Chorus is usually considered to be the most important part of a song, it's the peak of a song's flow, usually a point of high drama and greatly catchy and earworm melody.
The verses and pre-choruses are building up to the climax, and the level of satisfaction and memorability they bring is either gonna take a song to the top of the decade or to the street.
Here's to the most iconic choruses
As the decade's wrapping up, here's my tribute to the music industry: counting up the 50 most iconic choruses of 2010s (hit songs)
Note: Only songs that made into Billboard Hot 100's year-end charts are qualified for this list. So as this decade's approaching an end, nearly 1,000 hit songs are up there (as for this ongoing year, I would also count the songs that would definitely make this year's year-end chart, such as High Hopes, thank u, next, Sunflower, etc, to be eligible for this ranking).
This list is like the club of iconicity. In the Game section of Pulse Music Board every year there's year-end RD (which I'm kind of notorious in), so think of this list as the hook version of this decade's RD.
There are 10 honorable mentions (#51-#60) and 50 songs on the list proper (#1-#50). I'll update a few per day.
Qualities for a song to make the list (a song doesn't need to have everything, but it needs to stand out in some way): Catchy in melody, well-crafted, of great flow, thought-provoking, memorable, iconic in the context of the year of its influence, dominant in my personal chart, etc.
We're starting with honorable mentions (for each entry there's an entire chorus' lyrics, then the most important part: my reviews, and I know a song may have slightly different lyrics in chorus 1 and chorus 2, so I take whichever's chorus' better or more complete.):
Thunder, th-th-thunder, thunder
Thunder, thunder, thun-
Thunder, th-th-thunder, thunder
Thunder, feel the thunder (Thunder, thunder, thun-)
Lightning then the thunder (Thunder, th-th-thunder, thunder)
Thunder, feel the thunder (Thunder, thunder, thun-, thun-)
Lightning then the thunder, thunder, thunder (Th-th-thunder)"
Review: I hadn't come around to like this chorus until recently, I was like, "Omg, it's so polarizing", "These electro beats are so heavy.", "The chorus sounds so weird!", "What happened to the natural strength and beautiful scenery the band stands for?". But then I realized that it's the product of the timeframe, considered to be the awkward middle point between the newfangled empowerment anthem of a brand new era (Believer) and the flounder for newfound hope (Whatever It Takes). It captured the incredibly dark era of fall/winter of 2017. What a chorus indeed, haha. It's right after Daniel's crisp tackle-the-world narration, taking the young passionate flow to top of the world. And then the beat hits and it's like, thunder thunder thunder thunder thunder thunder thunder thunder, but with tons of pitch effects, some sort of experimental hypnosis. Pitch's so f**king high, and then lower and then Daniel reappears and owns the place, it's like, all over the human spectrum. It sounds so f**king cathartic, it's like a powerful blast. Dark synths are roaring like engines and they're like a playing field to blast through with emotions. It seems to put the thunders all out there, like a lightning rod, dropping and letting the thunder out and dance hysterically. Dancing and laughing on the stage to a tune that's catchy while watching them clapping in the nosebleeds.
Review: It's somewhat of an old classic, not holding up through time. But it did ring when I first heard the song. Bruno delivered well over well-crafted piano melody, and got a lot more groove and going on than boredom fest such as Someone Like You. The buildup's intense, then the beat drops and the chorus hits, and it's almost like, anticlimactic, a mere continuation of verse, but damn, did the ironic kind of feeling resonate (there are more anticlimactic choruses on the list proper)! It's of blues, just like the rest of the song. Bruno Mars got nuanced emotions on every line, extended syllabus ("hand", "dance"), adding to a sense of anecdote. The longing tragedian persona's well-played. "Now my baby's dancing/But she's dancing with another man"... his tone fades. The song deserves some credit after all, it's the rare kind of ballad on Billboard where emotions and nuance are the driving forces behind the catchiness.
Review: Haha, this chorus' such a catch with the aforementioned Thunder. Both got that cathartic burnin' theme, both repeat the same word over and over. But in opposition of Thunder's heaviness, Burn sells on charm, when it grew on me, the chorus turned from frivolously generic pop filler to that one-word empowerment fest over the English Ellie-branded fun vocal and light electronics beat rocking up a carnival-like party. That's a beautiful scenery. That bell sound, that pitch-shifting, that bombardment of the final chorus. It's like all out there, a full-blown effort to party and blast away all the insecurities.
