That's What I Like

"That's What I Like" is a joyous celebration of a lavish and romantic lifestyle, but at its core, it's about the pleasure of giving and sharing these luxurious experiences with a loved one. The lyrics are a vibrant catalogue of opulence—Manhattan condos, Miami beach houses, champagne, and diamonds—all presented as offerings to a romantic partner. The song's central message is that the greatest luxury is being able to provide for and delight the person you love. Mars emphasizes that the alignment of their desires is a matter of luck ("Lucky for you, that's what I like"), which underscores a sense of perfect compatibility and mutual enjoyment. Beyond the materialism, the song touches on themes of generosity, intimacy, and the creation of shared, memorable moments. It portrays a relationship where love is expressed through grand, tangible gestures, suggesting that these acts of giving are a primary love language for the narrator. The consistent promises and reassurances also highlight a theme of reliability and commitment amidst the extravagance.

The song begins with a direct invitation to a woman, offering a glimpse into a lavish lifestyle with a condo in Manhattan. The narrator confidently encourages her to enjoy the moment and sets a playful, celebratory tone. He then transitions to describing a luxurious scene in Miami, waking up without pajamas and having a private chef named Julio serve shrimp scampi for dinner. The pre-chorus emphasizes his generosity, telling her she can have whatever she desires and encouraging her to jump in his Cadillac to put some miles on it. He insists that she deserves all of this and he's willing to provide anything to make her smile.

The chorus is a catchy and repetitive declaration of the things both he and his partner enjoy, framing their shared tastes as a stroke of luck. These pleasures include "gold jewelry shining so bright," "strawberry champagne on ice," "sex by the fire at night," and the feel of "silk sheets and diamonds." The repetition of "Lucky for you, that's what I like" reinforces the idea that their desires are perfectly aligned, making their connection feel both exciting and effortless.

In the second verse, the narrator expands on the extravagant experiences he wants to share, mentioning trips to Puerto Rico and referring to her as his "fleeka" girl. He makes a sincere promise that he is a man of his word, assuring her that her happiness is his priority and that he will never let her smile fade. He again emphasizes the opulence by mentioning "twenty-four carats" and encourages her to see her own value by looking in the mirror. He playfully asks who the fairest is, them as a couple, and then declares their joint perfection.

The bridge serves as a moment of direct communication, where he asks his partner what's on her mind. He positions himself as the man who can fulfill all her wishes, from a good time to a life of luxury, and states that he is ready and waiting to provide it all. The song culminates with a final, energetic repetition of the chorus, driving home the central theme of a shared love for the finer things in life and the joy found in that mutual appreciation. The outro continues this celebratory mood with ad-libs and enthusiastic affirmations of their luxurious and romantic connection.

"That's What I Like" was written by Bruno Mars, Philip Lawrence, Christopher Brody Brown, James Fauntleroy, and the production team The Stereotypes (Jonathan Yip, Ray Romulus, Jeremy Reeves, and Ray McCullough II). The song was produced by Mars, Lawrence, and Brown under their moniker Shampoo Press & Curl, with The Stereotypes co-producing. The track was recorded at Glenwood Place Studios in Burbank, California. Interestingly, the song initially started as a ballad. According to Ray Romulus of The Stereotypes, Mars presented them with a demo that was fully written and produced but felt it was missing a specific "bounce" and energy that would make him want to dance. Mars's goal was to infuse the track with a groove that was just right, and the team collaborated by altering rhythms and drums, with Mars dancing to test the feel of each change until it felt perfect. James Fauntleroy's involvement marked the first time Mars had asked him for songwriting help. Mars himself admitted to second-guessing the song, listening to it for over a year to ensure it was just right before its release. The lyrical content, filled with imagery of Cadillacs and champagne, was said to be a reflection of Mars's own lifestyle. It was released on January 30, 2017, as the second single from his third studio album, 24K Magic.

"That's What I Like" features a fluid and catchy rhyme scheme that enhances its rhythmic appeal. The song largely employs couplets (AABB) and simple alternating rhymes, particularly in the verses, which makes the lyrics easy to follow and sing along to. For instance, in the first verse, "happenin'" rhymes with "clappin'" and "jammies" with "scampi". The pre-chorus and chorus utilize repetition and a more straightforward rhyme pattern to create a memorable hook. The rhythm is a key component, characterized by a mid-tempo groove of 67 beats per minute that gives the song its signature "bounce." This tempo, combined with syncopated drum patterns and finger-snaps, is a nod to New Jack Swing and classic R&B. The interplay between the vocal rhythm and the instrumental groove is crucial; Mars's delivery often has a conversational, almost percussive quality that locks in perfectly with the beat, driving the song forward and making it irresistibly danceable.

