Overview, Highlights & Takeaways

Genre & Influence Blend

Key

"Cruel Summer" features a combination of pop, electropop/synthpop and retro 1980s influences that are put into effect by the qualities of the vocals, instruments, lyrics, and the overall production.

The song’s main overarching influence, and primary genre, is pop. Notable pop elements include its catchy K.I.S.S. ME (Keep It Simple, Singable and Memorable) melodies and hooks, familiar pop structure, relatable love/relationships-themed subject matter, and polished production, to name a few.

In addition, "Cruel Summer" possesses a strong electropop/synthpop influence, which is put into effect by its heavy use of synths. Some of these synths possess a classic timbre, which along with the mechanical synth bass pattern and use of vocoder provides the song with an underlying early-to-mid retro-1980s vibe. 

Blending In & Standing Out in the Hot 100 Top 10

"Cruel Summer’s" expert balance of pop, electropop/synthpop and retro 1980s influences enabled it to both blend in and stand out in the Hot 100 Top 10. While pop in general has been a constant influence in essentially all non-hip hop Hot 100 Top 10 hits over the years, electropop/synthpop and retro 1980s influences are more micro trends that rise and fall in popularity.

Electropop/synthpop, while present in nearly two-thirds of songs in 2018, plummeted to around one-fifth of songs by the end of 2020, before rising again to just over one-third of songs in 2022 and continuing into the first half of 2023. In addition to "Cruel Summer," recent representatives include the #1s "As It Was" (Harry Styles), "Like Crazy" (Jimin), and Taylor Swift’s other recent megahit, "Anti-Hero."

Retro 1980s is even more niche, generally accounting for one-fifth of songs or less over the past decade save for spikes in 2015 (25% of songs) and 2022 (31% of songs). However, save for 2020, where the 1970s rose in popularity, the 1980s has consistently been the most popular decade among retro-tinged hits. Other recent representatives include the aforementioned "Anti-Hero," "As It Was" and "Like Crazy," and the Justin Bieber and The Kid LAROI’s #1 smash, "Stay."

Cruel Summer was also primed for success in 2020, when it was originally slated for release as a single but was put on the backburner due to the emerging Covid-19 epidemic. In the year prior, electropop/synthpop was peaking at just over two-thirds of songs, and retro 1980s, while far less popular at just 13%, was present in notable hits such as "Bad At Love" (Halsey), "Boo’d Up" (Ella Mai), "Never Be The Same" (Camila Cabello) and "Youngblood" (5 Seconds Of Summer).

Influences in the Hot 100 Top 10: 2018 – Q2 2023 (Outside the Hip Hop/Rap Primary Genre)

Key

Blue: Pop | Green: Electropop/Synthpop | Red: Retro (1980s)

Energy & Dynamics

Energy Arrangement

S.I.A. (Section Impact Accentuator) Key

Downward Red S.I.A.: The full accompaniment is removed from the mix, resulting in a brief reduction in energy
Downward Yellow S.I.A.: A part of the accompaniment is removed from the mix, resulting in a brief reduction in energy
Upward Green S.I.A.: The accompaniment creates a brief rise in energy

Loudness

“Cruel Summer’s” loudness levels generally match the song’s three energy “waves,” progressing from low to high across each sectional progression. Levels range from -16.5 in the outro (quietest) to -7.5 in the chorus “hook centers” and climactic second bridge (loudest). Note that the higher loudness levels in these song-defining sections allows them to further stand out, connect and bolster the listener’s emotional connection with the song.

Energy: Section-By-Section

Wave 1: Intro (I) – Chorus 1 (B1)

Intro (I)
In the same vein as many hit songs, “Cruel Summer’s” intro features one of the lowest energy levels in the song, which provides room for growth in subsequent sections. This is due to the sparseness of the arrangement, which consists solely of vocoder, low-octave synth bass, kick, and snare.

Note that in lieu of density, these elements establish the groove right from the get-go, providing a rhythmic pulse that carries over into the subsequent verse.

Verse 1 (A1)
Following the sparse intro, the verse kicks energy up a notch with the introduction of Swift’s lead vocal, as well as additional drum layers on the backbeat and a dark synth pad. In bar 3, a pulsing synth and electric guitar are added to the mix, heightening tension leading into the ensuing pre-chorus.

