Breaking Down Adele’s “Someone Like You”: A Masterclass in Song Structure

David Lapadat | Music PhD
7 days ago
4 min read

Adele’s “Someone Like You” from her 2011 album 21 is one of those rare songs that still hits just as hard years later.

A simple piano ballad that has racked up over 2 billion streams, it’s a perfect example of how masterful song structure can turn emotional devastation into catharsis.

In this written companion to my video breakdown (watch it here), I’ll walk you through exactly how the song builds tension, delivers release, and why that devastating bridge changes everything.

The song clocks in at 4:45 — concise, but every second is deliberate.

Let’s go section by section with timestamps, percentages of total runtime, and the songwriting lessons you can steal.

1. Piano Intro (0:00–0:12 | ~4%)

The track opens with just 10 seconds of sparse A major piano chords. No drums, no buildup — just immediate intimacy.

In a streaming era where attention spans are short, this quick vocal entry pulls you in instantly.

Lesson: Don’t waste time. Establish mood fast.

2. Verse 1 (0:12–0:57 | ~20%)

Adele’s vocal enters softly:

“I heard that you’re settled down…”

The melody is slow and deliberate, with long phrases and a contemplative rhythm that mirrors the lyrics — quiet reflection on lost love.

Minimal piano accompaniment leaves tons of space for storytelling.

This section builds subtle tension without rushing.

The Pre-Chorus Lift (within Verse 1, ~0:55 onward)

“I hate to turn up out of the blue, uninvited / But I couldn’t stay away, I couldn’t fight it…”

This part is crucial.

The melody rises slightly, the lyrics shift to more direct confession, and the emotional stakes climb.

It creates a gentle ramp-up in energy and anticipation without fully releasing — a classic pre-chorus function that bridges the low-key storytelling of the verse to the explosive chorus.

In my main breakdown, I grouped this with the verse to emphasize the overall slow-build contrast against the chorus, which works great for beginners focusing on big-picture dynamics.

But calling it out separately shows Adele and co-writer Dan Wilson’s subtlety: even within the “tension” phase, they layer a mini-build to make the chorus drop feel inevitable and massive.

Lesson: Pre-choruses don’t have to be dramatic — a small melodic/harmonic lift can add propulsion and keep listeners hooked.

3. Chorus 1 (1:14 - 1:50 | ~11%)

Then — boom:

“Never mind, I’ll find someone like you…”

Fuller chords, rising harmonies, and short, repetitive hook lines create an anthemic explosion.

The rhythm shifts from meandering to urgent.

Classic verse-chorus contrast: verses draw you inward with detail, choruses push outward with euphoric release.

4. Verse 2 and Pre-chorus (1:50–2:36 | ~26%) + Chorus 2 (2:36–3:05 | ~11%)

Verse 2 deepens the story (“I had hoped you’d see my face…”) with slightly more harmonic layers and extended melody, raising the emotional stakes.

The Repeating Second Pre-Chorus

Here’s the masterstroke: the pre-chorus returns verbatim — same lyrics, same melody:

“I hate to turn up out of the blue, uninvited / But I couldn’t stay away, I couldn’t fight it / I had hoped you’d see my face and that you’d be reminded / That for me, it isn’t over…”

This exact repetition is devastatingly effective.

The first time, it’s vulnerable confession.

The second time — after we’ve heard about the lost “glory days” — it lands with even more desperation and finality.

The plea hasn’t changed, but the context has, making “for me, it isn’t over” hit twice as hard.

It’s like the narrator is stuck, unable to move on, and the repeat mirrors that emotional loop perfectly.

Songwriting lesson: Repeating a section word-for-word can feel static in lesser songs, but when the surrounding story has evolved, it becomes a powerful tool for intensification.

Use repetition strategically to show obsession, denial, or unresolved pain.

Chorus 2 repeats the payoff with added vocal intensity and subtle band elements creeping in — familiar enough to feel satisfying, evolved enough to keep you hooked.

5. The Bridge (3:05–3:24 | ~10%)

This is the game-changer:

“Nothing compares, no worries or cares…”

Everything strips back to solo piano.

Tempo feels like it contracts slightly, lyrics turn confessional.

In just 30 seconds, the bridge does three crucial jobs:

Emotional pivot — from resigned acceptance to one last raw plea.
Musical contrast — removing layers makes the final chorus hit harder.
Lyrical honesty — the moment she finally admits the truth to herself.

That tiny 10% carries almost half the emotional weight of the entire song.

6. Final Chorus (3:24–4:45 | ~25%)

Now the chorus returns transformed.

What started as polite acceptance becomes full-throated catharsis — layered ad-libs, faster phrasing, soaring vocals over the same chords.

Because the bridge created space and contrast, this extended final section feels massive.

The long fade into echoing piano gives you room to sit with the emotion.

Overall Structure Ratios & Why They Work

Section	Approx. Timestamp	Approx. Duration	Approx. % of Song	Purpose
Piano Intro	0:00–0:12	12s	4%	Instant intimacy
Verse 1 + Pre-Chorus Lift	0:13–1:14	61s	20%	Storytelling & initial lift
Chorus 1	1:15–1:50	34s	11%	First release
Verse 2 + Repeating Pre-Chorus	1:51–2:36	45s	16%	Deepen narrative & intensified plea
Chorus 2	2:37–3:04	34s	11%	Reinforced release
Bridge	3:05–3:24	19s	8%	Emotional pivot & contrast
Final Chorus/Outro	3:25–4:45	80s	28%	Massive cathartic payoff

Tension-building sections (intro + verses + bridge) take up ~50%, while the choruses deliver ~50% release — with the finale dominating for maximum impact.