TFW you’re driving and you hear a new song on the radio that makes you pull over to hear it better? I’ve had it three times. The first time was Eminem’s “Stan” in 2000. I just had to know how it ended. The second was in 2013, when I thought Daft Punk’s “Get Lucky” was a 1970s disco classic I’d somehow missed. And the third was Billie Eilish’s “Bad Guy,” partly because the production was so original, but mostly because the vocal was so, well, disturbing.
Thematically, the song is about relationship power dynamics. For all the machismo of the “you” character, and that upsetting opening violent abuse image in the first line, Billie herself is the titular “Bad Guy.” She can out-scare and out-dare him. If he wants to “take control,” she’ll go along with it, up to a point, but she holds all the cards: if he steps out of line, there will be mama-disappointing, girlfriend-antagonizing, dad-seducing hell to pay. The production throughout supports this theme, balancing the scary and the ironic as Billie’s vocal performance veers between threat and disinterest.
Today, we will be talking more about the music than we will be talking about the sex – I mean, the lyrics. Usually with a song analysis, I try to figure out how the words and music work together, and highlight particular phrases that stand out in the musical arrangement. But given that Please Me is a ‘slow jam’, we don’t want all this musicology to kill the mood, so we will mostly let Cardi’s x-rated rapping (and Bruno’s vocal paroxysms) speak for themselves. TIDAL is all about the fidelity, so along with master-quality audio we’ve included the full, un-bleeped lyric. Insert your own asterisks according to taste.
As a music theory geek, I love to get inside songs and figure out why we like them. There’s something beautiful about the ability of a mainstream hit to bring people together. And when the songwriter and singer is as extraordinary a talent as Ariana Grande, we can be sure we’re putting the very finest pop product in our ears.
So let’s dive in, intro first, middle bit in the middle, and outro at the end, as has been the way since the dawn of time.
We hear a single reverbed synth sound playing half notes, with occasional 8th note passing notes, and no indication of what’s to come. That’s sparse, even for a trap-pop intro. At this point, we don’t even know if we’re hearing 140BPM (fast pop) or 70BPM (slow ballad).