Pre-Chorus 1 (PC1)
The pre-chorus slightly bumps up energy over the verse, most notably in the second half of the section. Providing this rise is the more animated and impassioned quality of Swift’s vocal delivery, the tension-heightening, pulsing synth and electric guitar becoming a bit more prominent in the mix, and the focus on the tense five (V) chord leading into the chorus. 

S.I.A. #1

Chorus 1 (B1)
Following the tension-heightening pre-chorus, chorus 1 thrusts the song’s energy to its first peak, providing the listener with the first of three energy “payoffs.” This is a result of both instrumental and vocal developments, including the dense “wall” of synth and drum layers, Swift’s highly impassioned vocal delivery, and the additional lead and background vocal layers.

Note that big, high-energy first choruses like this have become somewhat of a rarity in the Hot 100 Top 10 compared to years past, evident in hits such Kelly Clarkson’s “Stronger” (2011), Miley Cyrus’s “Wrecking Ball” (2013), and Sia’s “Chandelier” (2014), to name a few. However, here it makes sense as it effectively supports the sentiment of the lyrics to create effective prosody and bolster’s the listener’s emotional connection with the song.  

Wave 2: Turnaround (T) – Chorus 2 (B2)

Turnaround (T)
Following the high energy first chorus, the turnaround notably brings the song’s energy back down at the beginning of “wave 2.” This is due to a reversion to the sparse intro arrangement, which is now processed with copious reverb, making it sound thinner and more distant in comparison. This dramatic shift serves to engage the listener at a heightened level following four consecutive sections of energy growth, and provide room for the song to build in subsequent sections.

Verse 2 (A2)
Following the brief, low energy turnaround, verse 2 kicks the song’s energy back up with a denser, more present arrangement. While the section features highly similar qualities as its verse 1 counterpart, it uniquely adds new elements including prominent brass synth stabs and high, lead-harmonizing background vocals, which provide verse 2 with a slightly higher energy level in comparison. 

Pre-Chorus 2 (PC2)
Similar to the relationship between verses, pre-chorus 2 features a slightly higher energy level compared to its pre-chorus 1 counterpart. This is mainly due to the inclusion of the brass synth stabs, which weren’t featured the first time around. 

S.I.A. #2

The last two beats of pre-chorus 2 employ a partial accompaniment pull S.I.A., removing the main drum groove from the mix, along with the addition of a white noise and reverse synth riser. Together, they notably heighten tension and anticipation leading into the second chorus, which is marked by the familiar crash and hi hat roll on the chorus’ downbeat.

Chorus 2 (B2)
Following the pronounced S.I.A. at the end of pre-chorus 2, chorus 2 hits with increased perceived impact and energy compared to the first time around due to the more notable contrast between S.I.A.s. However, as a whole, the second chorus’ energy is largely on par with chorus 1 due to their similar arrangements, save for a subtle bump in stanza 2 due to the additional vocal layers and the addition of the bright synth arpeggio. This takes the song’s energy to its second peak. 

Wave 3: Bridge 1 (C1) – Outro (O)

Bridge 1 (C1)
Following the energy peak in chorus 2, the bridge 1 “D” section begins “wave 3” with a slight reduction in energy in its first stanza mainly due to the less dense instrumental and vocal arrangements. However, this is offset by a rise in rhythmic energy, put into effect by the driving qualities of the pronounced synth arpeggio, drums and Swift’s lead vocal, along with the iconic shouted/sung hybrid vocal at the end.

Stanza 2 then follows with a slightly higher energy, put into effect by the addition of a background vocal pad along with swelling synths, drum fill and shouted/sung vocals at the end that culminate in the “Last Chorus Super S.I.A.” technique leading into chorus 3 (see below for details).

S.I.A. #3

Following the engagement-heightening synth swells, drum fill and shouted vocals toward the end of the bridge, an extra bar is uniquely tacked on that removes all the instrumental elements from the mix, leaving only Swift’s shouted/sung hybrid lead vocal. This unexpected moment is what Hit Songs Deconstructed calls the “Last Chorus Super S.I.A.” technique, which serves to notably heighten engagement leading into the final climactic chorus in the song.

Furthermore, note that this brief lull was well warranted and highly important considering that there are no other sectional energy lulls in “wave 3” save for the outro (note that the most common place to bring down a song’s energy is in all, or most of, a “D” section such as a bridge). Albeit brief, without it, the listener would remain in sustained moderate to high energy for numerous sections, reducing the impact of the last chorus and potentially resulting in decreased engagement.

