Tim: Yes, I know, this track’s eighteen months old, but in that time Foxes has gone from being ‘Who?’ to ‘Oh, her.’
Tom: And Zedd’s done the same, thanks to that collaboration with Hayley Williams.
Tim: So, let’s cash in on that with a re-release.
Tim: Some say a re-release is cheating, of a sort, because you’re not doing any extra work but you’re hoping to get a whole lot more cash from it. Others would argue quite whether there’s actually such a thing as a re-release in the era of downloads, when songs from a full century ago are still just a few clicks away.
Tom: I was expecting that to be a comedy click, but you’re right: any of those could make it to the top 40.
Tim: Well, at least in theory. But whatever the thoughts are, I’m not bothered, because it’s given us another opportunity to have a chat about this song, which is bloody brilliant. An initially understated first verse, soon building and then giving way to a big, brash dance CHOON (for it is indeed one of those) of an instrumental chorus.
Tom: That’s what Zedd’s good at: EDM choons with strong, repetitive female vocals. It’s odd for a producer like this to break through into the full mainstream: for every Zedd, there are literally tens of thousands of home producers who just didn’t get there. But yes: big, brash.
Tim: Quiet bits return, as is their wont in a structured track, but throughout this is a very very good track, and deserves a release for it to get higher than the 29 it reached last time. Let’s just check…ah. 31. Oh well.