“Clap your hands if you’re working too hard”
The Ting Tings – Hands
If the Ting Tings hadn’t strapped this lyric onto an interminable sub-Kraftwerk wind tunnel and had it voiced by a supermarket counter, it would have been the best chorus ever written.
I can’t resist it. It voices a universal truth of our work-stricken modern life. It speaks to the backbreaking labour of the working class and the high-voltage deskwork of the bankers. It makes you proud to work and proud to rebel. In 9 syllables, ladies and gentlemen.
A good chorus can make or break a song. It’s the song’s gravestone: the verses can have faff around a bit, but the chorus is what they’ll remember. It can pump a song to new levels of commercial appeal: there’s a reason that one-hit wonders plague our charts. They’re all built on strong choruses. Example: £100 to anyone who can remember the lyrics to the second verse of “Who Let The Dogs Out”?
When trying to describe a perfect chorus, people will often grope for the boardroom bonehead’s best buzzword: ‘It’s really catchy.” “Wow, that’s so catchy.” I want to tell you here and now to think of “Catchy” as a myth.
There can be no doubting that some songs are ‘Catchier’ than others, though I feel unclean using that word. Melody contributes, chords contribute, and structure certainly contributes, but I honestly don’t really care too much about a ‘Catchy’ formula: it makes it seem as though you should base your songwriting around whether it’s Catchy or not. Let me tell you: if you bash on the front gate of the Catchy mansion, you won’t get anywhere close.
So let’s try the back way in. I love Hands because it epitomises what I think a good chorus should do. Let’s split this down into two stages.
First: Validation. The first thing a great chorus should do is validate an identity, either of a group or a community. Consider Bruce Springsteen’s Born In The USA. You’re trying to get the ‘That’s Me!’ moment on the other end of the wireless. I’ve heard it said that art should articulate and make clear what people feel, and the chorus is your moment to shine.
There are two routes: either you reach out to as many people as possible on a general level, or you speak to a small group incredibly personally. What makes Hands so incredible is that it speaks to a universal audience on a deeply personal level, but that’s a once-in-a-career moment. I’d advise taking one of the two routes above and hoping that you strike gold.
Second: Catharsis. This is where you can deliver a chorus that can change someone’s life. Once you’ve achieved the ‘That’s Me!’ moment, you’ve got them in the palm of your hand. Now it’s time to smack them out of the park.
This is where it takes a bit of personal tailoring to your audience. More often than not it’s simply enough to give people a voice. Consider Pulp’s Common People, or Dylan’s The Times They Are A-Changing: the very act of giving voice to those who cannot speak gives the song strength. But you can do so much more: once you engage people on a personal level you can breathe new life into their lives.
Every music listener has songs that light a fire in their hearts, that seems to speak directly to you. Validating an identity, then allowing that identity Catharsis. That’s the big secret.
You have 9 syllables to change someone’s life. Choose carefully.