an electric guitar is layered and looped with an electric piano in “waving through a window” in order to give the song a digital/computerized feel.
in its earlier stages, DEH used to have a complete ensemble with high school teenagers. The idea was stripped in order to make the show more intimate with only 8 main characters.
alex lacamoire calls the guitar that first appears in “for forever” evan’s “lying sound”; it appears throughout the show whenever evan is making something up.
pasek & paul wrote “requiem” in a style of music that they thought zoe might listen to, like indie-pop.
“disappear” originally only featured conner and evan.
“you will be found” replaced a different act one closing song called “a part of me” because the writers wanted to end act one on a more positive note.
the voices and visuals in “you will be found” were contributed by real DEH fans shared through a “virtual community” on social media.
the note ben holds at the end of the bridge in “good for you” was originally written shorter, but ben decided to hold the note longer one day in rehearsal and pasek & paul decided to keep it in the show.
“words fail” was cut down a lot shorter than originally written in order to save time and get to the underlying message of the song.
“so big/so small” was one of the later additions to the show. It only features heidi’s voice and an acoustic guitar because the writers wanted to include something simple after the overwhelming high-energy of “good for you” and “words fail”.
“finale” was almost not going to be included on the cast album because of it’s shortness but the creative team decided to include it anyway in order for listeners to experience closure similar to what happens onstage.
If it wasn’t clear during his five-year tenure as a One Direction pop heartthrob, it is now: Harry Styles wants to be a rock star. Throughout his 10-track solo debut, Styles hides his arena-ruling inspirations in plain sight, and it works – from the echoes of The Beatles’ “Blackbird” in the tender “Sweet Creature” to the Bowie-esque grandeur of “Sign of the Times.” Of course, it’s Styles’ own self-revealing swagger that makes the album so electric, as the best moments are also his most confessional: waking up alone in a hotel room on “From the Dining Table” (“Played with myself, where were you?”), or growing apart from a lover on “Two Ghosts” (“We’re not who we used to be”). It’s worth wondering where Styles’ self-titled leaves his 1D-era teenage fanclub, most of whom were decades from being born when the artists he best evokes were at their peaks. But what’s more telling is that he isn’t looking for their approval: If rock stardom in 2017 means staying true to oneself above all – and letting the screaming fans follow as they may – Styles is headed in the right direction.