Chorus 3 (B3)
Chorus 3 hits with the greatest impact of all the choruses following the full accompaniment pull “Last Chorus Super S.I.A.” (note that the impact of each subsequent chorus has gotten more pronounced as the song progressed). Stanza 1 reprises the dense chorus 2, stanza 2 instrumental arrangement, while stanza 2 increases energy with additional background vocal layers. 

S.I.A. #4

In between the third chorus and second bridge, a dark electronic hi hat provides a brief fill that provides separation between sections of similar accompaniment, heightening the listener’s engagement.

Bridge 2 (C2)
Bridge 2 takes the song’s energy to its grand peak. It does so by combining the dense chorus accompaniment with the driving bridge 1 vocals and shouted/sung punctuations, along with the forward motion of additional hi hat layers. The section culminates in a swell similar to that at the end of bridge 1, taking intensity and excitement to a climax before heading into the ensuing outro. 

S.I.A. #5

In between bridge stanzas, the bright electronic hi hat provides a brief fill that serves to subtly provide separation between stanzas and heighten the listener’s engagement.

Outro (O)
Following the song’s energy peak in the second bridge, the outro winds the song down with a notable drop in energy through a reversion to the thinned-out arrangement that defines the intro and turnaround. 

Instrumental Arrangement: Section By Section

Intro (0:00 – 0:05)

Chord Progression: A (A major: I)

“Cruel Summer’s” intro features the sparsest arrangement in the song, consisting of kick, snare, and synth bass. Note that the sparse intro technique has consistently been one of the two most common techniques used in Hot 100 Top 10 hits over the past decade (along with the backing music technique, which the song also possesses), as it provides a springboard to establish key aspects of the song while providing room for growth in subsequent sections.

Sonically, all the elements have a distinct electronic quality, which along with their timbres and patterns creates an engaging, retro-1980s inspired tapestry that instantly engages the listener.

On the lower end of the frequency spectrum is the kick drum, which plays a vibrant pattern and is processed with a prominent short tail reverb to give it a spacious, big sound. Contrasting it is the tight snare, which covers the mid/high frequency range with its notably brighter, tighter timbre and steady backbeat pulse.

Rounding out the instrumental arrangement is the low-octave staccato synth bass. It establishes the song’s key and provides the mix with a 1980s-inspired texture through its saw-wave timbre, reminiscent of a Moog synthesizer and a mechanical sixteenth-note pattern that possesses a Kraftwork and Devo-esque quality. Also note the brief leap that occurs on the “and” of beats 2 and 4, which subtly heightens interest against its otherwise stagnant pattern.

In addition to the above, the consistency of the arrangement serves as an effective backdrop for the vocoder-processed vocal hook to shine. It serves in both vocal and instrumental capacities, contributing to the section’s texture, rhythm, and catchiness.

At the end of the section, a new snare is heard on the last beat, possessing a grittier timbre that sustains longer than the tight snare. Punctuating the mix, it subtly serves to usher in the ensuing verse without disrupting the groove.

Intro Arrangement: At-A-Glance

Verse 1 (0:05 – 0:17)

Chord Progression: D – E – C#m – F#m (A major: IV-V-iii-vi)

With the intro arrangement remaining in effect to provide cross-section continuity and allow the listener’s full attention to be on Swift’s first installment of the narrative without distraction, the following instrumental elements are added to the mix to heighten cross-section interest:

• The gritty snare and new snare rimshot are added to the backbeat. Both provide the verse with an interest-heightening textural development that also punctuates the backbeat against Swift’s lead vocal and the vocoder-processed background vocals.
• A dark synth pad plays a legato pattern over the continuation of the low-octave staccato synth bass from the intro. Possessing a filtered, retro 1980s-tinged timbre, its addition serves a few key purposes, including providing additional texture, color and density to the mix, adding an additional harmonic layer and motion, and providing a subtle dark and foreboding vibe that creates prosody with the song title, “Cruel Summer.”
• In bar 3, a pulsing synth and electric guitar enter the mix, playing sixteenth-note patterns at a low level. In addition to contributing to the section’s sonic tapestry, they serve to subtly heighten interest midway through the verse and begin to increase tension in anticipation for the impending chorus by way of the ensuing pre-chorus.
  

Verse 1 Arrangement: At-A-Glance

Pre-Chorus 1 (0:17 – 0:28)

Chord Progression: D – E – C#m – F#m – D – E (A major: IV-V-iii-vi-IV-V)

The verse arrangement seamlessly carries over into the pre-chorus and features little development throughout the section. This puts the spotlight on the engaging vocals and lyrics which, along with the continuation of the pulsing synth and guitar, continues to heighten tension and anticipation for the impending chorus.

