Ironica Irene ha ascoltato “Wait”

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In the second chorus, between the actual lyrics, there's "Girl running back to boy." Thomas. That's a stage direction. That's what you write in a script, not in a song. Did this come from a demo where you were describing the music video? Did you forget to remove it? It sits in the lyrics like a Post-it note someone left in a published novel.

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"The leaves are falling down / it's time to leave this town / I just hope you're feeling better now" — Falling leaves as a metaphor for endings. Leaving town as a metaphor for moving on. These are the first two images that come to mind when anyone thinks "breakup + autumn." You're in the lyrical equivalent of a stock photo.

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"Don't wanna pass each other by / like ships in the middle of the night" — The phrase is "ships that pass in the night" and it's already a well-known expression. But you've slightly rephrased it in a way that almost makes it yours. Almost. The image is strong — two people who used to be everything, now passing like strangers. But it needs one more push to feel original.

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Three choruses of: "Don't come running back, it's too late, I'm not gonna wait." The bridge: "But I'm not out of love." Thomas. My guy. You just spent two minutes establishing a firm boundary and then casually admitted it's a bluff. The bridge doesn't just contradict the chorus — it exposes the narrator as emotionally unreliable.

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The final chorus shifts to questions: "Is it too late? Did you let your heart break? Am I just a mistake? You can't wait to escape?" — Four rapid-fire questions that are all essentially asking the same thing: "Do you still care?" It's emotional machine-gun fire where one well-aimed shot would be more devastating.