 3: four years, no calls
Line 4: And now I’m look-in’ pret-ty in a ho-tel bar (And)
Line 5: I, I, I can’t stop
Line 6: No I, I, I can’t stop
High: C5
Low: Eb4
As is the case with pre-chorus 1, pre-chorus 2 features a 1-1-1-1-2-2 melodic structure. The first four lines are almost identical to their pre-chorus 1 counterparts. The last two lines, however, are subtly changed up, and are provided with a part 2b and 2c distinction as opposed to 2a in pre-chorus 1.
Note that the second pre-chorus is sung an octave above the first, as it features Halsey as opposed to Taggart.
Motives: Pre-Chorus 2
Motives: Pre-Chorus 1 Reference
Line 1: I know it breaks your heart
Line 2: I moved to the cit-y in a broke down car (And)
Part 1a: “I know it breaks your heart”
Line 1 is composed of part 1a. It features essentially the same melody and rhythm as its pre-chorus 1 counterpart. The only real difference is the dotted eighth note at the end vs. the quarter note at the end of line 1 in the first pre-chorus, which functions in the manner of a period in lieu of a rest, segmenting line 1 from line 2 albeit more subtly than in pre-chorus 1.
Part 1b: “I moved to the cit-y in a broke down car. And”
Line 2 is almost identical to its pre-chorus 1 counterpart. The primary difference is that it’s one syllable longer (e.g. “I moved” as opposed to “moved”).
Line 3: four years, no calls
Line 4: And now I’m look-in’ pret-ty in a ho-tel bar (And)
Part 1c: “four years, no calls”
Line 3 in pre-chorus 2 is identical to its pre-chorus 1 counterpart.
Part 1b: “And now I’m look-in’ pret-ty in a ho-tel bar. And”
The last line in the first stanza is essentially a melodic and rhythmic carbon copy of line 2. The only differences are that it’s one syllable longer and doesn’t feature an eighth note on the second syllable (it’s comprised of sixteenth notes up until the last four syllables of the line).
Additionally, notice the same “and” scenario that defines lines 2 and 3 happens again between lines 4 and 5.
Line 5: I, I, I can’t stop
Line 6: No, I, I, I can’t stop
Part 2b: “I, I, I can’t stop”
Line 3 is composed of part 2b. It’s almost identical to its pre-chorus 1 counterpart, save for the first note being a Bb, which is a fourth lower relative to the Eb in the first pre-chorus.
Part 2c: “No, I, I, I can’t stop”
Line 4 is composed of part 2c. It too is almost identical to its pre-chorus 1 counterpart, as well as line 3 that precedes it. The difference resides once again at the beginning, in this case an Ab-Bb eighth note ascent as opposed to a single Bb (line 5) or two Eb notes (pre-chorus 1 line 6).
Line 1: So ba-by pull me clos-er
Line 2: In the back seat of your Ro-ver
Line 3: That I know you can’t af-ford
Line 4: Bite that tat-too on your shoul-der
Line 5: Pull the sheets right off the cor-ner
Line 6: Of the mat-tress that you stole
Line 7: From your room-mate back in Boul-der
Line 8: We ain’t ev-er get-tin’ old-er
High: C4
Low: Ab3
Key
Bold: Subtle phrase or line segmentation put into effect by a prolonged lyric or short rest (i.e. sixteenth note)
(/): Pronounced phrase or line segmentation put into effect by a rest that is an eigth note or longer
Each line is very close in their respective syllable count at either 7 or 8.
In-Line Segmentation:
- None.
Cross-Line Segmentation:
- Lines 3 & 4 and 6 & 7 are segmented by an eighth rest.
Cross-Stanza Segmentation:
- There is no segmentation between stanzas.
Each line in the chorus features a part 1 classification due to the similarities between them. However, there are four variations of the melodic core within the section, which are denoted as parts 1a, 1b, 1c, and 1d. Parts 1b and 1c recur in a slightly changed-up manner, and those instances are noted as 1b’ and 1c’.
Motives: Chorus
Line 1: So ba-by pull me clos-er
Line 2: In the back seat of your Ro-ver
Line 3: That I know you can’t af-ford
Line 4: Bite that tat-too on your shoul-der
Part 1a: “So ba-by pull me clos-er”
Line 1 is composed of part 1a. Like the other lines in the chorus, it possesses an all-eighth note delivery. It features two ascents to C by way of Bb-Bb-C and Ab-Bb-Bb-C. The Ab-Bb-Bb-C motive is one of the key recurring melodic elements utilized throughout the chorus.