Review: That "soda" song! It turned soda into something iconic. In the golden era of 2015, Fetty Wap's fun-to-be-alive dorky persona and that signature half-wailing vocal were quite the thing. I remember 679's the song that clicked with me more instantly. Sure, it sounds murky, production got tone-blending, it doesn't sound fine-cut... But iconicity has its name when the chorus' a hot one. When the beat drops, it's all so bouncy and jumpy. And that level of catchiness' up there for quite a while, even with more right heat when it's the same melody line repeats and then repeats into something slightly different. "All fast money, no slow bucks/No one can control us" starts with a slightly higher note and brings the flow to a hype and a satisfactory and lit finish. It's some balance between that modern electro monotonously fire catchiness and a real piece of music with some writer's tactic and something interesting going on.
'Cause I need something that can wash out the pain
And at most, I'm sleeping all these demons away
But your ghost, the ghost of you
It keeps me awake"
Review: This kind of song would normally sounds so middle-of-the-road and generic, but then it sneaked up on me one day. Dat electric guitar! I was like, holy crap, it's some huge swaggering, buzzing, sizzling electric guitar, listening to the chorus' like playing an intense video game. No need for that guitar line to have a real melody, whatever vocal and lyrics put on top of it's sounding fire. Such instrumental swaggering may not be entirely consistent with the lyrical theme: the nighttime haunt, river and bedside solitude with vintage aesthetic, but sounding cool's what it's ultimately trying to sell, the organic drum and percussions adding to a sense of timeless drama, it's sounding big, something not to treat lightly. The chorus got the song into hit status, it's bobbing like a grill, it's freakin' hot!
When you work until three, if you’re leaving with me
Go make that money, money, money
Your money, money, money
'Cause I know how it is, go and handle your biz
And get that money, money, money
Your money, money, money
You can take off your clothes, long as you coming home
Girl, I don’t mind"
Review: This is not conventional type of song, its chorus' catchiness is something more subtle. While it hasn't been an addictive presence for me, my angle of putting this here is that it has that great iconic sound that at least deserves a mention. The minimalist beat sounds ambient, experimental, got that 2015-branded midwest urban feel. Talk about Usher's even flow, that programmed claps, the light kick drums, I'm not sure if it's supposed to be something stereotypically hip-hop and urban (Usher's vocal does speak style with that twang) or a designed effort to produce a new era's classic. It's probably both, but the result definitely is something, especially when it speeds up into quite a catchphrase (that "money, money, money" line), it's really about it. It's being an instant icon. Money, money, money, dat repetition of money, money, money is sounding flat, but in a very catchphrase way. It's dorky, it's cute, it's like just hanging out and chillin', as in, the bass drum's about right, the lyrics' whatever, it looks like nonsensical read about a stripper nobody asked for, but who cares when so many things are messed up together in an era? What the chorus does, it leaves some sort of impression and subtly it's building up to its own right in the corner of my memory.
Review: At first I thought it's generic. Dat chorus' some serious drama queen, P!nk plays it pretentious cool and not singing anything after the verse, and just lets the instrumental build and swell, and when the heat is up then she gives the audience just a full ah ah ah rah rah rah P!nk blast. You can tell by the way the electric guitar roars. Then when I really needed to hear something like this, it would almost ring like a bell at each line. One line seems to directly lead you to the next line, got that logical and progressive feeling. Desire can cause flame, but I just gotta keep trying. It's an essential message. But the song never feels cliched. It has real melody and chord progression with classical ballad kind of aesthetic. You can tell P!nk strived to yield a modern classic. That melody's a good melody, well-balanced and with that fiery youthful passion. I can't help picturing midwest scenery.
It's where my demons hide, it's where my demons hide
Don't get too close; it's dark inside
It's where my demons hide, it's where my demons hide"
Review: This is Imagine Dragons' second appearance on this ranking already. I mean, they have always come across as a well-rounded band with songs that "got it all": instantly catchy, thought-provoking, empowering with attractive vocal and persona. Demons' the song in Night Visions that probably got the most accessible melody in the chorus. While Radioactive's playing more slow and demure, holding the air flow, Demons plays instant impact over a typical and straightforward four-on-the-floor beat. Daniel's dominant delivery "When you feel my heat/look into my eyes" also evokes a sense of connection with the audience. The lyrical theme of the chorus' essentially about human connection and interactive finding the darkness in a deeper level. The belting "It's where my demons hide" is still the one that stands out to ring. Maybe it's not at all serious, maybe it's just playing, think about how much Imagine Dragons' earlier stuff sounds like playing a video game, with demons and warriors and stuff, but it's cool whether it's all that introspective, or just to iconify and capture the cool side of 2010s' electronics fantasy.
