Just a soft ooh hanging there, and the slow pulse is already under it—warm, close, polished.

Bruno steps in plain: he just woke up from a dream where they had to say goodbye.

The fear is in the words, but the band keeps that clean slow sway—nothing collapses into fog.

Wherever you go, that's where I'll follow—and nobody's promised tomorrow. The vocal leans a little ahead of the beat.

Chorus opens up. If the world was ending, he'd wanna be next to you—simple line, melody rising into it.

Harmony brightens on the hold-you-just-for-a-while stretch, and the pulse still won't let it float off into pure melodrama.

And die with a smile—then right back to next to you, like nearness is the only logistics left.

Those oohs come back small for a second—room thinning after the chorus.

Gaga takes it. Lost in the words that we scream—more grain, more heat, same bright machine underneath.

I don't even wanna do this anymore. She's roughening the surface without the arrangement flipping into a dark section.

Now they're sharing the line—his clean edge, her abrasion—on love as the only war worth fighting for.

Wherever you go again, both of them. Nobody's promised tomorrow sounds less like setup now and more like the rule they're living under.

Second chorus, both voices in the frame. Same steady pulse, warmer body, the vow going fully public.

I'd wanna be next to you keeps landing as the center, not just a hook—everything circles back to standing there.

Bridge strips it down: right next to you, next to you, right next to you. Almost nothing left but location.

The arrangement is holding and gathering under that repetition—no new idea, just the old one getting denser.

Final chorus back inside the same stable frame, enlarged. They're singing like the words can take the repeat.

And die with a smile—most open force on the title yet. The smile doesn't feel decorative here.

One more I'd wanna be next to you after the world-ending tag, still pressed close to the front.

Pulse eases, air drains. The vow drops back into soft oohs and a last next-to-you without the big chorus around it.