Part 1b: “In the back seat of your Ro-ver”
Line 2 is composed of part 1b. It begins with a repetition of Ab-Bb-Bb-C, then begins again with Ab-Bb-Bb but ends with a descent to Ab. This Ab-Bb-Bb-Ab progression is another melodic motive that recurs throughout the chorus.
Part 1c: “That I know you can’t af-ford”
Line 3 is composed of part 1c. It begins with the Ab-Bb-Bb-Ab motive introduced on the previous line, and then begins again with Ab-Bb-Bb, followed by an eighth rest. Note that this is the first instance of segmentation within the scope of the section.
Part 1b: “Bite that tat-too on your shoul-der”
Line 4 features an exact repetition of part 1b as featured on line 2.
Line 5: Pull the sheets right off the cor-ner
Line 6: Of the mat-tress that you stole
Line 7: From your room-mate back in Boul-der
Line 8: We ain’t ev-er get-tin’ old-er
Part 1a: “Pull the sheets right off the cor-ner”
Line 5 is composed of an exact repeat of part 1a, which kicks off the section on line 1.
Part 1b’: “Of the mat-tress that you stole”
Line 6 is composed of part 1b’. It shares much in common with its line 2 counterpart, except for that it stops on Bb rather than finishing on Ab, and replaces that Ab with a rest, implementing the second instance of segmentation in the section.
Part 1c’: “From your room-mate back in Boul-der”
Line 7 is composed of part 1c’. It shares much in common with its line 3 counterpart (1c), but it is longer, finishing with a step down to Ab where part 1c implemented a rest. Foregoing the rest in this case keeps the momentum flowing into the last line.
Part 1d: “We ain’t ev-er get-tin’ old-er”
Line 8 is composed of part 1d. It introduces the motive that plays the primary vocal role in the instrumental break that follows. It’s mainly comprised of a platform progression between C, Ab and Bb, following the progression Ab-C-C-Ab-Ab-Bb-Bb-Ab (concluding on the tonic).
There are two subtle but important characteristics that separate this part from all others in the section:
- 1d is the only part of the chorus that leaps up a major third (Ab-C); all others ascend stepwise.
- 1d is the only part that repeats C twice in a row; all others that contain C contain only one consecutive C.
Line 1: We ain’t ev-er get-tin’ old-er
Line 2: We ain’t ev-er get-tin’ old-er
High: C4
Low: A3
Each line in the instrumental break section consists of eight syllables.
In-Line Segmentation:
- Each line flows straight through without a pause.
Cross-Line Segmentation:
- Lines 1 and 2 are segmented from one another by three whole rests and a half rest.
Both lines in the instrumental break sections recycle the last line in the chorus, “We ain’t ev-er get-tin’ old-er.” As a result, the repetition of this isolated line transforms it into the song’s primary vocal hook, and is further reinforced in the vocal break section.
The sole difference compared to the chorus is that the last lyric goes up a step to C as opposed to down to Ab.
Instrumental Break – Vocal Hook
Chorus – Vocal Hook
Additionally, the vocal hook melody interlocks with the lead synth hook melody when it’s in effect, thus accentuating the hook’s ability to stand out and resonate.
Line 1: We ain’t ev-er get-tin’ old-er
Line 2: No we ain’t ev-er get-ting’ old-er
Line 3: We ain’t ev-er get-tin’ old-er
Line 4: No we ain’t ev-er get-tin’ old-er
Line 5: We ain’t ev-er get-tin’ old-er
Line 6: We ain’t ev-er get-tin’ old-er
Line 7: We ain’t ev-er get-tin’ old-er
Line 8: No we ain’t ev-er get-tin’ old-er-er-er
High: C5
Low: Ab3
Each line in the vocal break section is very close in regard to their respective syllable count, ranging from 8 to 11. The first seven lines fluctuate between 8 and 9, and the last line contains two additional syllables due to the prolonged lyric, “old-er-er-er.”
Each line in the section that is sung by Taggart flows directly into one another without a pause. Each of Hasley’s higher register harmony lines are segmented from one another by a lengthy dotted half + eighth rest. She joins in with him on every other repetition.
As is the case with the instrumental break section, the vocal break post chorus section is based on the repetition of the “we ain’t ev-er get-tin’ old-er” line from the chorus. However, in contrast to the instrumental break section, there are two components involved:
- Taggart repeats the phrase verbatim in each line throughout the section.
- Halsey is featured only on the even numbered lines throughout the section (2, 4, 6, 8) singing the phrase an octave above Taggart. She sings the same core melody as Taggart on each line, though a subtle changeup occurs at the end of lines 4 and 8 (she concludes via a step up to C as opposed to a drop down to Ab), and an additional lyric, “no” is featured at the beginning of lines 2, 4 and 8.
