Hands To Myself

"Hands to Myself" explores the intoxicating and overwhelming nature of desire and attraction. On the surface, the lyrics convey a straightforward message of intense physical and emotional longing for a lover. However, the song also delves into a more complex and darker territory of obsession and the fine line between passionate love and a potentially unhealthy fixation.

Selena Gomez has explained that the song, and particularly its music video, is meant to represent the fantasy of love that people often construct in their minds. It’s about being so obsessed with the idea of someone that it blurs the line between reality and imagination. The music video, which depicts Gomez as a stalker who breaks into a Hollywood actor's home only for it to be revealed they are a couple watching a movie of themselves, plays on this theme of a 'false reality.'

The lyrics contain lines like 'The doctors say you're no good,' which introduces an undercurrent of a forbidden or toxic relationship. This suggests an awareness of the potential harm, yet an inability or unwillingness to pull away. The song captures the feeling of being completely consumed by another person, to the point where self-control is lost, a theme reinforced by the breathy, intimate vocal delivery.

The song narrates an intense and overwhelming attraction to a romantic partner. The protagonist finds it impossible to resist physical contact, expressing an all-consuming desire to have this person entirely to herself. This craving is so powerful that it feels like an addiction. The person she desires is described as her 'metaphorical gin and juice,' a potent and intoxicating presence in her life.

The narrative delves into a darker, more obsessive side of this attraction. There are hints that this relationship might be unhealthy, with references to 'doctors say you're no good,' suggesting that perhaps this connection is ill-advised or even destructive. Despite these warnings, the protagonist is willing to ignore them, completely captivated and wanting to 'breathe you in every single day.' The lyrics touch upon the highs and lows of this passionate affair, described as 'all of the downs and the uppers,' which keep them entwined. This suggests a tumultuous, perhaps codependent, dynamic where intense passion coexists with potential turmoil.

The chorus, with its repetitive and catchy hook 'Can't keep my hands to myself,' reinforces the central theme of uncontrollable desire. It’s a confession of losing control, of being so enamored that physical touch becomes a necessity. The bridge offers a moment of self-awareness with the line, 'I mean I could, but why would I want to?', a coy and defiant acknowledgment of her choice to give in to this temptation. The song ultimately portrays a complex picture of love and lust, where the lines between healthy passion and obsessive fixation are blurred, leaving the listener to ponder the true nature of this all-encompassing relationship.

"Hands to Myself" was one of the last songs recorded for Selena Gomez's second studio album, Revival (2015), and she has described it as a 'beautiful accident.' The song was written by Gomez, Justin Tranter, Julia Michaels, and its producers Mattman & Robin (Mattias Larsson and Robin Fredriksson), with additional production from Max Martin. The creation process began after the success of 'Good for You,' when Gomez, Tranter, and Michaels decided to have a few more days of writing, even though the label considered the album finished. They wanted to create something fresh from a female perspective.

The initial idea for the song came from Julia Michaels, who had the hook 'Can't keep my hands to myself' on her phone after singing it in her car. She presented it to Tranter and Robin Fredriksson. Michaels also suggested that the track should have a 'Prince-y vibe,' a suggestion Gomez enthusiastically embraced. The production duo Mattman & Robin developed the track's skeleton, and when they had the hook, they sent it to legendary pop producer Max Martin. Martin was impressed and contributed to the song, including adding ad-libs and adjusting the pre-chorus. The song was recorded in July 2015 at Wolf Cousins Studios and Maratone Studios in Stockholm, Sweden, and Interscope Studios in Santa Monica, California. It was released as the third single from Revival on January 20, 2016.

"Hands To Myself" features a relatively straightforward rhyme scheme in its verses, often following a simple AABB or ABCB pattern, which contributes to its pop accessibility. For example, in the first verse, 'myself' rhymes with 'myself', and 'to' is paired with 'juice'.

The song's rhythm is a driving force. It has a tempo of approximately 111 beats per minute, creating a mid-tempo dance-pop feel. The rhythmic structure is built around a persistent, minimalist beat with clicking sounds and hand claps, giving it a very physical and immediate quality. Gomez's vocal delivery is highly rhythmic, with the clipped phrasing of the chorus, 'Can't-keep-my-hands-to-my-self', acting as a percussive element itself. This syncopation and staccato delivery make the hook incredibly memorable and catchy. There's a dynamic interplay between the sparse rhythm of the verses, which allows her breathy vocals to take center stage, and the more driving, layered rhythm of the chorus that creates an ebb and flow of tension and release throughout the song.