The way that you flip your hair gets me overwhelmed
But when you smile at the ground, it ain't hard to tell
You don't know, oh, oh, you don't know you're beautiful
If only you saw what I can see
You'll understand why I want you so desperately
Right now I'm looking at you and I can't believe
You don't know, you don't know you're beautiful
That's what makes you beautiful"
Review: This song and Call Me Maybe were from the same polarizing summer riddled with newcomers and teen-pops and their catchiness that beg for a mention. But flying in the face of Jepsen's symphonic gimmick, What Makes You Beautiful is playing more direct and straightforward, it sounds bigger, a convincing youthful group effort. The percussion and electric guitar have some groove and strike a curt wave after another, they don't come dull four-on-the-floor. The members' vocals passionately morph into one, trying the damnedest to deliver that neighborhood boy stand-out catchy and accessible melody (the chorus' catchiness' in top 3 among hit songs of that year). How to not give at least a shoutout to such?
Review: It's one succinct chorus. But it's exactly where iconicity bursts through, isn't it? It got Ne-Yo crooning through that era icon of a line "Oooh!! I want the time of my life". What a classic-sounding one! The credit is for Ne-Yo that f**king owns that catch line. The way his nuance flows all over the line is setting that particular song apart from anything else from the era, the way he sings "of my l-ah-ah-i-f" are hard not to sneak up on this decade-end list. It's some slightly old-schooled style and melodic luxury over the four-on-the-floor beat and that repeating catchy chord progression that gives each line a pushing-to-a-new-fantasy feel, but ultimately can be branded as something universal and timeless. Wanna have fun even during hard times.
Review: some Pulse favorite that sells on the hook? Hard not to appear on this list, right? It got that staircase clunky type of buildup, and then is her raw vocal soaring above the dark fairy-tale of the big city with a lot of depression, above the fluid instrumentals that sounded like magical elements that channel through minds and nights and days! The soaring hook's among the most trippy of the year, something jabbed from Barbie Girl type of dollhouse poppy melody that's so familiar-sounding that would just about to give you a deja-vu. Its first three lines go blasting out and the "pickin' it up, pickin' it up", is more like going through the motions and transitional, as if lack of better ideas to carry the chorus toward a better perfection, but it's a song of the era, and it tried, it's still one iconic post-catastrophe song, it's from depression, goosing out the darkness. You can really feel it from the music video, that's pretty much the most depressing one of the year, that glum monument valley blue and pink type of visual, with subtlety and hidden uncanny side of super-nature. That's to reveal what an extravaganza view of darkness was still out there. But despite that awfully depressing music video, if you ever want a great view of the city, the song can just be one your memory hums once in a while while you are up there. Feel the uncanny from the above. That tinkling bell sound on the second part of the hook's driving that nature's uncanny magic feel to an earworm. It's budding in your mind and stuff, it's just like an '90s song, city blues.
Review: Question: "Yeah" x 14 = Iconicity? Answer: Yeah (lol) Why? It deserves it. I personally find it among the iconic club of the whole year's music scene. It's the energy behind it. The subtle elements, the scenery, the implied visual, the color blue. It's one split-year transitional track, the Closer by The Chainsmokers of 2018, the video goes around and around and around and around and around and around and around and around and around and around... It's some perpetual nonstop motion, the kind of motion just like Closer's chorus spinning to the horizon by the seaside, except for this song, it's more dedicated and intimate to the song's protagonist (Adam Levine), you see how the video never leaves the blue room, and the circular motion's never out of the singer. Adam got that fast delivery in the pre-hook just so in time to make space for the spacious hook. Basic chords playing. Just like Thinkin Bout You by Frank Ocean (one king of songs!), simple, yet ask yourself this: isn't water a most common and powerful stuff because small and simple stuff are way more common than big and phony ones? The chorus' similar to an EDM "drop chorus", it's like a ball drops and hits the ground of resonance. And it's by far the catchiest part. Adam wraps up his voice coolly, watching the chords drop like a mic drop, fading into some light blue and melodrama. What nostalgic feeling! Somewhere along the lines of Adam's robotic repetition of "yeah" and some curious schizophrenic scraping of guitar, there infiltrates human emotion, a sense of between subjects and objects. It's moving, emotions are souping up the catchiness, and when it's moving it's just about to strike as an artwork with higher implications. And it did just that. Iconic, in the year of blue.