The interaction between both artists provides the section with a highly infectious quality, and prevents the repetitive vocal and lyrical characteristics from becoming overly monotonous.
Lyrics & Title
Lyric Types
The entire song is rich in detail. What follows are a couple of examples from each section. Reference the Story Flow & Meaning section of the report for a full rundown on the narrative.
- Hey, I was doin’ just fine before I met you
- I drink too much and that’s an issue, but I’m okay
- Stay, and play that Blink-182 song
- That we beat to death in Tucson, OK
- Moved to the city in a broke down car
- Now you’re lookin’ pretty in a hotel bar
- So baby pull me closer
- In the back seat of your Rover
- That I know you can’t afford
- Mattress that you stole
- From your roommate back in boulder
- Moved to the city in a broke down car
- Now you’re lookin’ pretty in a hotel bar
- In the back seat of your Rover
- Bite that tattoo on your shoulder
- Pull the sheets right off the corner
- Of the mattress that you stole
- Hey, I was doin’ just fine before I met you (non-specific time)
- You, look as good as the day I met you
- Stay, and play that Blink-182 song
- That we beat to death in Tucson, OK
- Moved to the city in a broke down car
- And four years, no calls
- Now you’re lookin’ pretty in a hotel bar
- In the back seat of your Rover
- From your roommate back in Boulder
- We ain’t ever gettin’ older
- I drink too much and that’s an issue, but I’m okay
- Stay, and play that Blink-182 song
- Moved to the city in a broke down car
- And I, I, I can’t stop
- So baby pull me closer
- Bite that tattoo on your shoulder
- Pull the sheets right off the corner
- Hey, I was doin’ just fine before I met you
- I drink too much and that’s an issue, but I’m okay
- I forget just why I left you, I was insane
- I know it breaks your heart
- And I, I, I can’t stop (Implied state in the context of the section)
Rhyme Schemes
![verse-1-rhyming-closer](https://reports.hitsongsdeconstructed.com/wp-content/uploads/2016/11/verse-1-rhyming-closer.jpg)
![verse-1-rhyming-closer](https://reports.hitsongsdeconstructed.com/wp-content/uploads/2016/11/verse-1-rhyming-closer.jpg)
Line 1 and 2 are connected by two sets of rhymes – “ay” and “ou”:
Connection 1: “ay” rhyme
“Hey” and “o-kay”: “Hey” appears at the beginning of line 1 and is followed by a prolonged rest. As a result, it stands out independently in the scope of the section. “O-kay” appears at the end of line 2.
Connection 2: “ou” rhyme
“You” and “is-sue”: In between the aforementioned “ay” sounding rhymes, the lyric “you” appears at the end of line 1, which connects to the lyric “is-sue” toward the end of line 2. Note that the lyric “is-sue” is prolonged compared to the lyrics/syllables that directly precede and follow it (i.e. eighths vs sixteenths), which accentuates the connection factor.
Another way of looking at the scheme
Due to the phrasing, lines 1 and 2 can be broken up into four individual segments which provides it with an ABBA rhyme scheme:
- Segment 1 (A): “Hey”
- Segment 2 (B): “I was do-in’ just fine before I met you”
- Segment 3 (B): “I drink too much and that’s an is-sue”
- Segment 4 (A): “but I’m o-kay”
Line 3 / Line 1 Connection: “ay”
Line 3 begins in the same manner as line 1 with the lyric “hey,” and is followed by a prolonged rest. However, note that the “ay” rhyme does not return on line 4 as it does on line 2.
Line 3 & 4 Connection: “ee” and “ehm” rhymes
In contrast to lines 1 and 2 which are connected by the “ay” and “ou” rhymes, lines 3 and 4 are connected by the “ee” and “ehm” rhymes, which occur back-to-back at the end of each line:
- Line 3: “meet them”
- Line 4: “see them”
Additionally, note that the lyric “them” on line 4 is followed by another rhyme commonality, “a-gain,” which accentuates the connection.
Connection 1: “ou” rhyme
“You”: The lyric “you” appears at the beginning of line 1 and is followed by a prolonged rest, just as “hey” is in the first verse. As a result, it stands out independently in the scope of the section. Another “you” appears at the end of the line, as well as toward the end of line 2.
Non-Rhymer: “in-sane”
The last lyric on line 2, “in-sane,” doesn’t rhyme with the other lyrics on lines 1 and 2. However, it is connected to lines 3 and 4 that follow. See below.