There are a few subtle developments, however, in the last two bars that serve to further heighten anticipation for the chorus and bolster its impact when it arrives. This culminates into the Hit Songs Deconstructed S.I.A. (section impact accentuator) technique in the last beat of the section, unfolding as follows:

• The harmonic progression simplifies, sustaining on the V chord at the end of the section, which further heightens tension leading into the chorus.
• The rimshot is removed from the mix. This results in a slightly smaller, more contained sound on the backbeat that allows the bigger sounding chorus to hit with greater perceived impact.
• The pulsing synth and guitar increase in volume, which along with the white noise riser, takes tension and anticipation to a climax, resulting in the S.I.A. in the last beat.
  

Pre-Chorus 1 Arrangement: At-A-Glance

Chorus 1 (0:28 – 0:51)

Chord Progression: A – C#m – F#m – D (A major: I-iii-vi-IV)

Following the tension and anticipation-heightening pre-chorus, the chorus hits with a notably denser, “wall of sound” synth-driven production, punctuated by an acoustic-timbred crash and closed hat roll on beat 1.

With the core drum groove and dark synth pad from the pre-chorus providing cross-section cohesion and continuity, the following elements are added to, or changed up, in the chorus:

• The snare rimshot is added back in along with the new reverberant claps. Together, they further punctuate the backbeat and contribute to the chorus’ deeper, bigger, and more powerful sound.
• Two new, similarly functioning synth pads are introduced that contribute to density, provide harmonic support and further fill out the frequency spectrum: A 1980s-sounding brass synth pad, which features a saw wave timbre reminiscent of a Roland Juno brass patch, and a bright synth pad that features a digital, resonant timbre that contrasts from the warmer, richer sounds of the other pads in the mix.
• The vocoder is added back in for the first time since the intro. However, here it is notably lower in the mix and melding with the other synths to contribute unique texture and color the sonic landscape as opposed to delivering a standout vocal hook.
• A high-octave staccato synth bass replaces its low-octave counterpart heard across the first three sections of the song. While it’s relatively low in the mix, its addition contributes mid-range texture along with subtle forward motion.

Like the verse, and most of the pre-chorus before it, the chorus arrangement remains essentially static from start to finish, save for the familiar crash and hi hat roll that punctuates the arrival of stanza 2. Again, this allows the listener’s full focus to be on the catchy, evocative, hook-based vocals while elevating the section’s emotional connection with the listener.

Chorus 1 Arrangement: At-A-Glance

Turnaround (0:51 – 0:53)

Chord Progression: A (A major: I)

Following the dense, high-energy chorus, the brief one-bar turnaround breaks down to the sparser, lower energy intro arrangement, minus the gritty snare. This, along with the notable reverb processing and mid-range focus, creates engaging contrast that both spotlights the return of the “yeah” vocoder hook and provides room for the song to build once again in the ensuing sections.

Turnaround Arrangement: At-A-Glance

Verse 2 (0:53 – 1:05)

Chord Progression: D – E – C#m – F#m (A major: IV-V-iii-vi)

Following the brief, transitional turnaround, verse 2 engages the listener at a heightened level through a return to the core verse 1 arrangement along with new and changed up elements. Together, they serve to heighten both familiarity and interest as the song progresses.

Notable verse 2 developments:

• Brass-timbred synth stabs are uniquely added to the mix, providing engaging like-section contrast. Featured prominently in the mix, they further heighten the song’s retro 1980s vibe and create a subtly more positive mood compared to the darker-timbered verse 1.
• The dark synth pad, which was featured prominently in verse 1, is now filtered and positioned further back in the mix. This effectively makes way for the brass synth stabs and the comparative shift in mood between verses. 

In the last two bars of the section, the pulsing synth and guitar return, once again heightening tension and anticipation as the verse seamlessly transitions into the pre-chorus.

Verse 2 Arrangement: At-A-Glance

Pre-Chorus 2 (1:05 – 1:16)

Chord Progression: D – E – C#m – F#m – D – E (A major: IV-V-iii-vi-IV-V)

The verse 2 – pre-chorus 2 relationship is highly similar as the first time around, which creates structural familiarity in the scope of the song. Pre-chorus 2 initially maintains the verse 2 arrangement, creating cross-section cohesion, followed by the tension-heightening pulsing synth and guitar increasing in volume and the S.I.A. (section impact accentuator) technique being employed in the last two beats.

