[Intro — one acoustic guitar only. Slow low-tuned picked riff, intimate and spacious. No percussion or additional guitar layers.] [Lead — gritty lower-mid clean] No, go ahead This should be goo-o-ood [Verse 1 — one acoustic guitar only, relaxed rhythmic lower-mid vocal] You’ve already made your mind up So what the hell do I kno-o-ow? I could tell you where this is going But you’d rather find out alo-o-one You’ve got it all figured out At least that’s what you said So I’ll keep my mouth shut And let you learn inste-e-ead [Pre-Chorus — still one acoustic guitar only. Strumming gradually builds intensity.] Go ahead Do what you do-o-o I’m sure this time It’ll work out for you-u-u [Brief stop] [Lead — dry melodic hold. Full acoustic arrangement enters exactly as the first word begins.] Don’t mind me-e-e [Chorus — cajón and layered acoustic guitars are now fully in. Strong lower-mid melody with natural self-harmonies. Give every stretched phrase room to breathe.] Don’t mind me-e-e— I’ll just get out of your wa-a-ay— You don’t wanna hear it Till there’s nothing left to sa-a-ay— [Harmony carries “say” underneath] Don’t mind me-e-e— You know better anywa-a-ay— [Brief instrumental breath] Go ahead and prove me wrong I can wa-a-ait— [Post-Chorus — rhythmic acoustic riff with cajón] [Verse 2 — palm-muted acoustic groove with cajón, vocal remains loose and human] There it is That didn’t take lo-o-ong Now you’re looking at me Like I’m supposed to play alo-o-ong You don’t have to explain it I know how this part go-o-oes— You’ll tell me you should’ve listened [Brief stop] Yeah I kno-o-ow [Pre-Chorus — cajón pulls back, low harmony enters underneath final lines] Go ahead Say what you came to sa-a-ay— I’ve got a pretty good idea Anywa-a-ay— [Lead — melodic hold] Don’t mind me-e-e— [Chorus — full acoustic arrangement, stronger vocal layering] Don’t mind me-e-e— I’ll just get out of your wa-a-ay— You don’t wanna hear it Till there’s nothing left to sa-a-ay— [Lower harmony sustains underneath] Don’t mind me-e-e— You know better anywa-a-ay— [Brief instrumental breath] Go ahead and prove me wrong I can wa-a-ait— [Harmony trails underneath] I can wa-a-ait… [Bridge — acoustic arrangement falls into slow, nasty palm-muted groove. Lead nearly conversational; do not stretch these lines.] I could say I told you so But— [Pause] Where’s the fun in that? [Low acoustic hit] You were so fucking sure [Another hit] What happened to that? [Silence] [Lead — almost amused] Don’t mind me [Breakdown — crushing palm-muted acoustic and deep half-time cajón. Short, forceful gritty lower-mid clean vocals; no melodic stretching.] [Lead — gritty clean] GO AHEAD— DO IT YOUR WAY! [Heavy acoustic hits] YOU NEVER LISTEN TILL IT’S TOO FUCKING LATE! [Massive acoustic and cajón hit] [Low gritty clean vocal] How’d that work out? [Breakdown runs instrumentally] [Final Chorus — fullest acoustic arrangement. Lead stays grounded while natural self-harmonies and low counter-vocals weave underneath. Long phrases breathe instead of rushing.] Don’t mind me-e-e— I’ll just get out of your wa-a-ay— [Low counter-vocal] You had it figured out… [Lead] You don’t wanna hear it Till there’s nothing left to sa-a-ay— [Harmony sustains the final vowel underneath] Don’t mind me-e-e— You know better anywa-a-ay— [Full acoustic breath] Go ahead and prove me wrong— [Lead holds] I can wa-a-ait— [Low counter-vocal] Take your time… [Lead + harmony swell] I can wa-a-a-ait— [Outro — opening acoustic riff returns] [Lead — quiet, almost laughing] Don’t mind me-e-e [Final hit]
