“What The Hell Are We Dying For?” by Shawn Mendes
“What The Hell Are We Dying For?”, which came out on 9 June 2023, was a surprise release, in that it was only announced the day before or more precisely a couple of hours prior its issuance. That is because the song was an impromptu effort, being written by Eddie Benjamin, Scott Harris, Mike Sabath and Shawn Mendes (with the latter two also producing the track) and recorded in a single day.
And what spurred its creation in such an inspired manner was Mendes being in Upstate NY at the time in which the state (and NYC especially, it would seem) was dealing with serious and very-much visible air quality issues which were worse than after 9/11, as reportedly caused by a massive wildfire which is currently ongoing in Shawn’s homeland of Canada.
Mendes has suffered some backlash after dropping this track, i.e. a number of outspoken people feeling as if by doing so, he is out to capitalize off of a legitimate ecological disaster.
But that said, it has been noted that he has harped on climate issues in the past. Furthermore, the singer will also be reportedly donating to the Canadian branch of the Red Cross in the near future and has also encouraged his listeners to do the same.
The Lyrics of “What The Hell Are We Dying For?”
It is imperative that we point out that there have also been those who argued that this song is actually about Shawn’s relationship with fellow music star Camila Cabello, one which appears to be sort of an on-again/off-again type of affair.
After all, the bridge and outro are highlighted by the phrase “living without you is not living at all”. And on the surface, that statement very much reads as if it is romantic in nature and not having anything at all to do with the climate.
Additionally, yes, the lyrics do commence with the vocalist noting that he is in the midst of witnessing an ecological disaster, one in which “smoke [is] in the air”, and “the city’s burning down”.
And as for that former observation, such was literally transpiring in the Big Apple when this piece was written. But then he follows those types of statements up by noting that in such situations, ‘all he thinks about’ is the addressee.
And his desire is to save the both of them, but he “(doesn’t) know how”. So even from the get-go, the track reads sorta like one of those me-and-you-against-the-apocalypse love songs.
But with that being noted, it is never specified that the addressee is a romantic interest. Well actually, said individual is referred to as “baby” in the outro. But the chorus, based on listener interpretation, can be deemed as having a more general applicability.
“If we don’t love like we used to
If we don’t care like we used to
What the hell are we dying for?
If it doesn’t cut like it used to
If you’re not mine and I’m not yours
What the hell are we dying for?”
The thesis sentiment can be taken as Shawn’s roundabout way of acknowledging that amidst catastrophes, such as that which recently transpired in New York City, it would be better if citizens were united or actually cared for each other.
Or another way of looking at it, more loosely interpreted, is that in his mind “dying for” NYC is a less-than-favorable fate, considering that the people there aren’t even cool with each other like that. In other words, it isn’t as if they would be perishing in the name of a community that actually loves them.
But with that notion in mind, once again as far as the bridge is concerned, Mendes goes on to imply that he is not actually speaking of a group of people but rather one individual. Even in that regard trying to derive a simple, comprehensive sense of what he’s putting for is challenging.
But it is very much possible, as is common in the music industry, that “What the Hell Are We Dying For” was conceptualized as something more substantive, i.e. an environmentally-minded piece but somewhere along the line became a love song in the name of marketability.
And if Shawn did use NYC’s smogpocalypse as a premise to drop to drop a track that is actually, even if somewhat indirectly, focused on his desire to reunite with his superstar ex, then it is understandable why some people would feel that he’s using a catastrophe for his own personal gain.
Your Comments on “What The Hell Are We Dying For?”
KOJO ENOCH says:
“I want to start by saying that I would be disheartened if it is true that Shawn tried to capitalize on such a tragic ecological issue. Music is an incredibly powerful tool that can inspire, heal, and unite people. However, exploiting an unfortunate incident for personal gain, as done here, leaves a sour taste.
This incident was a very serious issue that affected and will continue to affect people’s lives deeply. It’s a matter of empathy and respect, not just another trending topic to boost one’s popularity or to feed into the media hype.
Using the sad case of the ecological disaster in question create a song with the goal of financial gains diminishes the gravity of the situation and, more importantly, the pain and suffering of those involved.
I’ve always admired Mendes’ talent and ability to connect with audiences through his music. However, I would feel very disappointed if at the end of the day I find out that he took advantage of this negative situation to gain some personal benefit.”
PATRICIA COLLINS says:
“Instead of offering genuine empathy or support, the song seems more like a marketing gimmick, and it’s hard to ignore the opportunistic undertone. It’s not the kind of artistry I had associated with Mendes. I hope he reflects on this and understand why many of his fans, including myself, are upset. Using art to address societal issues or personal experiences can be impactful and important, but it should be done with sensitivity, not as a vehicle for self-promotion. We look forward to seeing Shawn return to his roots of meaningful and empathetic storytelling through his music.”
LISA BROWN says:
“It’s intriguing to explore the potential layers of this song, especially the purported link between its lyrics and Shawn’s relationship with Camila Cabello. The line, ‘living without you is not living at all’ does suggest a romantic undertone. However, the ambiguity of the lyrics, combined with the artist’s refusal to confirm any speculation, leaves the song open to multiple interpretations. Should we see it as a reflection of a tumultuous relationship, a lament about the state of the world, or both? While the emotional and romantic aspect adds a relatable touch, it also arguably diverts attention from the ecological disaster theme that the song initially introduces.”
CHRISTOPHER MARTIN says:
“It is impossible to ignore the vivid imagery of ecological disaster in the lyrics, especially as it directly correlates with real-world events at the time of the song’s creation. The lyrics paint a grim picture of the environment, which could be a potent call for action. However, the shift from ecological crisis to personal sentiments muddies the water, making the song seem like an end-of-the-world love ballad. It leaves one to wonder whether the ecological disaster was merely a backdrop or an urgent message in its own right. Using such grave situations as a mere stage for a love story can feel somewhat dismissive and could potentially dilute the urgency of the environmental message.”
JENNIFER NGUYEN says:
“The speculation that this track may have started as an environmentally-focused piece but evolved into a love song for marketability purposes raises an interesting point. It’s common in the music industry to pivot toward popular and profitable themes, such as romance. However, this tactic can be seen as exploitative, especially when it involves real-life catastrophes. If the song does indeed leverage the NYC smogpocalypse as a platform to express personal romantic yearnings, then the criticism of capitalizing on tragedy for personal gain holds some merit. This controversy underscores the importance of responsible storytelling in music and its impact on audiences. It’s a delicate balance to strike, especially when handling themes as significant as environmental disasters and personal relationships.”
