Saudade (feat. Shim)

Cody Matthew Johnson's song 'Saudade (feat. Shim)' delves deep into the emotional landscape of loss, regret, and the passage of time. The term 'saudade' itself is a Portuguese word that encapsulates a profound sense of longing and melancholy for something or someone that is absent. This sets the tone for the entire song, which explores the protagonist's introspective journey through memories and the pain of what once was.

The lyrics open with a poignant question, 'Where did the time go?' This immediately sets a reflective mood, as the protagonist grapples with the swift passage of years and the realization of their current solitude. The imagery of walking alone with a loaded gun suggests a heavy burden of regret and the potential for self-destruction, highlighting the depth of their despair. The recurring theme of duality, 'There's two sides to every story,' underscores the complexity of their emotions, torn between defeat and the elusive glory they once sought.

As the song progresses, the protagonist's sense of disillusionment becomes more apparent. The mirror reflection that 'ain't me' signifies a loss of identity, while the streets 'paved with fantasies' reflect broken dreams and unfulfilled aspirations. The chorus, with its haunting repetition of 'Gone, gone,' emphasizes the irreversible nature of their losses. The pain of remembering is a central motif, suggesting that the weight of past memories is almost unbearable. Yet, there is a glimmer of hope in the advice to 'Forget yesterday,' implying that moving forward might be the only way to escape the torment of the past.

'Gone, gone' and 'Dark, dawn' are repeated throughout the song, symbolizing the cyclical nature of despair and the potential for renewal. The song's powerful conclusion reiterates the importance of letting go of the past to alleviate the pain of remembering. Through its evocative lyrics and emotional depth, 'Saudade' captures the universal human experience of grappling with loss and the difficult journey towards healing.