"That's What I Like" showcases a blend of musical and literary techniques that give it a distinct, retro-modern feel.

• Musical Pastiche: The song is a deliberate pastiche of late '80s and early '90s R&B and New Jack Swing, evident in its synth melodies, rhythmic patterns, and layered vocal harmonies reminiscent of artists like Bobby Brown and Boyz II Men.
• Vocal Delivery: Bruno Mars employs a smooth, confident vocal delivery that is both playful and seductive. His use of ad-libs ("Yup!") and call-and-response with the background vocals adds a conversational and energetic layer to the track.
• Imagery: The lyrics are built on vivid, aspirational imagery of a luxurious lifestyle ("a condo in Manhattan," "a beach house in Miami," "strawberry champagne on ice"). This creates a strong visual and sensory experience for the listener.
• Repetitive Hook: The chorus's repetitive structure makes it incredibly catchy and memorable, reinforcing the song's central theme of shared desires. The simple, declarative phrase "That's what I like" becomes an anthem of their mutual enjoyment.
• Narrative Voice: The song is sung from a first-person perspective that is confident and generous. The narrator is unapologetic about his wealth but frames it as a means to make his partner happy, which makes the opulence feel celebratory rather than arrogant.

"That's What I Like" achieved massive commercial success and significant cultural impact. It peaked at number one on the US Billboard Hot 100, becoming the highest-charting single from the album 24K Magic. The song's popularity was bolstered by its wins at the 60th Annual Grammy Awards in 2018, where it took home three major awards: Song of the Year, Best R&B Song, and Best R&B Performance. Its retro R&B and New Jack Swing sound was praised by critics and contributed to a resurgence of interest in those genres. The accompanying music video, featuring Mars dancing with animated doodles that illustrate the lyrics, was also widely popular for its creativity and charm. The song became a staple on radio and at parties, celebrated for its upbeat and positive vibe. Its themes of accessible luxury and romantic generosity resonated with a wide audience, solidifying Bruno Mars's reputation as a masterful entertainer who blends nostalgia with modern pop sensibilities. The song also sparked some controversy, as it was one of several Western pop songs banned from daytime radio play in West Java, Indonesia, for its "adult" lyrics.

The lyrics of "That's What I Like" are rich with symbols of wealth and luxury, which function as metaphors for affection and the quality of the relationship.

• Luxury Goods as Love: Items like "strawberry champagne on ice," "gold jewelry," and "a condo in Manhattan" are not just displays of wealth; they symbolize the high value the narrator places on his partner and the relationship. They are tangible expressions of his deep affection and desire to provide the best of everything.
• Shared Tastes as Compatibility: The recurring phrase "Lucky for you, that's what I like" elevates the shared enjoyment of these luxuries into a symbol of perfect compatibility. It suggests that their connection is not just based on material things, but on a genuine, mutual appreciation for a certain quality of life, making their bond feel special and fortunate.
• Julio the Chef: The mention of "Julio, serve that scampi" is a callback to the character referenced in "Uptown Funk," creating a motif of a loyal attendant who facilitates this life of ease and opulence. Julio represents the behind-the-scenes effort that makes such a luxurious lifestyle possible, allowing the narrator to focus entirely on his partner.

Several recurring phrases and motifs anchor "That's What I Like," reinforcing its themes of luxury and romantic alignment.

• "That's what I like": This is the central lyrical motif and the song's title. Its constant repetition in the chorus transforms it into a powerful declaration of shared taste and compatibility. It functions as the song's primary hook and thematic statement.
• Luxury Items: The repeated mention of specific luxury goods like "strawberry champagne on ice," "gold jewelry," "Cadillacs," and fine dining creates a consistent motif of opulence and extravagant living. This imagery is central to the song's identity and visual appeal.
• Generous Promises: Phrases like "You and your ass invited," "Anything you want," and "I'm gonna give it to you" recur throughout the song, establishing a motif of unwavering generosity and the desire to please his partner.
• "Julio": The name-drop of "Julio" serves as a subtle recurring character within Bruno Mars's musical universe, as he was also mentioned in "Uptown Funk." This creates a sense of continuity and reinforces the theme of having a dedicated staff to facilitate a life of luxury.