Or if I never get to see the Eiffel Tower at night
Oh, if all I got is your hand in my hand
Baby, I could die a happy man, yeah, yeah"
Review: Who can forget about a melodious song crush in cold season of 2015? Not me. As the chorus hits, one can immediately feel the classic in itself, the music scene was transitioning toward a small town phase at that era, and which song to really bear the iconicity other than such a small town ballad of romance and human connection? It's with organic guitar, snares, even with the second chorus adding kick drums and more pronounced chords, it's one solid jam of "simplicity rules". The whole song flows as one, culminating in such a chorus, Thomas carries every line so emotionally with memorably catchy and classic touch, you can tell every line's carefully rolled out. It's his effort to sound just like a star, a trendsetter of what classic sounded like for that season, every line comes with self-indulgent punches (beat punching on "never", "Northern lights", "never", "Tower at night"), those backup vocals to further the hits to just the right spots. He wraps the chorus up with "I could di-ah-ahie a happy man", a moderate and conclusive line with lingering effect. It's with some blissful joy, as if the line's a real "happy birthday" because in truth there's no death. It's the whole package of a chorus, catchy and classic melody, lyrical content with human connection. It just works. Lyrics just fits the song: "never get to see" this phony big attraction, "never get to see" that phony big attraction, but rather craving for what's around him. People can accuse this song as Ed Sheeran ripoff, but I find it more melodious than every Sheeran song I've heard.
Review: 72 times a word's repeated in a chorus, it's basically an all-time "low" record... in a chorus. I remembered regarding this song as a peripheral hit in Hot 100 that would actually be memorable and come as a classic. And hey, I was not wrong. At first, I thought it's just something catchy and slightly exotic and different from an ephemeral pop song, but when Jon's rest of the album's lyrical content clicked with me, there's that good cultural vibe I picked up on each time I was to hear the song. My opinion on the song's definitely influenced by the rest of Human Condition album, it's a persona influence. Jon's one of the very few music artists this decade that was trying to sell the brand of persona and making it convincing. It got that attractive energy throughout, almost scholarly, right after the verse and pre-chorus where he really sounds like he's trying to be intentional and selective of words and each line's followed by an arrest to really accentuate on the suspense and lyrics. The chorus may not be that iconic by itself, as you may think there's not that much to say about an instantly catchy, kinda-silly chorus full of the word "low", but for some reasons there are always elements of good taste to add to its iconicity that I gotta give Jon a shoutout on this list, the songs from his album that I listened to were all infiltrated with a tinge of talent and effort to make something classic. Jon's vocal and energy totally flow through it and then I realize that what I've been focusing on is far more than the repetition. It got that whitewashed mellow gentleman vocal that sounds like it's added intentional effects to sound that high and falsetto-ish and of course, memorable. And that synth line sounds neither programmed nor pretentious, it got that home-produced charm, something straight from a music producer dude's room. Nothing about the chorus sounds cheap. The drum beat's just at the right rhythm and place to give it that catchy and suspenseful feel. It's solidly catchy, with the melody that's just like a sample, playing into the album cover's exotic, mythological, paisley visual. Whether it's all on-point, it's the kind of very indie song filled with individuality, I figured only such songs would have that kind of funny "sound effect" (that sounds like a troll gets punched in the face) at the beginning of each "low" line. It's like a lightning rod for trolls and bad feelings. It's deeper than just an east coast city track played at a concert, it's something cultural, American dream was to be spoken by Jon's voice at that era, the deeper side of sceneries of 2016-2017 transition, maybe IDK, maybe the chorus is just a Fashion of its own, maybe we're all just schizophrenic, depressed, distracted like the music video, but Jon at least tried some persona power, which's already better than a lot of songs that got no clue. It's just like 80's Films, it's just like Morning In America.