Another way of looking at the scheme
As is the case with verse 1, due to the phrasing lines 1 and 2 can be broken into four individual segments, providing it with an AAAB scheme:
- Segment 1 (A): “You”
- Segment 2 (A): “look as good as the day I met you”
- Segment 3 (A): “I for-get just why I left you”
- Segment 4 (B): “I was in-sane”
Line 3 / Line 2 connection: “ay”
Line 3 features three iterations of the “ay” rhyme, which connects it to line 2 (“in-sane”).
As is the case with lines 1 and 2 in the first verse, lines 3 and 4 in the second verse are connected by two differentiated rhymes due to the clever manner in which they’re phrased.
Line 3 & 4 Connection: “ay” and “on” rhymes
Connection 1: “ay” rhyme
“Stay” and “o-kay”: “Stay” appears at the beginning of line 3 but is followed by a prolonged rest. As a result, it stands out independently in the scope of the section. “O-kay” appears at the end of line 4. Note that both verse sections cleverly conclude with differentiated “o-kay” lyrics. Verse 1 features “o-kay,” while verse two features the state abbreviation, “O-K.”
Connection 2: “on” rhyme
“Song” and “Tuc-son”: In between the aforementioned “ay” sounding rhymes, the lyric “song” appears at the end of line 3, which connects it to the lyric “Tuc-son” toward the end of line 4. Note that the lyric “Tuc-son” is prolonged compared to the lyrics/syllables that directly precede and follow it (i.e. eighths vs sixteenths), which accentuates the connection factor.
*Note: The lyrics above represent pre-chorus 1. Pre-chorus 2 features a couple of changed up lyrics due to the P.O.V. shift that takes place, but does not affect the core rhyme scheme.
Primary connection: “ahr” rhyme
Lines 1 – 4 are connected by the “ahr” sounding rhyme at/near the end:
- Line 1: “heart”
- Line 2: “car”
- *Line 3: “calls”
- Line 4: “bar”
*Note that the lyric “calls” is loosely connected to the other rhymers due to the manner in which it’s sung.
Clever phrasing connection: “and”
From a lyrical standpoint, the lyric “and” should technically appear at the beginning of lines 3 and 5. However, due to the manner in which lines are phrased, they’re tied in with lines 2 and 4. As a result, they put an A’ scheme into effect on these lines.
Secondary connection: “itty”
Lines 2 and 4 are further connected by the “itty” sounding commonality that appears midway through each in the lyrics “cit-y” and “pret-ty.”
Lines 5 and 6 feature a BB scheme as opposed to the AA’AA’ scheme that defines lines 1 – 4. Lines 5 and 6 are almost identical, save for the lyric “no” that appears at the beginning of line 6.
The chorus features an AAXA / AXAA rhyme scheme. Note that the line breakdown above technically reflects individual phrases, but are classified as individual lines for analysis purposes. The “proper” lyric structure would consist of 4 lines as opposed to 8 as follows:
Line 1: “So ba-by pull me clos-er in the back seat of your Ro-ver that I know you can’t af-ford.”
Line 2: “Bite that tat-too on your shoul-der”
Line 3: “Pull the sheets right off the cor-ner of the mat-tress that you stole from your room-mate back in Boul-der.”
Line 4: “We ain’t ev-er get-tin’ old-er”
Primary connection: “er” rhyme
Each line within the chorus save for lines 3 and 6 are connected by “er” rhyme at the end. Notice that certain lyrics feature other rhyme commonalities as well, and all consist of two syllables.
- Line 1: “Clos-er”
- Line 2: “Ro-ver”
- Line 4: “Shoul-der”
- Line 5: “Cor-ner”
- Line 7: “Boul-der”
- Line 8: “Old-er”
Non-rhymers
“Af-ford”:
Along with the eighth rest that follows, the break in the scheme due to the lyric “af-ford” brings the interrelated first three-phrase run to a conclusion:
“So ba-by pull me clos-er in the back seat of your Ro-ver that I know you can’t af-ford.”
“Stole”:
The non-rhymer, “stole,” is also followed by an eighth rest. However, in contrast to the lyric “af-ford,” it doesn’t bring the three-phrase run to a conclusion.
“Pull the sheets right off the cor-ner of the mat-tress that you stole from your room-mate back in Boul-der.”
The vocal break section simply features the repetition of the lyrics “we ain’t ever getting’ older.” The primary difference between the odd and even lines is the addition of the lyric “no” at the beginning of the even lines. Additionally, the syllable “er” in “old-er” is repeated an additional two times at the end of line 8.
