When musicians are asked if they knew a song was going to be a hit when they wrote it, the response is usually 50/50. Some had an inkling they were onto someting, but some had no idea. I remember hearing Kimbra talk about laying down the vocal for Gotye’s “Somebody That I Used To Know”, and she didn’t have a sense that the song would be anywhere near as popular as it turned out to be.
I wonder if Ainslie and Ben knew their song “Detour”, its minimal instrumentation telling the sad story of being the rebound love interest, would have over 12 million streams (just on Spotify) when they wrote it?
Ben and Ainslie were meant to write this song together in Nashville, but sadly the pandemic put an end to that. Working on their parts from separate ends of the world, with a detour (pun not intended) to Berlin for producer Evan Klar, the song bounced between the songwriters until completed.
The first thing we hear is a metallic flicking, which could have been conjured up by Matt Singler, credited with drums on the track. The music starts with some pretty piano chords and a basic click and handclap beat.
This song is not a study in concrete imagery or storytelling, instead focusing on the emotions and describing the situation. As someone who has often written songs like this and worried they didn’t follow the musical rules, I’m pleased that something more abstract has had such success:
Danger danger
I can read your mind
Wouldn’t change it
‘Cus I fall this way
And feels so right
Yeah it all feels right
Ainslie Wills & Old Sea Brigade – Detour
The second verse builds on this idea, remarking how regardless of the outcome, she’s committed to seeing where it goes. At this point, Ben sings some floaty backing vocals, which continue through the chorus and rest of the song.
I looked up the chords to this song as I was pretty sure they were the same for the verse and chorus – I was right. It goes to show that the heart of a song can really be in the melody instead of the chords being interesting or diverse.
The last line of the chorus leaves you raw – ‘I’m just a detour back to her’ -hanmmering home the point that she’s the short term, second option. Those of us who believe in the long term relationship would think this is a crappy position to be in. But I think there’s a certain freedom in knowing a relationship is short term and likely not to work out as you can enjoy the moment and are always ready to let go. Maybe you wouldn’t want to do that perpetually, but sometimes it’s what you need.
There’s another short verse, about playing it cool and a second chorus, the post chorus leaving us with no doubt to her position ‘If you go running back, running back, I’m gonna let you go’. A certain level of acceptance and graciousness is present here, acknowledgement that her interim situation is trumped by her partner’s realisation about who he is meant to be with.
The song changes the chords up for the outro, the piano now twinkly and reflective, while Ainslie’s voice lightly ad libs over the top, finally fading out with the drums until the final beat.
3 minutes and 33 seconds of simplicity and sadness that I’m grateful made its way into the world, despite failed plans and distance.