Here, the arrangement unfolds into the S.I.A. as follows:

• The rimshot is removed, creating a timbral shift on the backbeat.
• The remaining backbeat elements, brass synth stabs and low-octave staccato synth bass are then removed for the last two beats, further stripping back the arrangement.
• Lastly, the kick is omitted from the final beat of the section, leaving the sustained dark synth, pulsing synth and guitar, and white noise and reverse synth risers to usher in the chorus in an engaging manner.

Pre-Chorus 2 Arrangement: At-A-Glance

Chorus 2 (1:16 – 1:39)

Chord Progression: A – C#m – F#m – D (A major: I-iii-vi-IV)

The chorus 2 arrangement is highly similar to its chorus 1 counterpart, which bolsters the familiarity factor of the song’s primary “hook center.” However, in addition to the added vocal layers, there are two instrumental differences in the second stanza that, while subtle, contribute to density, texture, color and prevent instrumental redundancy:

• A low-level bright synth arpeggio is added to the mix. In addition to the above, it also subtly contributes to the section’s rhythmic motion.
• The synth pads swell to a more prominent level compared to the first time around. This also serves to subtly heighten the section’s excitement factor as it comes to a close. 

Chorus 2 Arrangement: At-A-Glance

Bridge 1 (1:39 – 2:04)

Chord Progression: A – C#m7 – F#m7 – D – A – C#m7 – F#m7 – D – N.C. (A major: I-iii7-vi7-IV-I-iii7-vi7-IV-N.C.)

Bridge 1, which serves as the song’s main “D” (departure) section, provides a notable, engaging shift in the instrumental arrangement compared to the other song sections, along with changeups in vocals and lyrics.

With the core kick and snare groove from the chorus providing cross-section continuity, the mix shifts to a highly rhythmic and notably brighter (higher frequency) instrumental arrangement compared to the preceding sections that works in tandem with Swift’s more excited vocals to bolster the impact of the lyrics.

• The sub bass and synth pads are removed from the mix, leaving the high-octave staccato synth bass and bright arpeggio synth driving the section forward along with the drums.
• A high synth drone is introduced, sustaining a high note that further contributes to the section’s higher frequency focus.
• Bright closed electronic hi hat, closed acoustic hi hat, and open hi hat shift to a steady, thirty-second-note rhythm, driving the song forward with a heightened degree of momentum

In the last three bars of the section, the dark synth pad and brass synth pads are reintroduced. Together, they fill out the mid to low-end of the mix while their gradually increasing volume and cutoff frequency serve to heighten tension, anticipation and engagement leading into the final chorus of the song.

However, instead of leading directly into the chorus, the buildup is subverted by what Hit Songs Deconstructed calls the “Last Chorus Super S.I.A.” technique. Here, an extra bar is tacked onto the end of the bridge, where all the elements are removed from the mix save for Swift’s lead vocal until the last beat when a reverse synth riser ushers in the ensuing chorus. This jarring, unexpected moment notably heightens the listener’s engagement and bolsters the impact of the chorus in the process.

Bridge 1 Arrangement: At-A-Glance

Chorus 3 (2:04 – 2:27)

Chord Progression: A – C#m – F#m – D (A major: I-iii-vi-IV)

Following the pronounced, engagement-heightening “Super S.I.A.” technique at the end of the bridge, the third and final chorus hits hard with a return to the familiar, dense arrangement that defines the second stanza of chorus 2. However, to prevent “cookie-cutter” redundancy, the synth layers feature more active rhythmic motion and have brighter timbres, which results in a subtly more excited and energetic vibe. At the end of the section, a dark closed hi hat enters to usher in the second bridge. 

Chorus 3 Arrangement: At-A-Glance

Bridge 2 (2:27 – 2:49)

Chord Progression: A – C#m7 – F#m7 – D (A major: I-iii7-vi7-IV)

The atypical second bridge uniquely fuses the bridge 1 and chorus 3 instrumental arrangements to take the song’s intensity to a grand peak. With the chorus 3 instrumental arrangement remaining in effect to provide cross-section continuity, the high frequency hi hats and high synth drone from bridge 1 are added in, which together, along with a reprise of Swift’s excited bridge 1 vocals, takes the song to an emotional climax.