Song Title
Song titles fall within one of two categories – those that are unique, clever, attention grabbing and/or possess a powerful nature (e.g. “7 Years”, “Cake By The Ocean,” “I Took A Pill In Ibiza”), and those that possess more of a universal/generic characteristic (e.g. “Can’t Stop The Feeling”, “Like I’m Gonna Lose You”).
Closer is on the generic end of the spectrum.
Closer appears only three times in the entire song. It’s featured as the last lyric in the first line/phrase of each chorus section:
Line 1: So baby pull me closer
Line 2: In the back seat of your Rover
Line 3: That I know you can’t afford
Line 4: Bite that tattoo on your shoulder
Line 5: Pull the sheets right off the corner
Line 6: Of the mattress that you stole
Line 7: From your roommate back in Boulder
Line 8: We ain’t ever gettin’ older
In contrast to many other Top 10 hits that have one or more characteristics that accentuate the impact of the song title (i.e. placement, repetition, standout melody, etc.), Closer has none. Furthermore, the title gets lost in the mix, considering that there is nothing that sets it apart from the other lyrics in the section:
Without having prior knowledge of the song title, one might be more apt to think after a first listen that the title is We Ain’t Ever Getting’ Older or something to that effect due to the following reasons:
It appears as the very last phrase in each chorus section.
It’s the only phrase that’s repeated in the instrumental break sections:
With the exception of the lyric “no,” it’s the only phrase that’s repeated in the vocal break section:
Word Cloud
Story Flow & Meaning
Closer is a love/relationship and hooking up-themed song about two exes who were involved in a relationship, broke up, and ran into one another after a four-year hiatus. Despite the issues that led to their breakup, the attraction between the two of them is still mutual, and culminates with them hooking up in the chorus.
Per a tweet from The Chainsmokers:
Key
Green Font: The protagonist is communicating
Red Font: The antagonist is communicating
Blue Font: The protagonist and antagonist are communicating concurrently
Line 1: Hey, I was doin’ just fine before I met you
Line 2: I drink too much and that’s an issue, but I’m okay
Line 3: Hey, you tell your friends it was nice to meet them
Line 4: But I hope I never see them again
Stage in the Narrative
Stage 1: Pre-hook up
- Encounter between the protagonist and antagonist
- The state of the protagonist (lines 1, 2)
- Protagonist and antagonist being left alone (lines 3, 4)
Scene
- Hotel Bar (established in the pre-chorus). The protagonist is hanging out with the antagonist and her friends.
P.O.V.
- Protagonist
Communication Direction
- The protagonist is communicating to the antagonist and being introspective
Premise
The first verse depicts two exes – the protagonist and antagonist – and their first encounter after a four-year hiatus, as brought to light later in the song. The first two lines pertain to the state of the protagonist, where the listener can deduce the following:
Lines 1 & 2
Line 1: The first line in the song has two possible interpretations:
- Interpretation 1: The protagonist had moved on following the breakup with the antagonist (established later in the song), and was doing “just fine” in his life. However, seeing the antagonist again has quite possibly stirred up some of those old emotions, and he’s not doing so “fine” anymore (i.e. “Hey, I was doin’ just fine BEFORE I met you.”)
- Interpretation 2: The line provides detail about the protagonist PRIOR to them getting involved in a relationship.
Line 2: The protagonist “drinks too much” – knows it’s an “issue” – but he’s “ok” with it. Note that this development has two possible implications in the scope of the narrative – that he still copes with their breakup by “drinking too much,” and/or that his drinking possibly led to her breaking up with him.
Lines 3 & 4
The last two lines in the section are also connected. They advance the narrative to the end of the first stage of the encounter, where the protagonist is hanging out with the antagonist and her friends in a hotel bar. The listener can deduce:
- The antagonist’s friends have just left, leaving the protagonist and antagonist by themselves. The protagonist is being polite by stating, “tell your friends it was nice to meet them,” though he’s really be sarcastic as depicted on the line that follows, “but I hope I never see them again.”
Line 1: I know it breaks your heart
Line 2: Moved to the city in a broke down car
Line 3: And four years, no calls
Line 4: Now you’re lookin’ pretty in a hotel bar
Line 5: And I, I, I can’t stop
Line 6: No, I, I, I can’t stop
Stage in the Narrative
Stage 2: Pre-hook up
- Protagonist relationship breakup review (lines 1, 2, 3)
- Protagonist’s attraction toward and desire to hook up with the antagonist (lines 4, 5, 6)
Scene
- Hotel Bar. The protagonist is alone with the antagonist (i.e. her friends have left)
P.O.V.
