### 0:00–0:17 — Pocket establishes the terms

A short opening silence gives way to the band’s settled groove within the opening moments. The intro does not stage a big entrance; it sets a light, steady contract before Green arrives, with the rhythm already carrying the song’s promise.

### 0:17–1:12 — First verse narrows the vow

Green enters with the declaration of being in love, and the music keeps him inside the same calm forward motion. The words offer devotion and availability; the arrangement does not dramatize them with rupture, only lets the groove keep proving steadiness. The “since we’ve been together” turn near 0:49 extends the verse into a more explicit pledge.

### 1:12–1:51 — Refrain opens the frame

The title idea arrives as the section’s formal payoff: staying together becomes the song’s working center. “Good or bad, happy or sad” broadens the lyric situation, while the band stays even rather than swelling into excess. The chorus opens the form without breaking the pocket.

### 1:51–2:30 — Second verse reloads the question

A phrase lift leads into the breakup/makeup language around 2:03. This is where the lyric introduces doubt and social evidence, but the groove resists panic; it keeps the same reliable shape under the question. The section’s job is not to change the contract, but to test it.

### 2:30–3:14 — Return proves the contract, then lets go

The final vocal return moves from wanting to be around the beloved back into the shared refrain. The last pass through “stay together” and the good/bad contrast works as confirmation rather than escalation. Near 3:06 the track gathers slightly, then releases; by 3:09 the pattern starts to break, the vocal and band loosen, and the recording cuts into silence at 3:14.

The form succeeds by making repetition sound like fidelity.