"Hands to Myself" is noted for its distinctive production and Gomez's versatile vocal performance.

• Vocal Delivery: Gomez utilizes a unique vocal style throughout the song. In the verses, she employs a breathy, almost-whispered lower register, creating a sense of intimacy and sensuality. This contrasts with the pre-chorus and chorus where she belts in her higher register, conveying a sense of urgency and desperation. Her enunciation is often clipped and rhythmic, particularly on the line 'Can't-keep-my-hands-to-my-self,' which enhances the song's catchy, percussive feel.
• Musical Arrangement: The song is built on a minimalist dance-pop and synth-pop production. It features light, clicking percussion, hand claps, a prominent bassline, and what some have described as 'tribal pop' synths. The production is deliberately sparse in the verses, putting the focus on Gomez's intimate vocals. The pre-chorus and chorus introduce more layers, building to a crescendo. There's a notable moment before the final chorus where the music cuts out completely, and Gomez delivers the line 'I mean I could but why would I want to?' a cappella, creating a powerful, taunting effect.
• Rhythmic Elements: The song's rhythm is a key component of its appeal. The initial beat was reportedly conceived by Julia Michaels banging on a desk with a cup, and this percussive, tapping quality is evident in the final track. This creates a tactile, physical feel that mirrors the song's lyrical theme of touch.

"Hands to Myself" was a significant commercial and critical success, further cementing Selena Gomez's transition into a more mature pop artist. The song peaked at number 7 on the US Billboard Hot 100, becoming the third consecutive top-ten single from the album Revival and her fifth top-ten hit overall. This made Revival Gomez's first album to feature multiple top-ten singles in the United States. The song also performed well internationally, reaching the top 10 in Canada and New Zealand, and the top 20 in Australia and the United Kingdom.

The song received widespread critical acclaim, with many critics praising its unique production, sultry lyrics, and Gomez's versatile vocal performance. The line 'I mean I could but why would I want to?' was highlighted by some critics as one of the best pop moments of 2015. The song's music video, directed by Alek Keshishian, also garnered significant attention for its cinematic quality and sensual visuals, being hailed as her sexiest video to date. The song was promoted with high-profile televised performances, including the 2015 Victoria's Secret Fashion Show and Saturday Night Live. It was also featured in commercials for Beats Electronics and Pantene. Several artists have covered the song, including DNCE and The Veronicas.

The lyrics of "Hands To Myself" employ several metaphors to convey the intensity of the singer's desire.

• 'Metaphorical gin and juice': This is a direct reference to the 1993 Snoop Dogg song "Gin and Juice." In Gomez's song, it serves as a metaphor for the intoxicating and addictive quality of her love interest. Just as gin and juice is a potent cocktail, this person has an overwhelming effect on her. The explicit use of the word 'metaphorical' is a playful and self-aware nod to the comparison.
• 'All of the downs and the uppers / Keep making love to each other': This line uses the language of drugs (downers and uppers) to symbolize the extreme highs and lows of the passionate relationship. It suggests a tumultuous, perhaps even bipolar, dynamic that is both thrilling and possibly draining, yet the two extremes are inextricably linked. Some interpretations even link this to themes of mental health or a relationship affected by substance use.

The music video adds another layer of symbolism, playing with the concept of fantasy versus reality. Gomez's character is initially portrayed as an obsessed stalker, symbolizing the intrusive and all-consuming nature of infatuation. The final twist, revealing it's all part of a movie they are watching together, symbolizes how our perceptions of love are often 'theatrical' and 'movie-like,' not always aligning with the complexities of a real relationship.

The most prominent recurring motif in "Hands To Myself" is the lyrical phrase and musical hook, 'Can't keep my hands to myself.' This line is repeated extensively throughout the song, serving as its central theme and most memorable element. Its repetition drills the song's core message of uncontrollable desire into the listener's mind. The phrase is often followed by variations that elaborate on this idea, such as 'No matter how hard I'm trying to' and 'I want you all to myself.'

Another significant recurring lyrical motif is the idea of all-consuming passion, expressed through phrases like 'I want it all' and 'give me your all and nothing else.' This reinforces the theme of absolute, uncompromising desire for the other person.

Musically, the song is built around a recurring, minimalist synth and percussion loop. This loop, with its distinctive clicking sounds, acts as a constant, underlying pulse that gives the song its signature seductive and slightly tense atmosphere. The abrupt stop in the music before the final, unaccompanied line, 'I mean I could but why would I want to?', is a powerful, one-time motif that breaks the pattern and highlights a moment of defiant self-awareness.