Review: This one!!!!!!!!!!!!!!!! Here we go!!!!!!!!!! Charlie Puth!!!!!!!!!!!!!! Ironically, this song and chorus were kinda the reason why I'm not hosting Charlie Puth Rd at the gaming section so to speak. Big controversy in 2018 Year-end Rd thread! As you (haters) have remembered, I ranked it #3 of 2018 and it would be translated into a spot in this decade-end ranking. I know it pulled all kind of surprises already, it sounds just like a discounted Attention, yet something about this sneaks its way to top of the decade at every turn. It's another song that sells on hardcore individual flow, persona, a loner's great urban hangout of a music video. They all have souped up my taste for this chorus. You know, when I think about music in 2017-2018 transition era, “How, long, has, this, been, go-ing, on” is like a catchphrase, and Charlie really seems to find his place of iconicity. He climbs the building and be like, moonwalking toward his dorky slice of epic. “How, long, has, this, been, go-ing, on?” One of the most defiant and rad things this decade. He climbs the f**king building and it's just like climbing one to the top, with defiant kind of light techno superman in him (superman got nothing on him, remember?), then the rest of the chorus' all about flowing. Floooooooooowin' with four-on-the-floor very standard beat kicking in, as well as that bass drop pulsating lightly on the background. Then more intensity's added by the pre-programmed guitar loop. Upon first listen the chorus had nothing original, the guitar's very lightweight and casual, just like an meh afternoon tea, a mere appetizer, but then, yep, I began to read the song with dat type of flow in the music video as well as in the context of the era, it sounds just like an excellent split-year transitional track, right catching the baton in the wake of a Despacito summertime's high action and drama and broken idealism. The chorus' to play it cool to deliver the energy to 2018, with timeless wonder of "How long have the shades been going on?", it's to tackle the dark, shady side of nature and others, as the protagonist's in the progress of being more perceptive of all the human and nature's subtleties. But well, shallow is deep sometimes, I like it that Charlie Puth makes music and dance so accessible in this chorus, if existential darkness' taken away from the context, it could be just about the casual flow of an everyday bro, hanging out, strolling schizophrenically, wanting to climb up a building, and when you do it with iconicity, it’s cool af and it’s just like moonwalking, this chorus works almost like a dare during dark times, to see how long of a streak of iconicity one can keep up. Somewhere within the casualness, there's a sense of great hope.
Review: Freakin' memories from dat summer of 2017! Tunnel Vision hit Hot 100 top 10 early in the game of 2017, but when its true influence took form, it's much more of an action and controversy-packed summer anthem. It's some experiment to make a crazy catchy chorus. It's one serious techno urban gig that sells so much on the chorus (the gig that brought us rockstar. later on that year). The first chorus' almost freakin' one minute long. The melody sounds like Lana Del Rey's Diet Mountain Dew 2.0, yet it's one f**king hard version with its pronounced darkness and potential for inducing some certain kind of inexplicable headaches, as well as fantasy. They made the chorus so much catchier and adventurous than Diet Mountain Dew's, with almost surprisingly minimalist beat with that hypnotizing effect that makes it sound like there are way more going on than as it is. It's almost like an irony of a chorus: most elements, such as the kicks, the trap hi-hat, the phony organ sound are almost like, subdued and modest as f**k, one can only assume that its sense of real larger-than-life content of political visuals is somewhat implied. But whatever the case may be, it's still among the heaviest hitters in this whole decade. You like it or not, this Diet Mountain Dew 2.0 thingy is tailor-made to sound like a heavy-hitter, in catchiness and everything else, everything about it is epic in some top-of-the-decade polarizing way: the vocal's hyperbolically bad, a paralyzed hitta moaning, the way it's sounding paralyzedly whining and dragging on at the end of each line, the siren-like synth flute sound that holds itself in just the right saucy angle to soup up the catchiness, and of course, a hyperbolically controversial badass persona behind it. It's hitting it hard af, repeating the same two lines of melody over and over for tens of times. Yet, he's f**king owning that chorus. It's just like some street cred dancing in the video, like, "sendin' homies on a mission", something larger-than-life and adventurous, and in a dark year like that, Kodak somewhat became the baton-holder and one frontrunner of that adventurous persona, whether one can really understand the larger-than-life establishment content inside the illusional surface. Mountain Dew's cool and heavy as f**k.