At the end of the section, the last bar omits the sub bass and high-octave bass from the mix, allowing the low-octave bass to set the stage for the ensuing outro. 

Bridge 2 Arrangement: At-A-Glance

Outro (2:49 – 2:55)

Chord Progression: A (A major: I)

Following the climactic second bridge, the outro notably breaks down to just kick, tight snare, gritty snare and low-octave synth bass. This bookends the song on a familiar note while showcasing the vocoder vocal hook as the song winds down. Note, however, that compared to the similarly arranged intro and turnaround sections, the low-octave synth bass opens the cutoff filter in the last bar. This creates a sense that the outro is building toward something, but instead ends abruptly with a “pulling of the plug” quality at the tail end.

Outro Arrangement: At-A-Glance

Progression 1

Progression 1: Variation 1 (Intro, Turnaround, Outro)

A

Vocals

Vocal Melody

Intro & Outro

The first and last vocal heard in “Cruel Summer” is the highly simple “yeah,” which is repeated four consecutive times. Situated on the root and delivered with a quarter-note rhythm broken up by quarter rests, it establishes the song’s key (A major), contributes to the steady groove, and serves as an instantly identifiable hook with its vocoder processing at the top of the song.

The vocal is then subsequently reinforced in a more subtle, background manner in the turnaround before returning more prominently in the outro, concluding the song on a familiar and catchy note.  

Intro & Outro Melodic Part Structure: At-A-Glance

Verses

Overview

Swift’s lead melody in “Cruel Summer’s” verses largely adheres to Hit Songs Deconstructed’s K.I.S.S. ME principle (keep it simple, singable and memorable). Among their K.I.S.S. ME qualities are the limited range of a major second, mainly stagnant motion, and simple eighth and sixteenth note-driven rhythms. These qualities enable the listener to easily connect with both installments of the narrative while their directness bolsters the emotional impact of the lyrics.

The sole deviation from the K.I.S.S. ME principle is the verse’s lengthy lines, which land between 14 and 22 syllables. However, this is offset by subtle rhythmic segmentation that makes them easier to digest.

Note that while both verses are very similar, they possess subtle melodic and rhythmic differences that are necessary to accommodate lyrical changeups and prevent “cookie-cutter” redundancy.  

Melodic Structure Overview & Detail

Verse 1 Melodic Direction: At-A-Glance

Verse 2 Melodic Direction: At-A-Glance

Intro & Outro Melodic Direction: At-A-Glance

Verse 1 Melodic Part Structure: At-A-Glance

Verse 2 Melodic Part Structure: At-A-Glance

Melodic Structure Detail

*Note that all images and analysis shown below pertains to verse 1 unless otherwise noted. Differences between verses 1 and 2, if any, are detailed in each line grouping’s analysis.

Lyrics & Rhymes

Intro, Turnaround & Outro

“Cruel Summer’s” intro, turnaround and outro simply feature the repetition of the lyric “yeah.”

Verse 1

End-Of-Line Rhymes
Verse 1 follows a two-line, AA rhyme scheme, both concluding with the lyric “it.”

Internal Rhymes, Alliteration & Other Connection Accentuators
In addition to its end-of-line rhymes, verse 1 features a host of other lyrical connection accentuators, including:

• The “caught” and “bought” rhymes, which create a double end-of-line rhyme with the lyric “it.”
• The “the night” and “a price” double rhymes at the end of the first segment in both lines.
• The similarly placed “EYE”-sounding internal rhymes within both lines.
• The “bad, bad boy” alliteration at the beginning of line 2, which is complemented by the “boy” / “toy” internal rhyme.
• The “you know that I” repetition in the second segment of both lines. 

Verse 2

End-Of-Line Rhymes
Like verse 1, verse 2 follows a two-line AA end-of-line rhyme scheme. However, the rhyming lyrics differ with the “-ing” commonalities.

Internal Rhymes, Alliteration & Other Connection Accentuators
Also like verse 1, verse 2 features additional lyrical connection accentuators that serve to heighten cohesion and memorability. They include:

• The “dy-” and “try-” rhymes, which create double end-of-line rhymes in the lyrics “dy-ing” and “try-ing.”
• The “low” / “glow” internal rhymes in line 1. Note the similar positioning as “high” and “QUI-et” in verse 1, which creates structural familiarity across verse sections.
• The “just” / “up” rhyme in line 2, which features similar placement as “low” / “glow” in line 1.
• The alliteration in the lyrics “hang” and “head” at the beginning of line 1 and “try-ing times” in line 2.
• The similarly placed “-ing,” which appears at nearly the same spot internally and at the end of each line.
• The repetition of the lyric “not” preceding the two end-of-line rhymes. This is another commonality shared with verse 1, which features lyrical repetition preceding its end-of-line rhymes. 