- Protagonist
Communication Direction
- The protagonist is communicating to the antagonist and being introspective
Premise
Following the first verse, the first pre-chorus advances the narrative by depicting the protagonist and antagonist being alone with one another in the hotel bar (remember – her friends left at the end of the first verse). The first three lines find the protagonist revisiting their breakup, where the listener learns:
- Line 1: The protagonist assumes that the antagonist’s “heart was broken” due to the breakup coupled with the prolonged period of silence between them.
- Line 2: One of them left the other and “moved to the city in a broke down car.” However, the listener won’t know who left who until later in the song.
- Line 3: The protagonist and antagonist haven’t been in touch for a lengthy period of time – four years.
The three lines that follow (lines 4, 5, 6) further advance the narrative by prepping the hookup summation that follows in the chorus.
- Line 4: Despite the breakup and long period of not being in touch, the protagonist is still attracted to the antagonist.
- Lines 5 & 6: The protagonist is unable to resist the urge to hook up with the protagonist.
Segment 1
Line 1: So baby pull me closer
Line 2: In the back seat of your Rover
Line 3: That I know you can’t afford
Segment 2
Line 4: Bite that tattoo on your shoulder
Segment 3
Line 5: Pull the sheets right off the corner
Line 6: Of the mattress that you stole
Line 7: From your roommate back in Boulder
Segment 4
Line 8: We ain’t ever gettin’ older
Stage in the Narrative
Stage 3: Hook up
- Hookup-Setup (lines 1, 2, 3)
- Hookup-Foreplay (line 4)
- Hookup-Sex and reminiscing (lines 5, 6, 7)
Scene
- Backseat of the antagonist’s Range Rover (lines 1, 2, 3, 4)
- In the antagonist’s bed (assumed – lines 5, 6, 7)
P.O.V.
- Protagonist (chorus 1, 3)
- Protagonist and antagonist (chorus 2)
Communication Direction
The protagonist is communicating to the antagonist based on the lyrical content. However, note that in the second chorus the vocal is a harmonized duet between the protagonist and antagonist, so the core feeling between them is mutual.
Premise
Following the “I can’t stop” hook up lead-in at the end of the pre-chorus, the summation of the narrative is reached in the chorus (i.e. the hook up is achieved). It is essentially composed of four narrative segments, each of which consists of one or more lines. Each segment cleverly traverses a different stage of the hookup, followed by the lyrical payoff at the end (which in this case ISN’T the song title as one would typically expect).
Segment 1
Since the protagonist and antagonist “can’t stop” as depicted in pre-choruses 1 and 2, respectively (i.e. contain themselves from wanting to hook up), the hookup is set in motion in the first segment of the chorus:
Line 1: So baby pull me closer
Line 2: In the back seat of your Rover
Line 3: That I know you can’t afford
Note that each line is lyrically intertwined and melodically flows from one into the next without a pause (technically they’re three phrases of one complete line – reference the Vocal Melody section of the report for melodic details). The following is established:
Hook up initiation:
- Setting: The “back seat of the Rover.”
- Action: “pull me closer”
Note that while the title lyric, “closer,” doesn’t function as a hook or provide the same type of summation/payoff that “we ain’t ever gettin’ older” does, it does sum up the overall mutual feelings between the protagonist and antagonist – they want to be “closer” with one another – at least one more time.
The pretentiousness of the antagonist as perceived by the protagonist:
- “…of your Rover (i.e. Range Rover) that I know you can’t afford.”
This line cleverly takes a jab at the antagonist, and might be evidence of one of the underlying issues that led to the downfall of the relationship still remaining today. Additionally, it provides the section with a clever twist that heightens its depth and engagement value.
Segment 2
This segment, which is composed of line 4, puts the hookup into action via the foreplay in the back seat of the “Rover”:
Line 4: Bite that tattoo on your shoulder
Segment 3
In the third segment, the listener can deduce that the protagonist and antagonist decided to take the tryst that began in the back seat of the antagonist’s Rover to the next level in the antagonist’s house or apartment.
Line 5: Pull the sheets right off the corner
Line 6: Of the mattress that you stole
Line 7: From your roommate back in Boulder
The hookup has now progressed from initiation – “moving closer” (segment 1), to foreplay – “biting the tattoo” (segment 2), to sex (segment 3). Notice that sex is only inferred and never outright stated via “pull the sheets right off the corner of the mattress…”
Additionally, more detailed information about the antagonist is cleverly intertwined within the narrative via “of the mattress that you stole from your roommate back in Boulder.” This establishes a specific place (i.e. Boulder, CO), infers a time (i.e. youth – living with a roommate). As a result, the listener’s connection with the character is heightened, as is the overall narrative.
Segment 4
The last line in the chorus functions as the section’s, and the song’s, primary lyrical hook, summation, and payoff:
Line 8: We ain’t ever gettin’ older
Communicated at times by both the protagonist and antagonist, it highlights their desire to relive the good times from years past, and remain in that time for as long as they can.
Line 1: You, look as good as the day I met you
Line 2: I forget just why I left you, I was insane
Line 3: Stay, and play that Blink-182 song
Line 4: That we beat to death in Tucson, OK
Stage in the Narrative
Stage 4 – Post-hook up
- The antagonist’s attraction to the protagonist (line 1)
- Breakup introspection (line 2)
- Desire to continue the tryst and reminiscing about old times with the protagonist (lines 3 and 4)
Scene
- In the antagonist’s house or apartment
P.O.V.
- Antagonist
Communication
- The antagonist is communicating to the protagonist and being introspective
Premise
In contrast to the first verse which features the protagonist communicating PRE-HOOK UP, the second verse features the antagonist communicating POST-HOOK UP, considering that the hook up has already taken place in the preceding chorus.
The first two lines depict the antagonist’s attraction to the protagonist, and her forgetfulness as to the reason WHY she left the protagonist. The listener can deduce that his looks and the hookup that just occurred outweigh the issues that caused their relationship to come to an end – at least for her (accentuated by the lyrics “I was insane”). Additionally, note that this is the first time in the song where the listener finds out that it was the antagonist who left the protagonist.
The last two lines in the section expound on the premise that was established on the first two lines:
- The antagonist wants the protagonist to “stay.”
- The antagonist wants to relive their old times together, hence the statement to the protagonist “play that Blink 182 song that we beat to death in Tucson, OK.” This additional insight into the backstory of the characters heightens the engagement value for the listener due to the additional depth it provides.
Line 1: I know it breaks your heart
Line 2: I moved to the city in a broke down car
Line 3: And four years, no calls
Line 4: And now I’m lookin’ pretty in a hotel bar
Line 5: And I, I, I can’t stop
Line 6: No, I, I, I can’t stop
*The bold/red lyrics depict additional or changed up lyrics in the section that shift the narrative from Taggart to Halsey.
Stage in the Narrative
Stage 2 – Pre-hook up
- Antagonist relationship breakup review (lines 1, 2, 3)
- Self-attraction realization and desire to hook up with the protagonist (lines 4, 5, 6)
Scene
- Hotel Bar (The antagonist is hanging out with just the protagonist).
P.O.V.
- Antagonist
Communication
- The antagonist is communicating to the protagonist and being introspective.
Premise
The second pre-chorus is lyrically almost identical to the first pre-chorus, and harkens back to the initial encounter between the protagonist and antagonist following a four-year hiatus. There are two key differences between the two pre-chorus sections:
- The second pre-chorus is communicated from the antagonist’s P.O.V.
- The second pre-chorus features two minor, albeit important, lyrical changeups on lines 2 and 4.
Lyrical Changeups
Line 2: I moved to the city in a broke down car
In the first pre-chorus, the protagonist states, “moved to the city in a broke down car.” However, there is no indication of who actually moved. In the second pre-chorus it’s brought to light that it was the ANTAGONIST due to the inclusion of the lyric “I.” This one lyric provides an important development in the narrative, and further engrosses the listener in the storyline as a result.
Additionally, note the importance of the lyrics “broke down car.” This cleverly provides additional contrast between the way that the antagonist USED TO BE (i.e. being “real” with her life situation), and HOW SHE CURRENTLY IS (i.e. being pretentious by driving the “Rover that she can’t afford”).
Line 4: And now I’m lookin’ pretty in a hotel bar
In the first pre-chorus, the protagonist states, “now you’re lookin’ pretty in a hotel bar,” which is one of the key factors that leads to the hookup in the chorus. In the second pre-chorus, the antagonist substantiates this fact about herself by changing up the first three lyrics to “and now I’m,” demonstrating her self-assuredness.
Additionally, note that the antagonist doesn’t change up the lyrics to something of the effect of “now you’re lookin’ handsome in a hotel bar,” to compliment the protagonist’s statement about her in the first pre-chorus. However, she ALREADY communicated that sentiment in the second verse via “you, look as good as the day I met you.” If she stated it again here, it could have been redundant.
