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"Something Just Like This" is a song by American electronic music duo The Chainsmokers and British rock band Coldplay.[3] It was released on February 22, 2017 as the second single from the former's debut album Memories...Do Not Open and as the lead single of the latter's Kaleidoscope EP.[4]

It reached the Top 10 of various charts around the world, including number two in the UK Singles Chart and the ARIA Charts and three on the Billboard Hot 100. The song was also nominated for a Grammy Award for Best Pop Duo/Group Performance at the 60th Annual Grammy Awards,[5] being listed as one of the best songs of the year by Uproxx,[6] and 3voor12 as well.[7]

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In September 2016, the Chainsmokers shared three short clips of an upcoming song featuring vocals from Chris Martin.[8] On February 22, 2017, Spotify prematurely posted a banner ad at the top of the site's home page with a Listen Now button.[9]

On the same date, Coldplay premiered "Something Just Like This" with the Chainsmokers on stage at the Brit Awards at The O2 Arena in London, England.[10] They then performed the song at the 2017 iHeartRadio Music Awards at The Forum in Inglewood, California on March 5, 2017[11] and on their A Head Full of Dreams Tour since the Singapore show on March 31, 2017.[12] It was performed again at the One Love Manchester benefit concert for the victims of the Manchester Arena bombing on June 4, 2017.[13]

"Something Just Like This" debuted at number 56 on the Billboard Hot 100 and soared to number five on its second week, becoming the Chainsmokers' third top five after "Don't Let Me Down" and "Closer". Meanwhile, it was Coldplay's second top five hit after "Viva la Vida", which peaked at number three on the Billboard Hot 100 ever since. The song was also the sixth best-selling track of 2017 in the United States with 1,348,000 copies sold.[17] In the United Kingdom, "Something Just Like This" debuted at number 30 on 24 February 2017, reaching its number two peak position the following week behind Ed Sheeran's "Shape of You". It spent nine consecutive weeks in the top 10 and became the ninth biggest song of the year in the country.[18] The song also set a new record for most weeks atop Billboard's Hot Dance/Electronic Songs chart (79).[19]

Its a hip hop song with two guys I believe. At the begining there is a crescendo of horns and I believe the lyrics talk about greatness. Then later on the two guys in the song are basically talking over the beat and one goes "you want to do it just like that?" "Just like that man" "just like that" in a friendly back and forth. I really have been looking for two days and I'm starting to think maybe the lyrics are some kind of mispelling so "jus like dat" or something. Maybe this rings a bell for someone out there.

I'm really into this sound of blind optimism towards love and the future that these songs give. I'm not from the 80's, but they still make me feel nostalgic. These suggestions don't have to be from the same era either. Just the same sound/feeling. Thanks!

One of our greatest Americana and blues singers and guitarists, at 73 Raitt has picked up her share of trophies through the years. Still, no one was more surprised than she was to win the award for her song dedicated to her beloved friend and collaborator John Prine, who died in April 2020, and inspired by a story she saw on the news about an organ donor that encapsulated for her the pain and perseverance of the past several years.

The Pop Song Professor project is all about helping music lovers like you to better understand the deeper meanings of popular song lyrics so that you know what your artist is saying and can enjoy your music more.

Coldplay and The Chainsmokers are probably one of the more unlikely collaborations we'll see this year in music, but "Something Just Like This" may be one of the best collabs we'll see. Musically, it's entrancing. It's everything we love about The Chainsmokers' thoughtful and body-moving approach to EDM music with everything we love about the dry, smooth power of Chris Martin's voice. It's really the best of both worlds, and while the group is an unlooked for collaboration, personally, I'll be looking for more songs from these two groups.

Of course, a song may sound great, but if it doesn't mean anything, that's all it every is--a good sound. Thankfully for fans of the two bands, "Something Just Like This" does have a deep, emotional meaning, if not a mysterious, "deep" one. The song is sweet, to the point, and I think you'll find what it has to say beautiful.

Starting with verse one of "Something Just Like This," we notice that Coldplay and The Chainsmokers are setting up an idea later in the song. Here, Chris Martin sings about "reading books of old / The legends and the myths." He's comparing himself to the Greek gods and demigods as well as modern "gods," otherwise known as "superheroes." This isn't the place, but there's an interesting discussion to be had about how superheroes are the new "gods" of our era. The Greek gods and heroes were the subjects of epic poems told around campfires, and we read or watch tales about our superheroes all of the time!

Well, whether they're new or old, The Chainsmokers and Coldplay see these heroes and realize that they aren't like them. They don't have the riches of Achilles, the strength of Hercules, the self-control and stamina of Spiderman, or the power and fury of Batman. They're normal people. And where does that leave them?

It's at this point in the song that both the lyrics and music gain power. The words "I want something just like this" gain power because of the way Christ Martin repeats them, and the music gains power as The Chainsmokers "drop the beat" and bring heavy synth in. This is obviously the point in listening to the song when dancing is supposed to be at its craziest and when emotions are supposed to be at their highest.

As for who's supposed to be singing these words, it sounds like either the narrator or his love interest could be expressing this sentiment, but I guess that it's both of them--her affirming her description in the pre-chorus and him vehemently agreeing.

I like this song because it's simple and sweet. The cover art is a picture of a young boy pretending to be a superhero, and I think this fits well because many people still want to identify with the precociousness and imagination and ambition of the children they once were. The narrator in this relationship feels like a child wanting to be a superhero, but his adulthood reminds him that superheroes aren't real and that he isn't one. The love interest's response, however, shows him how he can be a superhero for her even if he isn't for everyone else.

Hi! I'm a university writing center director who teaches literature classes and loves helping others to understand the deeper meanings of their favorite songs. I'm married to my beautiful wife April and love Twenty One Pilots, Mumford & Sons, Kishi Bashi, and so many others!

But fans of Jeff Buckley have had to navigate a comparatively barren landscape. The singer released a single full-length studio album (1994's classic Grace) before drowning in 1997; he wasn't a prolific songwriter, and only started recording and playing in public a few years before breaking through nationally. So there's not that much out there: a few sessions, some decent fan tapes, a couple of early collaborations and, of course, everything Buckley's label could find in the vault that was good enough to merit posthumous packaging and repackaging.

Those finds actually add up to a gorgeous little bundle of music. Like his father, the similarly ill-fated '60s and '70s folk-rock legend Tim Buckley, Jeff Buckley was a radiant live performer, so his official concert recordings stand alongside his studio work just fine. And though Sketches For My Sweetheart The Drunk, 1998's posthumous two-disc studio collection, is spotty, it's frequently remarkable. Nevertheless, the well had long been assumed to have run dry.

The album opens with Buckley's take on Bob Dylan's "Just Like A Woman." Recorded in early 1993, shortly after Buckley signed to Columbia, it rambles swoonily for six and a half minutes, capturing both a rare gift for interpretation and a willingness to let songs unfurl slowly and delicately. More than 20 years later, his voice still has the capacity to stun and surprise.

And Just Like That has been delivering non-stop feels and musical hits from the moment it dropped on HBO Max; here's every song on the Sex and the City revival's soundtrack. The latest installment in the Sex and the City saga reunites Carrie (Sarah Jessica Parker), Miranda (Cynthia Nixon), and Charlotte (Kristin Davis) as they navigate life's ups and downs through their fifties. The season begins with a tragic twist as Carrie's husband, Mr. Big (Chris Noth), dies of a sudden heart attack, leaving Carrie alone to find a new path.

The show blends the joys and melancholies of nostalgia with the excitement and uncertainty of the present, infused into a soundtrack that feels more like a playlist of the best vibe songs of the last four decades. Featuring artists like Eurythmics and a particularly plot-relevant song from Todd Rundgren, each song captures that feeling of remembering great times when the present feels like it's crashing down. Here's a list of every song from the first season of And Just Like That below.

For many years I was in the camp of "Dylan at his most misogynistic" when it came to this song. And, honestly, could you really blame me? We already know that the Dylan of the Electric Trilogy had plenty of things to say about the women in his life, and was not afraid to say them, albeit in his own way. Then you have a song like "Just Like A Woman", which seemingly casts aside the more poetic aspects of Dylan's lyricism and just gets straight to the point - not only is the woman in question a horrible, needy succubus, but all women by default act that way. And not only that, but Dylan takes a shot at little girls, too! It seems like a small wonder that this song has come under protest - and it's kind of nice, in a way, that for once Bob cuts out all the weird nonsense and comes right out with what a jackass he is.

Thankfully, I figured out not too long ago that the lyrics don't have to be taken that way, and it makes the song a lot easier to listen to. Obviously you can take them that way if you want to, and that is the always-present genius of Bob's lyrics (that they're open to such interpretation). And the song does remain interesting if you take it as a screed against womanhood and their many foibles, although then you get that nasty edge that people have such a problem with. But if you take a different tack and interpret Dylan talking about maturity and not just about women in general (i.e. "you make love just like a woman" meaning that she makes love like a grown-up, not just like a female per se), then the song becomes more intimate and personal, more about a singular person that hasn't managed to grow up yet and, from the narrator's perspective, probably never will. And that becomes less a song worthy of women's rights groups calling Bob names, and more a song about the pain of love gone wrong.

To me, it's the last verse that always stings the most, when Bob says "please don't let on/that you knew me when/I was hungry and it was your world". That speaks, to me at least, about one of the hardest things to do once a relationship has ended - meeting up with your ex again, especially in public, and trying to put a brave face on a tremendously difficult situation. I always wonder, in a way, if this is why so many people argue against going from being friends with the opposite sex to starting a relationship with that person. If the relationship falls apart, the friendship is inevitably jeopardized - I mean, how hard would it be for you to go from watching movies with somebody to sleeping with them to having to decide if you want to watch movies with them again? It's a damn hard thing to get over, and I have lost people in my life that I truly enjoyed spending time with when things got too awkward.

In the case of "Just Like A Woman", though, it's even more poignant because the narrator has moved on not only from the relationship in general, but from the person that he was during that relationship. We all know that having relationships at a younger, less mature age is a rite of passage in our lives, sort of a test run for the deeper and more meaningful relationships we will have as we grow older and wiser. And we also know that, at certain times, we'll enter relationships we should not, if only because we don't know what we're doing and haven't acquired the necessary experience to say "you know, I think I'll steer clear of this one". Dylan's narrator, in a way, is telling us that the woman he's singing about had him in that kind of relationship, that he didn't know better at the time, and that he finally wised up and got away from this train wreck before it was too late. And now, if they ever meet again, he wants her to keep their relationship a secret, because he's just that ashamed. I don't know about you, but that's some pretty cold shit.

You listen to the song, hearing that famous trilling guitar line, the organ floating cloud-like across the mix, and Dylan using a less vicious vocal attack than usual, and it's hard to believe that a song that sounds so sweet could be so callous and cruel. And yet the lyrics paint the picture for you so easily; the ribbons falling from her hair like a beautiful painting that's cracked and sloughing with age; the woman placed on the pedestal she carved herself, lost in a drug-induced haze; and, finally, that hypothetical meeting in the future, when all he wants is for her to pretend she doesn't know his name. And you know that those feelings can only come from a place of hurt and sorrow - you can try to speak with as much distance as you can muster, but there's only so much pretending you can do without speaking directly from the gut. I'd hate to be somebody that makes a man like Bob speak from the gut like that. 17dc91bb1f