Allister Bradley, Canadian singer-songwriter, pianist, producer, and technical director of the Song Studio Songwriter’s Workshop in Toronto, and co-host of the Hooks & Ladders youTube show with Blair Packham, joined us to talk about three songs with great bridges.
We talked about:
- How the bridge differs from the verse and chorus
- How a good bridge changes the viewpoint, the key signature, or uses something you haven’t used in the song yet
- How do you know if a song needs a bridge or not?
- Short songs vs. long songs
- How modern songs lack contrast between sections, especially harmonically
- Is a breakdown section a bridge?
The song selections:
- JEALOUS by Labrinth
- The massive key change and tone change going into the bridge
- Using unconventional, jazzy chords in the bridge
- THE MAYOR OF SIMPLETON by XTC
- How the bridge can be the energy and emotional high point of a song
- Changing up the lengths of your song sections can be one way to contrast them
- How the bridge lyrics are less story and more feeling, and look at the story from the “side”
- EVERY BREATH YOU TAKE by The Police
- How Sting turned conventions around by not including a chorus and making the verse more like a chorus, and how the “B” section is more like a bridge
- How the bridge turns the narrator from a creep to expressing his feelings of loss for the relationship