Pre-Chorus 1

End-Of-Line Rhymes
Pre-Chorus 1 follows a four-line AAXA rhyme scheme. Lines 1, 2, and 4 share the “OH”-sounding commonality in “win-dow,” “be-low,” and “more.” Note that Swift alters her pronunciation of “more” to emphasize the “OH” sound and bolster the connection to “win-DOW” and “be-LOW.”

Internal Rhymes, Alliteration & Other Connection Accentuators
Like the verses, the first pre-chorus features a host of other connection accentuators that bolsters its ability to connect and be remembered. They include:

• The strategic internal rhymes at the end of segmented phrases in lines 1 and 3. “Slow” in line 1 further bolsters the connection of the “OH” end-of-line rhyme, while the “dice” / “eyes” rhyme in line 3 heightens its connectability despite its lack of an end-of-line rhyme.
• Use of alliteration in lines 2 and 4, most notably with the line 4 lyrics “me, makes, me.”
• Two instances of repetitive lyrics: “waiting” in line 2 and the similarly placed “roll” in line 3. 

Pre-Chorus 2

End-Of-Line Rhymes
Pre-Chorus 2 differs from pre-chorus 1 both in terms of its lyrics, save for line 3 (an atypical quality found in hit songs), and its rhyme scheme. Its four lines follow an ABAB scheme, with the A’s connected by the “EYE”-sounding rhyme in the lyrics, “knife” and “eyes,” and the B’s connected by the “OH”-sounding rhyme in the lyrics, “bone” and “oh.”

Internal Rhymes, Alliteration & Other Connection Accentuators
Further bolstering the connection value of pre-chorus 2 are the other following lyrical connection accentuators:

• The “EYE”-sounding internal rhymes at the end of the first segment in lines 1 and 3, both of which reinforce the end-of-line rhymes.
• The abundant “UH”-sounding rhymes across lines 1 and 2, which heighten cohesion against the different-sounding end-of-line rhymes.
• The double “know” / “oh” end-of-line rhyme in line 4.
• Alliteration in lines 2 and 3.
• Commonalities with pre-chorus 1, including the repetition of line 3; the use of the “OH”-sounding end-of-line rhyme; and the “EYE” end-of-line rhyme, which was initially featured as the sole non-end-of-line rhyme in both segments of line 3 in pre-chorus 1. 

Choruses

End-Of-Line Rhymes
The chorus interestingly goes against one’s likely expectations of a song’s primary “hook center” featuring the greatest degree of end-of-line rhymes. Instead, only two adjacent lines – lines 3 and 4 (“oh” and “sum-AH”, respectively) have an end-of-line rhyme connection, which is mainly due to Swift’s creative pronunciation of “summer” to make the rhyme happen. Note that this is well warranted since these two lines are the song’s main vocal hooks (along with the vocoder “yeah”). While lines 7 and 8 feature the same core lyrics, note that line 8 tacks on the lyric “with you” at the end, which breaks the end-of-line rhyme connection present in lines 3 and 4.

Internal Rhymes, Alliteration & Other Connection Accentuators
In lieu of strong end-of-line rhymes, the chorus features a host of internal rhymes, alliteration and repetitive lyrics that ensures it still fully connects and resonates. They include:

• The similarly placed “OOH”-sounding rhyme toward the beginning of each line. Note that the melodic variation against the melodies that precede and follow enables them to further stand out and connect.
• The “AH”-sounding rhyme toward the end of lines 1 and 2 in the lyrics “BOD-y” and “got,” which are close proximity to where an end-of-line rhyme would be.
• The similarly placed double rhymes “tell ‘em” and “heav-en” at the end of lines 5 and 6. Note that the lyric “but” at the end of line 6 prohibits this from being considered an end-of-line rhyme.
• Alliteration across lines 1 & 2 (“body” / “blue”), and line 6 (“break-a-ble”).
• The repetition of the lyric “it,” along with its similar placement at/near the beginning of lines 1, 2, 4, 5 and 8).
• The repetition of the nonsense lyric and song title hook across the last two lines of both stanzas. 

