Storytelling secrets from 3 classic pop hits

Big emotions in just 3 minutes

We’ve all heard about the power of storytelling when it comes to making an emotional connection with the reader.

The beginning, middle and end. The conflict, resolve, elation. The hero and the battles he must fight before he wins the war and the girl. 

But who has time for all that? We’re not all Luke Skywalker. Not every story fits that narrative arc. 

Rather than chew through Star Wars let’s take a look at the world of pop, where the constraints are much tighter. Imagine only having three minutes to create a yarn that people can understand, believe in, and get emotional about. 

Not easy. So in the name of academic research, I’ve analysed three random pop tunes to see how they achieve this. It’s time to look again at their lyrics and give credit to their subtle plots and narrative journeys.

1. All Rise, Blue

At first this may seem like another sweet pop ditty presented by four beefy stage school rejects who’ve spent a little too much time in Topman, but don’t be fooled - we’re in serious territory here. A courtroom, to be precise, where a great injustice has been done. 

A girl has been two-timing her boyfriend and now said boyf is making his impassioned plea to the jury. 

The evidence is truly damning: money has been leant and not paid back, lifts in cars have been given. Secret phone calls have been made and there’s been ‘faking’ - we’re not told what kind, but can only imagine…

In the face of such unequivocal cruelty it’s impossible not to sympathise with these poor lads - even Anthony Costa.

Plus, the song’s grammar is impeccable and features the most elegant rap in pop: “You find that your stuff is gone. But in reality to whom does the stuff belong?”

All Rise is the pop equivalent of an episode of Kavangah QC, but much more haunting and emotional. It reached number 4 in 2001.

I rest my case.

Little known fact: Will Young was part of the original line up.

2. Don’t you Want me Baby, Human League

A sense of place can be a useful device when it comes to storytelling, especially if you’re in a rush.

And there’s no messing here.

“I was working as a waitress in a cocktail bar when I met you,” tells us everything we need to know about the power dynamics of this relationship, while also plonking us firmly in a bar stool with a cool glass of Bucks Fizz and a line of coke. Let me just move my Filofax.  

But what’s this? It seems we’re in the middle of a break up conversation, and it’s getting rather messy.

The male narrator (seems a bit of a wally) reckons he rescued this girl from obscurity and made her what she is. Now that she doesn’t want him, he’s lashing out.

Thankfully, this is a ‘two-hander’ so we get to see waitress’s side of the story. She tells him she would have made it “either with or without you” (go girl) however, she also admits she still loves him (it’s complicated).

The lyrics were inspired after lead singer Phil Oakey read a photo story in a teen magazine. On reflection, it sounds less tragic and more threatening than I remember, still, different times and all that. And Oakey himself said that it’s “a nasty song about sexual power politics.” Ok then.

This song was number 1 for 5 weeks in 1981. But Oakey was apparently annoyed with this more ‘poppy’ version of the original - get a grip Phil, it transformed your band into a global phenomenon.  

Little known fact: 56% of all men choose this as their favourite karaoke tune.

3. Everything She Wants, Wham!

If you’re looking for authenticity then why not add some real world context? This 1984 lament by Wham! radiates Thatcher’s Britain like a tropical suntan.

Everything She Wants was the B-side to the band’s epic Last Christmas and came out at the tail end of their career, before George went solo. It marked a departure from the frothy pop they were known for and gave us a taste of the more serious stuff George would develop on his own.

We’re firmly in the cut and thrust of the 80s here, and greed is good, but not for our hero. 

George plays the role of the oppressed husband who is having to work his guts off to pay for everything his material girl demands of him. He feels “Like a stranger, but with wages, walking in and out of that doo-or.” This is bad.

We can only imagine what “The things we buy and the things we sign” are. I mean, there were so many cool gadgets to buy in the 80s, Mrs Michael would be spoilt for choice. And I don’t think we’re just talking Soda Streams and microwaves here. I suspect she’s more of a home espresso machine and state-of-the-art CD player kind of girl. A proper yuppie.

In a twist, the second verse takes the story a step further by revealing that the woman is having his baby. Imagine the Mothercare bill! "If my best isn't good enough, then how can it be good enough for two?" asks George, his Princess Di hair quivering with barely controlled emotion.

It’s not every boy band that can mix socioeconomics and a drum machine, but this manages to do both, making for a heartfelt story that became a million-selling hit single in the UK and US.

Little known fact: This was George’s favourite Wham! song.

While you might not have access to synthesizers or a Yamaha keyboard, your story can be just as poignant as even the most seemingly lightweight of pop songs. So don’t be afraid to show some emotion, as Joan Armatrading once sang. (See, I can be highbrow sometimes).

Thank you for accompanying me on this important journey. Please do click the heart and share if you think others may enjoy this deep dive analysis. Let me know what you think of the experiment with the voiceover too.

And thanks to all who read my last piece on My first 100 subscribers. It was lovely to have so many insightful discussions.

Have a fun weekend!