At first glance, there’s not a lot to say about “Break Up Every Night,” the second track on Memories…Do Not Open; it’s a catchy, fast-paced song that utilizes the style of pop-punk and mid-2000’s alt-rock to deliver a deeply silly (and mildly offensive) story about a relationship between two unstable young people. In the context of the album, it’s rare burst of energy among a group of tracks that can sometimes blend together. Looking at it critically, it’s difficult to find anything to engage with. Even still, I find it interesting, but what I find more interesting is the fact that I find it interesting.
For example: “Break Up Every Night” represents the biggest — and perhaps only — creative gamble on the album. Unlike most of the songs here, it doesn’t seem reverse-engineered from the DNA of their runaway hit “Closer”, nor does it cast the Chainsmokers as semi-anonymous producers backing better-known artists. “Break Up Every Night” actually demonstrates the group’s willingness to experiment. Granted, the group’s attempt to step outside of their comfort zone is simply adjusting their style to resemble that of a radio-ready indie-pop band — but it shows an interest in growth or, at the very least, an attempt to reach out beyond their current audience.
Or rather, it would show that, if “Break Up Every Night” had been a single. Five songs — nearly half the tracks on the album — were released to radio, but “Break Up Every Night” was not. An odd choice, given the song’s obvious aspirations towards crossover appeal, but not entirely unheard of, particularly in the age of digital streaming, when any single track can potentially break free of an album and climb the iTunes charts unbidden.
But the lack of radio support seems a bit stranger when you consider that “Break Up Every Night” was co-written by songwriting/production team Captain Cuts, a three-man collective closely affiliated with radio-ready indie-pop bands GroupLove and Walk The Moon. It’s not hard to imagine a label executive pairing up Captain Cuts with the Chainsmokers in the hopes of recreating the success of “Tongue Tied” or “Shut Up And Dance” — in fact, considering the pressure that they must have been feeling to score another hit, it would be surprising if that didn’t happen.
The situation becomes a bit stranger, however, when you consider that Captain Cuts then recruited their lesser-known associates from the indie band Smallpools. Despite having nearly all of their music produced by a trio of known hit makers, Smallpools remain basically unknown. It’s difficult, then, to imagine what could be the benefit of tossing three more cooks into the already overflowing proverbial broth of this song.
Throw in the standard credits for Andrew Taggart on songwriting and Alex Pall on production (along with DJ Swivel, who receives a co-production credit on the entire album) and you end up with nine credited songwriters all working on a song that landed the coveted second track on the Chainsmokers debut album (a track number usually reserved for lead singles) and was then completely forgotten about.
This is certainly a lot of information, but none of it is very interesting. One could argue that it is always worthwhile to consider the amount of effort that goes into the music that most people consider “disposable,” but that’s only interesting on a grand scale. When you break it down to a case-by-case basis (particularly when discussing a band that is widely dismissed or disparaged), any larger point grows fuzzy and indefinable; the whole thing starts to feel like trivia. But trivia only matters if it relates to something that people care about. Star Wars trivia is interesting. Trivia about the Rolling Stones is interesting. Trivia that revolves around the creative minds behind a 2017 Neon Trees single is… I’m not even sure what it is. But it’s not interesting.
And yet, somebody does care. Somebody is out there right now, poring over the Wikipedia page for Memories…Do Not Open and puzzling over the fact that a song with a small army of talent behind it was performed once on Saturday Night Live and then forgotten forever. And that same person is reading reviews of that same SNL performance and struggling to understand if the underwhelming response to “Break Up Every Night” led to it being nixed as a future single — but then, that doesn’t make any sense, because the Chainsmokers have been receiving mixed reviews for the entire careers, but they’re still releasing singles at an almost alarming rate. And that same person is checking the Chainsmokers’ stats on setlist.fm to determine if they abandoned “Break Up Every Night” the way their label seems to have abandoned it, only to find that, no, it’s their eighth most-played song in concert!
I know this person exists, because this person is me. Admittedly, my own musical tastes and the way in which I choose to spend my time is not enough to prove any particular thesis. But at the same time, I’m not such an outlier than my experience of the Chainsmokers is totally unique. The fact that I care as much as I do proves that anyone is capable of caring as much as I do. There are others like me out there. And if we care this much about the Chainsmokers, then it stands to reason that we could care this much about almost anything.
Everything is interesting. You might think this would mean, paradoxically, that nothing is interesting, but you’d be wrong. What it really means is that nothing is inherently interesting; something only becomes interesting if someone is willing to invest their interest in it. It makes just as much sense to think about the Chainsmokers as it does to think about the Beatles, provided that you think about either of them hard enough.