Bridges

End-Of-Line Rhymes
Bridge 1 follows an AAXX/BBCCX rhyme scheme across its two stanzas. The A rhyme scheme features the “AR”-sounding commonality in the lyrics “car” and “bar,” the B scheme features the “AY”-sounding commonality in the lyrics “gate” and “fate,” and the C commonality features the “ER”-sounding commonality in “worth” and “heard.” Note that while lines 3 and 4 feature a close end-of-line rhyme in the lyrics “true” and “blue,” it is prevented by the inclusion of the lyric “and I” at the end of line 4.

Bridge 2 is identical to bridge 1, save for the omission of line 9.

Internal Rhymes, Alliteration & Other Connection Accentuators
In addition to its end-of-line rhymes, the bridge features a host of other connection accentuators, including a plethora of internal rhymes, strategic repetition and alliteration:

• The similarly placed “UH” internal rhyme, which appears in every line in lyrics including “the, “a,” “just,” “snuck,” and the creative pronunciation of the lyric “to” as “tUH” in lines 4 and 6, among others.
• The similarly placed “EYE” internal rhyme, which appears at or near the beginning of each line in stanza 1.
• The repetition of the lyrics “and I,” “just to” and “keep.”
• Alliteration in lines 2 and 5 in lyrics “ba-by” and “gar-den gate,” respectively.

Narrative

Overview

Lyrical Theme Trends

Lyrical Themes In Non-Hip Hop Hot 100 Top 10 Hits: 2018 – Q2 2023

Narrative Flow: At-A-Glance

Key

Pers. (Perspective): The character whose perspective is most reflected in each line (Swift, lover, both, others)
Tone: The tone of the line, either positive (P) or negative (N)
Parentheses: P.O.V., Tone or A.I.D.E. component is implied and/or relates to the preceding line
A.I.D.E. Table: Reflects the type of lyricism being used in each line (action, imagery, detail devices, emotion) and whether the lyric is common or clever.

• Action: Describes a past, present or future physical action.
• Imagery: Describing something or someone that conjures up an image.
• Detail Devices: Enhancing the lyrics through notable descriptive adjectives, adverbs, idioms, metaphors and similes.
• Emotion: Lyrics that describe the way someone feels or elicit a feeling

Colors are specific to the table at hand

Intro & Outro

Song Title

Clever/Powerful or Universal/Generic

Song Title Word Count

Song Title Word Count: Non-Hip Hop Hot 100 Top 10 Hits (2018 – Q2 2023)

Song Title Appearances and Placement

Song Title Appearances: Non-Hip Hop Hot 100 Top 10 Hits (2018 – Q2 2023)

Song Title Placement: Non-Hip Hop Hot 100 Top 10 Hits (2018 – Q2 2023)

Word Cloud

Benchmark

This section spotlights “Cruel Summer’s” familiarity and standout factors relative to the Hot 100 Top 10, both as a whole and independently of the hip hop genre specifically, in the quarter before the song entered the Hot 100 Top 10 (Q2 2023). The familiarity factors enable “Cruel Summer” to connect with a mainstream audience more easily, while the more atypical factors help it to stand out from the pack.

Of the categories benchmarked in the table below, “Cruel Summer” is in line with 71% of the top characteristics in the overall Hot 100 Top 10 and 75% in non-hip hop hits specifically.  

“D” Section: A section that provides a pronounced vocal, lyrical, instrumental and/or energy level departure around two-thirds of the way into a song. “D” sections can include bridges, bridge surrogates, and diversified recycled sections.
*Indicates a particular song characteristic falling within a 5% margin of error of the most popular compositional characteristic in a given category

Additional Familiarity & Standout Factors

In addition to the commonalities shown in the chart above, other factors that contributed to “Cruel Summer’s” ability to easily connect with mainstream audiences include its K.I.S.S. ME melodies (Keep It Simple, Singable and Memorable), catchy vocal hooks, strong, effective rhymes, logical, easy-to-follow structure, and engaging, relatable subject matter, to name a few.

Conversely, a few notable places where the song stood out among its contemporaries is its inclusion of two bridge sections as opposed to one, super short verse sections, relatively uncommon vocoder hook, and abundance of clever, metaphorical lyrics.

This file includes the correct meter, tempo and song arrangement displayed as empty MIDI regions for each instrument. Load your copy of the song to see when each instrument enters and leaves the mix, how the arrangement of like and cross-sections compare, how energy and dynamics are working from an arrangement point of view, and more.