Together, these subtle lyrical changeups on lines 2 and 4 adjust the narrative to fit the antagonist’s P.O.V. (as well as Halsey’s featured vocal in the song), provide an important development in the narrative, and essentially further engross the listener in the song.
Additional views from the antagonist’s side
In addition to the aforementioned lyrical changeups, the fact that the same lyrics from the first pre-chorus (the protagonist’s P.O.V.) are being communicated by the antagonist in the second pre-chorus provide the following additional insight:
- Line 1: In the first pre-chorus, it’s the protagonist who tells the antagonist “I know it breaks your heart.” In the second pre-chorus, it’s the antagonist conveying to the antagonist that she knows that she broke HIS heart. Ultimately, they both acknowledge that they broke each other’s hearts.
- Line 3: Here the antagonist substantiates that she hasn’t been in touch with the protagonist for four years, as initially conveyed by the protagonist in the first pre-chorus. This general statement keeps the blame assigned to both of them – either one of them might have been expecting the other to call, but it never happened.
- Lines 5 & 6: The antagonist is unable to resist the urge to hook up with the protagonist. Note that this was initially communicated by the protagonist in the first pre-chorus.
Ultimately, both pre-chorus sections show that the protagonist and antagonist are on the same page with one another:
- They both had their hearts broken.
- They both didn’t pick up the phone to reconnect for four years
- They both still want to hook up
(No) We ain’t ever gettin’ older
Line 2: We ain’t ever gettin’ older
Both the instrumental break and vocal break sections simply reiterate the “we ain’t ever gettin’ older” phrase from the chorus. Communicated at times by both the protagonist and antagonist, it highlights their desire to relive the good times from year’s past, and remain in that time for as long as they can.
This section compares Closer to the 17 songs that landed in the Billboard Hot 100 Top10 during Q3-2016
*“D” Section: The sum of bridge and bridge surrogates – sections that provide a pronounced departure around two-thirds of the way into a song.
**60% (majority) of songs in the Dance/Club/Electronic primary genre contain an instrumental break or vocal break in their framework
Closer shares the following compositional characteristics that were most popular among the 17 songs that charted in the Hot 100 Top 10 during Q3-2016. The commonalities make it easier for a mainstream audience to connect with the song, especially in an airplay environment due to the familiarity they impart (i.e. the song isn’t coming out of left field which would cause the listener to have to work at connecting with the song).
Closer being in-line with the most popular (#1) characteristics of Q3-2016’s Top 10 charting hits:
- Influences: Electropop
- Lyrical Themes: Love/Relationships
- Song Title Word Count: One word
- Song Title Placement: Chorus
- Prominent Instrumentation: Drums/Perc
- Electronic Vs. Acoustic Instrumentation: Primarily Electronic
- Tempo: 90 – 99 BPM Range (95 BPM)
- First Section: Intro
- Intro Length: 0:10 – 0:19 range (0:10)
- Contains a Pre-Chorus: Yes
- Contains a Post Chorus: Yes
- Contains a “D” Section: Yes
- Last Section: Outro
- Lead Vocal: Duet/Group (Female/Male)
- Primary Genre: Dance/Club/Electronic
- Influences: Dance/Club
- Lyrical Themes: Hooking Up (in addition to Love/Relationships)
- Song Title Appearances: 1 – 5 Appearances (3)
- Prominent Instrumentation: Synth
- First Chorus Occurrence – Time into Song: 0:40 – 0:59 range (0:50)
- First Chorus Occurrence – Percent into Song: 20% – 29% range (21%)
- Non-Popular Characteristics
- Credited Songwriters: Four writers (12% of songs)
- Song Length: 4:00+ range (12% of songs)
- Alt/Indie: While not exceptionally popular, Alt/Indie has been an influence on the rise in the Hot 100 Top 10. The charge has been led by The Chainsmokers and Twenty One Pilots, with other representative hits such as Don’t Let Me Down, Ride, and Heathens.
- Instrumental & Vocal Breaks: While not exceptionally popular in the overall Top 10 (accounting for 35% and 24% of songs, respectively), the infectious instrumental break and vocal break post chorus sections provide Closer with additional stand-out characteristics compared to the majority of its mainstream contemporaries. However, note that these characteristics are in the MAJORITY in the Dance/Club/Electronic primary genre, of which Closer is a representative of.
- Hook Recycling: Most Top 10 hits DO NOT recycle the same hook nearly verbatim in each section of the song. However, this is one of the key standout factors of Closer. As a result, the hook, and the song, gets completely ingrained in the listener’s head. However, the shift in timbre and instrumental/vocal delivery throughout keeps it fresh and engaging despite the copious repetition.