been waiting so long

  • Duration: 3 minutes 42 seconds
  • BPM: 80
  • Time Signature: 6/8
  • Chords:
    • Verse
      • G – Am – Em
    • Chorus
      • Fmaj7 – G – Am (x4)
      • Fmaj7 – Fmaj9sus2 – Fmaj7 – Fmaj7(#11)
        • In the last chorus substitute for Fm – C/G
    • Bridge
        • C/G – Fmaj7 – Am – Fm
          E – Gm – Fmaj7 – G

been waiting so long is song about waiting, about isolation and loneliness, about feeling lost and falling into despair, about the odd glimpse of hope that comes and goes.

To me it feels a little like screaming out into a void ?

I’m not expecting anything to come back or change; not even anyone to hear me or help me. It just serves the need for an outlet for all the emotions that rack up year after year of trials and failures.

I needed a raw and sincere way to express the feeling of loneliness and invisibility you go through as a tiny indie artist.

It takes a lot out of me to perform the song, but every time I get through it it’s a great release. Singing the chorus definitely helps relieve some inner rage and frustration.

If you’re in need of some hope and release too, this song’s for you.



I’ve been waiting so long
I’m starting to forget what I want
I’ve been waiting so long
Most days the spark is gone

I’ve been waiting so long
I’ve been waiting

Lost in this battle
Lost in the rain
Lost in this battle
Where my hope, it comes and it goes
Yes my hope, it blankets my pain

I’ve been waiting so long
Like a dusty paper doll in the attic of my soul
I’ve been waiting so long
Sand dunes and I’m falling handcuffed to a watch

I’ve been waiting so long
I’ve been waiting

Lost in this battle
Lost in the rain
Lost in this battle
Where my hope, it comes and it goes
My hope, it blankets my rage

Time slips away
And only my memory fades
Salvation come (will my time come?)
Salvation come (come)

Lost in this battle
Lost in the rain
Lost in this battle
Where my hope, it comes and it goes
And my hope, it blankets my pain

This song started with the fingerpicked acoustic riff you hear throughout the intro and verses.

For the verse, I wanted to write a vocal that would start rather high, instead of starting soft and progressively building into the chorus. I was listening to a lot of Ray LaMontagne’s first album at the time and felt inspired by tracks like Trouble, Burn, and Jolene.

Happy with the verse’s main melodic line, I felt like the track needed to breathe before dropping into the chorus, so I wrote the verby uh section to give it a dreamier and spacious vibe.

The chorus was begging to go even higher and stronger in intensity than the verses, so I took a page from Chris Cornell’s book and just went for it. As I said above, it takes a lot out of me to sing the chorus, but it really is a big release of energy and tension.

Lyrically, in the first verse I explore the idea of waiting so long you start to forget the reason why you’re even trying. The feeling that so much time has past that the spark you once felt is now gone most days.

The chorus introduces the idea of being lost in a battle, lost in the rain; where the only thing that comforts you is your hope. Hope that is like a candle in that windy battleground, barely hanging on to its flame. That sliver of hope is what blankets the pain of feeling lost.

The second verse continues to explore the feeling of being static and forgotten, but grounded in the feeling that time’s going by very quickly. The metaphors of a dusty paper doll in the attic of your soul, falling down sand dunes while handcuffed to a watch… It’s all to convey the sensation of being forgotten or undiscovered, while your time inevitably runs out.

The bridge is a plea for salvation to come. My friend Frankie says it sounds quite Bowie-esque, and while I wasn’t going for that by design, I love the reference.

All in all, it was a very cathartic song to write. Now any time I need a big release of tension I go sing it, and it always helps.

Here’s a live acoustic version of the song:


I recorded a full production breakdown of the track in Ableton. It goes into great detail of every section and sound I used. If you prefer to read, I also explain the process down below.

The production of the track evolves a lot, painting different landscapes for each section, while continually growing until a big release in the second part of the bridge and the final chorus.

My main focus was not to overdo it, because the song already felt strong on acoustic + vocals. It’s very easy to add layer on top of layer and end up clogging the track.

The main elements are the double tracked acoustic guitar (hard-panned left and right) and the lead vocal. There are a few layers of pianos, electric pianos, and synths in the background, to give the track its atmosphere, but they’re not prominent at all.

The chorus does get bigger, especially the second and third time it’s repeated. In the first one I started by adding some extra synths and transition effects, and then I added drums for the second and third choruses.

There’s a mellotron part panned left in the choruses that feels like it’s taken from the middle-age, if that makes sense. That’s Marta’s favourite part of the song, obviously.

In the second verse I wanted to do something special for the dusty paper doll lyric section, and I ended up making it feel like an old broken radio of sorts.

The bridge marks the biggest departure from the production line of the song so far. Vocoder, electric guitars, organ, shakers… It’s clearly divided in two sections—the first one and the second one. The first part is more organic, with the organ lead, the shaker, and the long vocals. The second part takes a bit of a film soundtrack turn with the orchestral tom section, layers of vocal harmonies and responses, and the driving drums. It’s also quite different harmonically because of the E chord and Gm chord, then returning to the Fmaj7 and G, implying hope and salvation.

The last chorus is the biggest section, wrapping it all up and giving us a final sense of relief on the last line “my hope, it blankets my pain” where all the production is once again stripped to the acoustic and vocal, and ends by landing on the C/G chord to close off the song.

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