Artist: Weekend
Title: Pucker
Genre(s): Disco-Pop
Length: 3:20
Writers: D.Blue-Conners, R.Hamilton, B.Khan, O.Ward, S.Wellington
Producer: Preeti
Label: Five Pesky Kids
From The Album: TBC
Pucker is a song by British-Irish boy band, Weekend. It was released on July 30th, 2021 as the lead single from their forthcoming fourth studio album following two weeks of promotional teasing. The song was written by all five members of the band with Dustyn Blue-Conners and Riley Hamilton first conceiving the idea before the remaining three others joined the writing session. Production was handled by Preeti, a fellow producer signed to Weekend's Five Pesky Kids record label. The single was formally announced on July 21st, 2021 after several days of the band slowly revealing the cover art via their official Twitter account. During the short period between its reveal and release, Oscar Ward married long-term girlfriend Eilidh whilst Billy Khan was added to the judging panel of the rebooted Star Factory franchise. Many fans have already dubbed this period as the "Weekend renaissance".
An upbeat disco-pop song,
"Pucker" also contains elements of bubblegum pop and funk, taking influence from 1970's music trends - which has been a recurring theme on Weekend's past few releases. Unlike on their previous two albums;
"About Time" and
"Welcome to the Real World", there is less focus on live instrumentation, instead focusing on a more polished pop production akin to many tracks on their 2012 debut record,
"Fired Up". Oscar Ward took to Twitter the day before the song's release and jokingly described it as
"dickhead disco". This is believed to be due to the nature of the lyrical content. The song centres around someone who is dating and, while having a great time, doesn't wish to become exclusive or move into more serious territory possibly out of fear, immaturity or a combination of both. The
"Pucker" hook revolves around shutting someone up with a kiss before they confess their love or ask a serious question regarding the relationship.
Dustyn Blue-Conners wrote:"When it came to choosing the new Weekend single, I'd say "Pucker" was pretty much the biggest contender since we finished it. It's lively, it's punchy, it's so much fun and it really bridges the gap well from the retro-influenced stuff of our past and into the more upbeat, electropop styling of our new material. The lyrics aren't the kindest but at the end of the day, it's a fluffy pop song. Plus, these things happen. There are people who genuinely fear commitment. Doesn't make them a bad person even though some of their actions might make them seem rather cold. A lot of the songs on our last album were very socially conscious and inspirational. "Pucker" sort of flips the script. It's almost like "Evil Weekend" singing, haha! We made a decision to be more freeing with the writing for this new album. We've always given it 110% when it comes to writing but always had our boundaries. Ten years on, we thought it was safe to move the goal posts again. If we want to cuss on a track, we will. If we want to write about a controversial subject, we will. If we want to ditch the guitars and go full-on synth, we will. We did! A decade on and during these hard times, we just want to have fun and extend that feeling to our audience through these new songs."
Upon release, "Pucker" was met with mostly positive reviews from fans and critics alike. Reviewing for The New York Times, Emily Masterson opined that the song is
"effervescent pop at its finest" and praised the track's
"youthful, sprightly and undeniable energy" before rounding things off by dubbing it
"the potential song of the summer". In his review for The Guardian, Thomas Dunbar reflected;
"While their previous effort may have suggested the Formidable Five were heading in a more mature direction and showed glimmers of that dreaded "man band" territory, "Pucker" blows all worries and preconceived ideas out of the water with its cheeky lyrics, high-octane energy and hooks catchier than a cold". Dunbar then went on to call the release
"another unexpected and welcome move in Weekend's long and fruitful career". Gabriel Carmichael of Idolator informally branded the song as
"pop music on crack". Annabel Jenkins of Pitchfork reflected on the band's history and previous output whilst reviewing the new single, stating;
"Weekend have been the heartthrobs. The bad boys. The cookie-cutter poster boys. The industry joke. The industry giants. From angsty teen rock-pop numbers, to cooing ballads aimed at a massively insecure demographic, to stadium rock filled with political and social messages, Weekend have done it all. Now, ten years on, they just want to have fun and that's exactly what "Pucker" is. Unapologetic sugary pop fun!" Hilary Perkins of Vulture called the song
"balls-to-the-wall pop chaos, complete with funky brass sections and a goose-bump inducing key change". Martine Nicholls of Elle also highlighted the key change on the last chorus, opining that it
"takes the song from a 10/10 up, out and into the stratosphere" before calling Riley Hamilton and his falsetto register
"the star of the show".
