La Flavour's 'Mandolay' is a disco classic - I dare you to sit still while listening to it.
The quality of a timeless song is that it's catchy, meaningful and relatable.
When I was performing the songs on 'Kiss Land,' it was a great singalong. But there were moments where I realized some parts were catchier than the others. There's maybe two choruses on all of 'Kiss Land.'
'Despacito' was a song that, from the time I started writing it, I felt that its hook was really catchy and powerful but at the same time very simple.
I'm writing music that people can grasp and hold on to... something that resonates. If you don't have that, then you have nothing.
Songs should have an infectious melody and rhythm.
'Sorry' is unlike anything Bieber has made in the past. It has been classified as 'tropical house' and 'dancehall,' but everyone seems to agree on one thing: It's a banger.
They keep the song as street as it needs to be. It's got a good catchy hook where it can do what it needs to do on the radio, but they keep the song street where it will keep credibility in the hood.
I would love to write a song that's exciting, bright, and has a fresh melody and lyrics.
I don't ever have the pressure of making a hit, because I've never had a hit song, per se. The closest thing to a hit song was 'Shiraz,' and it's not your prototypical hit song, with a catchy hook and all this other stuff.
I used to be afraid to use the word 'pop' to describe my music, but underneath my tough, bad-girl sound, there's some fun.
'Muntazir' has a very feel-good vibe to it. It's Strings' signature composition, especially the pre-chorus. I thoroughly enjoyed lending my vocals to it.
I like to always do my best to make music catchy, so I think a very catchy melody is cool.
What makes a great song - you don't put it into words. You feel it. The perfect lyric. The perfect melody. It makes you feel something.