Let me reveal... the year distribution of this chart! (the year of a song is based on the dominant year of song's chart presence, for example Thunder was #51 in 2017's Hot 100 year-end, #22 in 2018's, so it's counted as a 2018 song)
We found love in a hopeless place" (Instrumental drop)
Review: Well, as I said, I've never been a fan of early this decade's music scene, and I was hesitant to put any song from that particular era on this list, some era that got that mirage-ish pop scene with too much unsatisfactory dollhouse and confetti party that went all Hollywood. But I don't need The Black Eyed Peas' 3D movie studio vain to remember that, the energy never dies, the energy from music scene at each era's interconnected. One or two songs from that fake-ass pop era's to be retro-repurposed with iconic implications. We Found Love's on the fore-front of that era, linked too crazy of a chart run in Hot 100 that it's almost supernatural (dat #24 on Billboard's 55-year anniversary chart). Rihanna and Calvin Harris got themselves a whole package between years, not only this is probably by far Rihanna's catchiest chorus to date, it's sounding like some chorus and bold, experimental to the point where it's unlike anything one'd ever heard and it's almost horrifying. The chorus steps up from the verse, and one chorus build up from the previous one (the final chorus got that riser sound with such intensity). It's produced by some uncanny energy trying to emulate iconic flawlessness, the way that crispy recurring "bell" sound's winding and zigzagging through the otherwise straight beat with the electronics clap doing the exact measurement, and of course, that catch line "We found love in a hopeless place". I don't know how exactly did they make it sound so catchy, but it's just tricking your mind at each turn. What trippiness! Its addled and non-self-aware repetition, its own brand of self-indulgence... the chorus' one big dollhouse party. The "bell" does sound like yellow diamonds, too much like a lavishly luxurious music box or a party room that it's hard not to see why the whole gig's considered for iconicity. And that drum-based instrumental drop, holy crap, with music video playing along that seizure-inducing visual that's so messed up, it's almost trying to prove my point that idealism from that era's bound to fade away. Underneath the party's too much rising of pitch-bended beats, haunted by mess in the head and glum deja-vu as if 20th century type of addled-up rock n' roll, funk music visual (it reminds me of Wonderwall for some reason). It's uncanny. It really is. I've always found it as the monstrous hit that carried that era's trippy riotous carnival to a fore, that's just the way music scene's energy flows, its before and afters, its patterns and peaks... to think progressively is that, one can turn that colorful bedazzling style into something slightly different and it's gonna work. And that something is called "real timelessness".
"We'll find a road with no name, lay back in the slow lane
The sky is dropping Jupiter around us like some old Train
We'll be rolling down the windows, I bet you we're catchin' our second wind
We don't have to go home, we can leave the night on
We can leave the night on"
Review: Does this sound just like a middle-of-the-road song? Well, Sam Hunt with his white teeth and country bro flow's gonna find a way in this decade-end ranking (probably more than 2 times! Who's excited?) I mean, I don't have to find poetic implications here. This chorus is loads of fun. How often can you come across a song that's so perfect for riding on a taxicab or driving between fun and so southern and midwestern at the same time? This chorus certainly feels like something that I actively wanna remember, I've been trying to assimilate and capture all the nuanced delivery here that it's almost something higher, for chrissake (I sensed some subtlety and southern drawl in "The sky is dropping Jupiter", "rolling down the windows", "catchin' our second wind", etc)! I'm aware this chorus' trying to play that moderate-climactic game, sounding so much like the pre-chorus of seriously cool intensity and winding ability to keep you going. And when the line "We'll find a road with no name, lay back in the slow lane" hits, I'd instantly know that it's the chorus, and I should relax, enjoying the moment with the singer, rider and player's classic electromagnetic energy. One of the top songs in mid-decade to carry that baton of the word "classic", sounds very human, sounds like a party with common sense. It's not playing some sort of gimmick or trickery, it's one chorus with a good stable melody, Pop/R&B-styled organic percussion, the guitar tinkles from a jungle or something. But the real deal comes from Sam Hunt himself, his voice's accessible, so middle-of-the-road that it's almost the most attractive thing ever. He's modestly suggesting that attraction is a nice ambience from close to your heart. The gig can sound like a live recording while he's on a cab or something having casual fun, but it's still gonna be one of the only songs from a year that one can really remember. Sam Hunt's one of the few that can make "We don't have to go home, we can leave the night on" sound like a brand. And that final "We can leave the night on". What a mic drop!
Review: Despite released in that damn era, Payphone has the chorus that stood a little longer than you'd think, certainly a Maroon 5 classic, if not their most iconic one so far. It just seemed so appropriate to be the frontman of a lead single from their action-packed Hollywood album Overexposed. The chorus' a direct hit, sounding very summer, instantly catchy, instantly big like an action movie, with even more heat than What Makes You Beautiful as a good one-man rage can outsell a group effort. Four-on-the-floor straight beat with shakers sound like quite a march, almost to the point of braggadocio. The action it's going for is almost corny big and Hollywood. It's actually fascinating how they could turn a wailingly blue melody into anything but. But in any case the chorus' holding pretty well, I would still remember this chorus to be always on top of early-mid-decade's summers full of activities and longing for better, real modern fantasy. That "If happy ever after did exist/I would still be holding you like this" line's the king of this song, addictively catchy in a pondering way, f**king near a New Age melody. Those piano notes trickling in the background add a sense of playful innocence, as if it's just an action movie after all.
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