Just drums at first—that deep kick-and-snare figure standing alone.

Claps snap in and the warm band mass fills the room around the beat.

Ronnie steps in clear and direct: the night they met, she already knew.

Same steady pocket under her—if she had the chance, she'd never let go.

She asks straight out for the words—won't you say you love me—voice bright over the thick bed.

The line opens wider—turning heads every place they go—still riding that short driving beat.

Chorus hits: her please lands while the backs hammer be my, be my baby.

Those two little words keep stacking—be my—until the hook feels built, not begged.

She breaks into a long whoa over the same motor, no new lyric needed.

Second verse starts with a simple offer—I'll make you happy—same bright surface, a little more weight underneath.

For every kiss, three back—the bargain is plain and the drums keep selling it.

Waiting since the day she saw him, all the way to eternity—lead still clean while the arrangement swells around her.

Chorus again—come on and be—backs answering in the same stacked shape, denser now.

Darling, be my baby now—the call and echo feel communal, a whole room leaning on the request.

Oh-ohs hand off into the break; drums and claps carry the figure without the lead story.

She's back—come on and be—hook returns after the instrumental stretch.

Words shorten; the backs roll more like waves than full sentences.

Just the backing chant for a moment—be my, be my baby—then her oh-ohs braid through it.

Long woah over the hook—the request has turned into atmosphere more than argument.

It thins fast—voices still hanging on baby while the beat starts to leave the body.