Blow Me (One Last Kiss) Deconstructed

Written by Pink and Greg Kurstin, Blow Me (One Last Kiss) was the first single released from the forthcoming album, The Truth About Love, and proves that Pink hasn’t lost a step since her previous top-charting hits, Raise Your Glass and F**kn’ Perfect.

This Pop/Rock/Dance gem is chock full of “hit qualities” that can be incorporated into one’s arsenal of songwriting/producing techniques, including:

A Powerful, Clever Title Speaks Volumes
Before someone listens to a song, the first thing they see is the title. Does it capture their attention? Is it evocative? Is It controversial? Does it sum up the entire nature of the story? Does it pique their interest enough to at least take a listen? Blow Me (One Last Kiss) achieves all of the above, all the while coming across in a manner that is 100% “Pink” in nature.

Two Payoffs Are Better Than One
If Blow Me (One Last Kiss) only possessed the first part of the chorus (“I think I’ve finally had enough…”), the listener would have been quite happy with the payoff from a lyrical, sonic and melodic standpoint. What they got, however, is a “double payoff” via the inclusion of the “just when it can’t get worse…” section that both took the lyrical content in a new direction as well as bringing the intensity of the song to a rousing peak.

Dynamic Variation Is The Key To Engagement
There’s nothing less engaging than a song that maintains a “linear” sonic vibe from section to section. Your melody and lyrics might be great, but if you don’t “keep the listener on their toes,” their attention is eventually going to start to wander. Blow Me (One Last Kiss) makes great use of MTI (momentum, tension, intensity) level fluctuation throughout the entire song brought about via the nature of the vocals AND the backing music. What you get is a song that holds the listener’s attention from start to finish.