VOCAL ANALYSISRiley is arguably the most prominent vocalist on "Pucker". He opens the song with a brief preview of the forthcoming hook before properly kicking off, singing the entirety of the first verse. His head voice and falsetto register are extremely prominent throughout, setting the tone and being the main driving force behind the high-octane disco energy. Against the production, many view his performance as "Bee-Gees" influenced. During the second chorus, Riley has another brief solo segment. While all five members sing the chorus in unison, Riley takes the very notable highest part of the harmony. He alongside Billy are arguably the most recognisable voices within the chorus. Riley is also the main element within the dramatic key change in the last chorus, pushing his tone even higher after delivering the final line of the bridge.
Oscar is the second member to have solo airtime within the track. He sings the first pre-chorus, taking over from Riley. Oscar was purposely chosen to follow his band mate in this section to drive the song into another territory. His voice is much deeper, huskier and rockier than Hamilton's and his delivery is filled with far more attitude as opposed to Riley's softer, delicate take. Oscar sings in the chorus but isn't at the forefront. Instead, he and Dustyn take the lower register harmonies. Oscar returns once again later in the song to deliver the second line of the bridge.
Billy is first heard within the very first chorus of "Pucker". While he and Riley take the most notable harmonies, Billy also sings two solo lines within the main hook. He does this in the first and third chorus, switching out with Riley for the second. Billy then returns for the second pre-chorus, following on from Dustyn who has a huskier, deeper tone which again showcases a wonderful contrast between the vocalists within the band. He is often noted for his melisma and vibrato which he certainly makes use of on this segment. Billy returns yet again in the bride, taking the second-to-last line of the segment.
Dustyn takes on the entirety of the second verse, after the first chorus is over. This time around, it is a member with a lower, more gravelly voice taking on a verse as opposed to someone with a lighter tone. Dustyn's vocal performances are often filled with his signature Irish twang and vibrato both of which are delivered with aplomb on "Pucker". Arguably the most powerful vocalist, Dustyn still shows great control and doesn't overdo any of his vocal flourishes and embellishments. His vocal quips set the tone for Khan, who soon follows and is also known for his singing tricks and techniques. Dustyn then returns to kick off the bridge, taking the first of five shared lines.
Scott doesn't have any truly prominent sections. However, this is by choice as the singer openly suffers with performance anxiety and willingly prefers to have less solo segments. Scott sings a line in the bridge on his own. Also, despite being performed in unison, the post-chorus
"Pu-pucker up, uh-uh-oh" section is where Scott can also be heard rather easily. His chanting appears to be turned up slightly higher in the vocal mix.
PUCKERAll
Billy
Dustyn
Oscar
Riley
ScottPucker up and give me a kiss
Don't give those words a chance to slipI like to be kept on my toes
Eager to drift when the wind blows
Can't play with something that's set in stone
It's a good thing we got right here
Your right hand resting on my thigh
On another aimless night time ride
Ringless fingers perfectly intertwine
It's a good thing we have right hereWhy's everybody in such a rush to define?
You know I've always been the type to defy
I'm satisfied with these little tastes
'Cause the less I get, the more I craveBaby, please, hold your tongue
Before that sentence is strung
I don't like these grown-up conversations
Whatever happened to good-old fornication?
Pucker up and give me a kiss
Don't give those words a chance to slip
Never been good in these situations
Often ends in shameful abdication
Pu-pucker up, uh-uh-oh
Ah-uh-oh-oh-oh-oh-oh
Pu-pucker up, uh-uh-oh
Ah-uh-oh-oh-oh-oh-ohRooftop chugging a frosty can of beer
Head on my shoulder, I like it here
But over the edge there's a brand new fear
It's a good thing we got right now
We look so happy in the mirror's frame
And if we enjoy our time isn't it all the same?
There's no need to go and share a last name
It's a good thing we got right nowI'm wrapped up in how this melody flows
Not in a rush to experience that crescendo
Searched the depths and there's still no answers
Coming up for air to relieve the pressureBaby, please, hold your tongue
Before that sentence is strung
I don't like these grown-up conversations
Whatever happened to good-old fornication?
Pucker up and give me a kiss
Don't give those words a chance to slip
Never been good in these situations
Often ends in shameful abdication
Pu-pucker up, uh-uh-oh
Ah-uh-oh-oh-oh-oh-oh
Pu-pucker up, uh-uh-oh
Ah-uh-oh-oh-oh-oh-ohSip more cheap wine when I don't know what to sayPuckering my lips up so nothing scary can escapeOddly feels comfortable when I don't know my placeOpen roads, this world is our playgroundDon't go and try to pin it downBaby, please, hold your tongue
Before that sentence is strung
I don't like these grown-up conversations
Whatever happened to good-old fornication?
Pucker up and give me a kiss
Don't give those words a chance to slip
Never been good in these situations
Often ends in shameful abdication
Pu-pucker up, uh-uh-oh
Ah-uh-oh-oh-oh-oh-oh
Pu-pucker up, uh-uh-oh
Ah-uh-oh-oh-oh-oh-ohCan Be Compared To:
