BIO

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Time Will Tell is the album that Devon Gilfillian has been preparing to make his entire life. But some things needed to happen first—namely, he needed his life to change, for the road to wind through a few curves and over a few bumps before the classically modern and magnetic soul singer could write these songs. He needed to confront his family’s mortality. He needed to endure a relationship whose cracks nearly broke him. He needed to take control of the way he made his records, to believe that he and his closest confidants had what it took to shape the record of his life. Here’s how they did just that.

You should first know that Devon’s father, Nelson Gilfillian, likes to keep it clean. A father of three now at the edge of 70, he hits the gym five times a week and generally watches what he eats. Though he raised his kids just west of Philadelphia, he lives now just east of Nashville, in the rural outskirts of Lebanon. A lifelong musician and wedding singer, Nelson’s one indulgence these days might be his Wednesday night trips into the city, where he plays congas in a weekly R&B and jazz jam at the Flamingo Cocktail Club.

Devon, then, was stunned and confused when his mom called in September 2023 to say that Nelson, then 67, had suffered a heart attack. His own father had died at that age, but the prognosis for Nelson seemed much better—a few stints, then back home to Lebanon. Nelson is the reason Devon is a musician, having taken the kid to guitar lessons and fed him the great records. So the son did what he assumed the father would want: He walked onstage in Portsmouth, New Hampshire, played his show, and flew home the next morning.

In a matter of weeks, Gilfillian wrote “Glad to Be Here,” a bittersweet and beautiful ode to existence – to slowing down long enough to remember what a gift it is to be alive at all. Like the sun slipping through closed curtains on a cold day, “Glad to Be Here” is the aching and grateful country-soul centerpiece of Time Will Tell, his third album and honest account of the extreme highs and lows that come with living. Nelson’s health scare coincided with the protracted and painful end of a long relationship that Gilfillian steadily realized was making him worse in almost every way that counted. The dozen songs of Time Will Tell first document the work it took for him to reach the end of that road—and, then, the sense of liberation and burgeoning joy he has found at the start of a new one. Time Will Tell does what classic soul and country records often do best: share the troubled state of someone’s heart in exquisite detail and look for a way forward.

Not long after Gilfillian moved to Nashville a dozen years ago, he wrote a song for his parents—his mom, Ginny, specifically. They were still up north, and he missed them. It was called “Home,” the first tune he’d written that he felt like he could share without qualms. It was a breakthrough for Gilfillian, who suddenly understood that writing and singing could function as therapy, that his talents were a ready-made outlet for his troubles and maybe his triumphs. That sensibility was clear on Gilfillian’s first three albums, especially the ecstatic eruptions of 2023’s Love You Anyway. Even his full-length, friend-studded cover of Marvin Gaye’s What’s Going On, released amid the turmoil of 2020, felt personal in that way, like he was looking for a sanctuary of his own in song.

But that idea became something of a life raft for Gilfillian in the intervening years. As he struggled to save a relationship into which he’d put so much time and love, he found himself writing about differences that he slowly recognized as irreconcilable. Gilfillian, for instance, is a morning person; as he realized his partner truly blossomed at night, he mourned the distance that lifestyle discrepancy created between them with “Moonflower,” a neo-soul wonder about respecting but regretting what makes someone themselves. And on “Black Dog Rabbit Hole,” he took frank stock of the impact the tension was having on his own wellbeing, how he was using his own depression and addiction as an escape hatch for an increasingly bad situation.

Gilfillian and his longtime drummer and friend Jonathan Smalt intuitively understood that the best way to capture the feelings in these songs was to cut them as quickly as possible. Gilfillian and Smalt have worked with several ace producers in the past, including Shawn Everett and Jeremy Lutito, but they felt like they finally knew enough to try it themselves. They asked Dave Cobb if they could borrow Nashville’s legendary RCA Studio A, then recruited a few ace engineers and producers—Reid Leslie, Michael Harris, Ran Jackson—to help man the varispeed tape machines and make a few key calls. They built a band of session aces and strong sets of string and horn players, then tracked most of the vocals with single takes. Neal H Pogue, the producer legendary for his work with the likes of OutKast and Tyler the Creator, was so passionate about Gilfillian’s demos that he enlisted as executive producer, eventually mixing the album himself. Everyone wanted the songs to feel like the epiphanies that had shaped them, for the recordings to reflect the realness of Gilfillian’s circumstances when he wrote them.

It absolutely worked. “Black Dog Rabbit Hole” is a riveting hard rock snapshot of mania, Gilfillian’s voice switching between falsetto frailty and a tormented bellow as he tries to find his way out of a spiral. Gilfillian has never made anything quite so raw, quite so cutting. With its gospel surges, ringing bells, and jittery guitars, “Hold On (Hourglass)” races like a nervous heart, a sleepless and agitated Gilfillian wondering if his commitment to holding on is just a way of fooling himself. On “IRL,” where a boom-bap beat undergirds an organ’s psychedelic whirr before the whole thing snaps into a funk strut, Gilfillian gets stuck in the conflict between leaving and staying, between indulging what his body wants and his mind needs. The song is so unmitigated it feels like you’re listening to a real-time argument he’s having with himself about his future. These aren’t breakup songs so much as exacting maps of Gilfillian’s relatable inner conflicts as he tries to find ways to be happy—ways of being, like his father, simply glad to be here at all.

Gilfillian ends Time Will Tell not with an apology but with a permission slip. As magnetic as a Cat Stevens staple but as warm as a Sam Cooke ballad, “You Can Hate Me Now” acknowledges that no end is ever easy, that all the effort in the world still won’t make a split feel smooth. “There’s no other way underneath the pain,” he sings, his voice trying not to break beneath the strain. Given the song title, it is staggering how likable Gilfillian seems in this moment, how vulnerable he is being about his own failure and frailty. “We just gotta go through,” he continues. What else is there in life or on an album like Time Will Tell than to go through? To get to where we’re going, we’ve got to suffer a little. Time Will Tell is the sound of Gilfillian doing exactly that but realizing what a blessing it is to be here at all, with the chance to hurt and learn and ultimately move on.

Credits

Executive Producer: NealHPogue

Recorded by Michael Harris & Reid Leslie at RCA Studio A and Summit Sound Studios

Assistant Engineer: Phillip Smith

Mixed by NealHPogue for 411 E 9th Ave

Mastered by Mike Bozzi at Bernie Grundman Mastering

Photography: Travys Owen

Package Design: Travys Owen

Time (03:19)

(Devon Gilfillian – Tabitha Meeks)

Devon Gilfillian Songs administered by Kobalt Music Publishing (ASCAP) / Jericho Springs Publishing (BMI)

Produced by Jonathan Smalt, Devon Gilfillian

Devon Gilfillian – vocals

Joshua Blaylock – piano

Antoine Katz – bass

Jordan Lehning – String Arrangement

Engineered by Jordan Lehning at The Compound

Annaliese Kowert – violin 1

Kristin Weber – violin 2

Betsy Lamb – viola

Austin Hoke – cello

David Williford – woodwinds, brass

Moonflower (04:38)

(Devon Gilfillian – Ran Jackson – Melissa Fuller – Tim Rahman)

Devon Gilfillian Songs administered by Kobalt Music Publishing (ASCAP) / Richmond Park Publishing (BMI) / Songs of The Whippoorwill, Administered by Songs of Kobalt Music Publishing (BMI) / Tim Rahman Publishing (BMI)

Produced by Ransom Jackson, Jonathan Smalt, Devon Gilfillian

Additional Production: Reid Leslie, Tim Rahman

Devon Gilfillian – vocals, guitar

Jonathan Smalt – drums

Ransom Jackson – synths, glockenspiel

Antoine Katz – bass

Joshua Blaylock – piano, synth

Ryan Connors – vibraphones

Nate Felty – percussion

Jordan Lehning – string arrangement

Engineered by Jordan Lehning at The Compound

Annaliese Kowert – violin 1

Kristin Weber – violin 2

Betsy Lamb – viola

Austin Hoke – cello

David Williford – woodwinds, brass

Hold On (Hourglass) (04:08)

(Devon Gilfillian – Ran Jackson – Dana Mary Williams – Paul Duncan)

Devon Gilfillian Songs administered by Kobalt Music Publishing (ASCAP) / Richmond Park Publishing (BMI) / DANA MARY MUSIC (SESAC) / NOT SO SECRET ROAD MUSIC (SESAC) / Centricity Music Publishing (PRO) / That’s So Metal Music (ASCAP)

Produced by Ransom Jackson, Jonathan Smalt, Devon Gilfillian

Additional Production: Reid Leslie

Devon Gilfillian – guitar, vocals

Jonathan Smalt – drums, percussion

Antoine Katz – bass, bass 6

Ransom Jackson – guitar, tambourine, mellotron, tubular bells, glockenspiel

Ryan Connors – guitar, mellotron

Choir – Demola Ayokanmbi, Elayna Swickard, Eleanor Baylon, Makena Shlens, Michael Castellanos, Lolo Meares, Mary Garcia, Kyle Mitchell, Lake Dorn, Mateo Meares, Vickie Jackson, Rick Jackson

Nate Felty – percussion

IRL (03:31)

(Devon Gilfillian – Isaiah Beard – Jamie Lidderdale)

Devon Gilfillian Songs administered by Kobalt Music Publishing (ASCAP) / RERIGHT Publishing (ReRight) / Corgi administered by Kobalt Music Publishing (ASCAP)

Produced by Jonathan Smalt, Devon Gilfillian

Devon Gilfillian – vocals, slide guitar

Jonathan Smalt – drums, percussion

Antoine Katz – bass

Ryan Connors – organ, keys

Black Dog Rabbit Hole (03:20)

(Devon Gilfillian – Ran Jackson – Melissa Fuller – Nicolas Balachandran)

Devon Gilfillian Songs administered by Kobalt Music Publishing (ASCAP) / Richmond Park Publishing (BMI) / Songs Of The Whippoorwill, Administered by Songs of Kobalt Music Publishing (BMI) / Nicolas Balachandran Publishing Designee

Produced by Ransom Jackson, Jonathan Smalt, Devon Gilfillian

Additional Production: Reid Leslie

Devon Gilfillian – vocals, guitar

Jonathan Smalt – drums

Antoine Katz – bass

Ran Jackson – guitar, tambourine

Ryan Connors – guitar

Josh Blaylock – organ

Nate Felty – percussion

Glad To Be Here (04:59)

(Devon Gilfillian – Jeremy Lutito)

Devon Gilfillian Songs administered by Kobalt Music Publishing (ASCAP) / Immersion Music Concord Music Publishing (BMI)

Produced by Jonathan Smalt, Devon Gilfillian

Additional Production: Reid Leslie

Devon Gilfillian – vocals, guitar

Jonathan Smalt – drums

Antoine Katz – bass

Josh Blaylock – piano

Ryan Connors – guitar

Juan Solorzano – acoustic guitar, pedal steel

David Williford – woodwinds, brass

Shines In You (04:44)

(Devon Gilfillian – Ryan Linvill – Daniel Silberstein)

Devon Gilfillian Songs administered by Kobalt Music Publishing (ASCAP) / So Many Mountains Publishing / PW Arrangements(ASCAP) / Slimdan Technology Songs / Hipgnosis Beats (BMI) (Administered by Hipgnosis Songs Group)

Produced by Jonathan Smalt, Devon Gilfillian

Additional Production: Reid Leslie

Devon Gilfillian – vocals, guitar

Jonathan Smalt – drums, mellotron, BGVs

Antoine Katz – bass

Juan Solorzano – guitar

Josh Blaylock – piano

Ryan Connors – guitar

Nate Felty – percussion

Let’s Stop Fucking Around (03:12)

(Devon Gilfillian – Ran Jackson)

Devon Gilfillian Songs administered by Kobalt Music Publishing (ASCAP) / Richmond Park Publishing (BMI)

Produced by Ransom Jackson, Jonathan Smalt, Devon Gilfillian

Additional Production: Reid Leslie

Devon Gilfillian – vocals, guitar

Ransom Jackson – glockenspiel, mellotron, synth

Jonathan Smalt – drums, mellotron

Antoine Katz – bass

Ryan Connors – piano

Ray Mason – horn arrangement, trombone

Jake Botts – tenor saxophone

Andrew Golden – trumpet

Keep On Movin’ (05:23)

(Devon Gilfillian – Danen and Martin Johnson – Raymond James Mason)

Devon Gilfillian Songs administered by Kobalt Music Publishing (ASCAP) / Songs by Danen (BMI), Publishing of Real Johnson (BMI), and Warner-Tamerlane Publishing Corp. (BMI) All rights on behalf of Songs by Danen and Martin Johnson BMI pub designee administered by Warner-Tamerlane Publishing Corp / MONDOMONDOINC (ASCAP)

Produced by Jonathan Smalt, Devon Gilfillian

Devon Gilfillian – vocal, guitar

Eric Slick – drums

Antoine Katz – bass

Josh Blaylock – farfisa, keys

Nate Felty – percussion

Jonathan Smalt – percussion

Ray Mason – horn arrangement, trombone

Jake Botts – tenor saxophone

Andrew Golden – trumpet

Ryan Gilfillian – BGVs

Nelson Gilfillian – BGVs

Some Days (03:28)

(Devon Gilfillian – Eli Teplin)

Devon Gilfillian Songs administered by Kobalt Music Publishing (ASCAP) / Sony/ATV Songs LLC / Beachbreak Publishing (BMI)

Produced by Jonathan Smalt, Devon Gilfillian

Devon Gilfillian – vocals

Joshua Blaylock – piano

Antoine Katz – bass

Jordan Lehning – string arrangement

Engineered by Jordan Lehning at The Compound

Annaliese Kowert – violin 1

Kristin Weber – violin 2

Betsy Lamb – viola

Austin Hoke – cello

David Williford – woodwinds, brass

You Can Hate Me Now (feat. Madeline Edwards) (03:46)

(Devon Gilfillian – Madeline Edwards – Jeremy Lutito)

Devon Gilfillian Songs administered by Kobalt Music Publishing (ASCAP) / Sony Tree Publishing (BMI) / Immersion Music Concord Music Publishing (BMI)

Produced by Jonathan Smalt, Devon Gilfillian

Devon Gilfillian – vocals, guitar

Madeline Edwards – vocals

Jonathan Smalt – drums, percussion

Joshua Blaylock – piano, wurlitzer

Antoine Katz – bass

Time (Reprise) (00:38)

(Devon Gilfillian – Tabitha Meeks – Jonathan Smalt)

Devon Gilfillian Songs administered by Kobalt Music Publishing (ASCAP) / Jericho Springs Publishing (BMI) / Smalt Songs (BMI)

Produced by Jonathan Smalt, Devon Gilfillian

Joshua Blaylock – piano

Antoine Katz – bass

Jordan Lehning – string arrangement

Engineered by Jordan Lehning at The Compound

Annaliese Kowert – violin 1

Kristin Weber – violin 2

Betsy Lamb – viola

Austin Hoke – cello

David Williford – woodwinds, brass

Thank you:

I could not have made this album without the help of so many people. Thank you to my production team – Reid Leslie, Neal H Pogue, Michael Harris, Ran Jackson, and most of all – my brother from another mother – Jonathan Smalt. I couldn’t have brought this vision to fruition without your attention to detail and inspiring work ethic. thank you for believing in me and for pushing me along on this long journey. Thank you to everyone who played, sang, yelled, giggled, banged, or whispered sweet-nothings on this album: My band, Ryan Connors, Josh Blaylock, Nate Felty, Eric Slick, Antoine Katz, Juan Solorzano, my dear friend Anouska Bhattacharyya, my family, Nelson Gilfillian, and Ryan Gilfillian. Ray Mason, thank you for adding epic horns to this album with Jake Botts and Andrew Golden. Thank you Jordan Lehning for arranging the most beautiful strings with an incredible crew.

To everyone who sat in the room with me and let me share my truth and pulled that truth out of me to write these songs, Madeline Edwards, Jeremy Lutito, Melissa Fuller, Tabitha Meeks, Paul Duncan, Dana Williams, Nicholas Balachandran, Jamie Lidell, Isaiah Beard, Daniel Silberstein, Ryan Linvill, Danen Reed, and Eli Teplin, I am so grateful for you. Thank you to Dave Cobb for loaning us RCA Studio A, and Sharon and Sheridan for being incredible stewards of such a legendary studio. Thank you Phillip Smith for your amazing assistance in the studio. Thank you Lindsey Torres for capturing our time in the studio, you sweet angel. Thank you Charlie Treat for letting us pre-pro in your basement. Thank you Buster Phillips, Paul Steele, love you guys. Love you Cacia. Love you Mom. Thank you Fantasy and Concord for giving me a shot and believing in my art. Thank you Nashville for being home and making me the songwriter that I am. Most of all, thank you to everyone who’s been listening and here for this journey with me.

Artist Representation/Management: Jonathan Smalt | Triple 8 Management

devongilfillian.com

Lyrics

Time

Chorus 1:

Time,

All we have is time

To heal it

Cry,

I don’t wanna cry,

but I gotta cry,

to feel it

Verse 1:

I don’t know if we’ll fix

All the things that fell apart

And I don’t wanna fix the beauty that you are

And I gotta let go

Though it cuts me through the heart

But the pain we hold, it pulls us under

Chorus 2:

Time,

All we have is time

To heal it

Cry,

I don’t wanna cry,

but I gotta cry,

to feel it

Verse 2:

And all the days and the years

Not a second went to waste

I can still feel you here, whispering my name

And I taste all the tears

As they’re falling down my face

And I know that it’s clear

That you’re not meant for me

Chorus 3:

Time,

All we have is time

To heal it

Moonflower

Verse 1:

You’re a beauty that’s untold

A mystery I unfold

A place I’ve never known but that I’m trying to get to

You’re the sirens’ melody

The sweetness of the breeze

And when you open up, it’s everything to me

Chorus 1:

I’m jealous of the moon

Who gets to shine on you

I wanna be the one who sees your life in bloom

Oh, what a perfect view

I can’t stop loving you

I want you moon flower

Moon flower, moon flower

Verse 2:

You’re a lesson I can’t learn

A page that just won’t turn

The seasons pass, and I keep waiting for a change

You’re an ocean in a vase

A black hole deep in space

Your gravity pulls me into the chase

Chorus 2:

I’m jealous of the moon

Who gets to shine on you

I wanna be the one who sees your life in bloom

What a perfect view

I can’t stop loving you, I want you moon flower

Moon flower, moon flower

Bridge:

The morning comes and I wait

I see the sun it’s too late

The mourning comes and you fade

We chased the light it’s too late

Chorus 3:

I’m jealous of the moon

Who gets to shine on you

I wanna be the one who sees your life in bloom

What a perfect view

I can’t stop loving you, I want you moon flower

Moon flower, moon flower

Hold On (Hourglass)

V1:

Can’t stop running

But it’s catching up to us

And we can’t fight it off for long

Tell me something

Do you ever lie awake

Wondering where we went wrong

Chorus 1:

Hold on

Am I holding on just to let you go?

V2:

High tide

The water is rising up

No one’s there to take this cup from me

Sand keeps falling

Down through this hourglass

Bleeding through the cracks that we can’t see

C2:

Hold on

Am I holding on just to let you go?

Hold on

Am I holding on just to let you go?

IRL

Verse 1:

Oh, and it’s lonely

No one can hold me

And I’m pushing up against the glass

Damnit, I’m hungry

Baby, I’m hungry

I want something good, not something fast

Chorus 1:

I want it in real life

Let me get a taste

I wanna feel the sweat on your skin

I don’t wanna wait

I want in real life

I don’t wanna waste

Time is gold now, baby

Can’t let it get away

Verse 2:

Gimme the feeling (Gimme the feeling)

You know the feeling (You know the feeling)

The way you touch me, baby, is so healing

Got me believing (got me believing)

That this world is so much more than what we’re seeing

Chorus 2:

I want it in real life

Let me get a taste

I wanna feel the sweat on your skin

I don’t wanna wait

I want in real life

I don’t wanna waste

Time is gold now, baby

Can’t let it get away

(Solo)

Chorus 3:

I want it in real life

Let me get a taste

I wanna feel the sweat on your skin

I don’t wanna wait

I want in real life

I don’t wanna waste

Time is gold now baby

Can’t let it get away

(I want in real life)

(I want it in real life)

(Give it to me in real life)

(yeahhhh)

Black Dog Rabbit Hole

Vs 1:

Downward spiral

My own rival

Too far gone to change my mind

Might as well dig to the other side

Escape route

No problem

Race to the bottom

Black dog waiting down the rabbit hole

Might as well throw ‘em down another bone

Chorus 1:

Baby it feels so good 4x

Vs 2:

Here I surrender

Give into the bender

Black dog waiting down the rabbit hole

Might as well throw ‘em down another bone

Pre-chorus 1:

I don’t wanna

But I’m gonna give in

Cuz if I come up too fast

Baby imma get the bends

Chorus 2:

Cause baby it feels so good

Baby it feels so good 3x

(Solo)

Bridge:

Go in to get out

Give up to get down

2X

Chorus 3:

Cause baby it feels so good

Baby it feels good 3x

Glad To Be Here

Verse 1:

Saw a tree, saw it from afar

On a branch I could feel her scar

Been such a long, long time

Since I’ve felt ease

Letting my worries fall like leaves

Pre Chorus 1:

And the warmth of the light slowly opens my eyes

And the breeze on my cheek tells me I’m still alive

Chorus 1:

And I’m so glad, glad to be here

Cause now’s all we have, have to be here

(I’m so glad) To be here

To be here (To be here)

Verse 2:

Give me all, give me all your truth

All the pain, all that you’ve been through

Rather feel the hurt than numb

We can heal underneath your sun

Pre Chorus 2:

And the warmth of the light slowly opens my eyes

And the breeze on my cheek tells me I’m still alive

Chorus 2:

And I’m so glad, glad to be here

Cause now’s all we have, have to be here

(All we have) To be here

To be here (to be here)

(I’m so glad) To be here

(To be here) To be here

To be here (All we have)

(I’m so glad to be here)

Nelson Voicemail:

Yo, Dev, where you at? Just got done feeding the horses, man, cutting the grass, hanging with the birds and cicadas. Yo, just wanna say, I’m glad to be alive man, it’s good to be here.

Shines In You

Verse 1:

You are the one that I’m singing to

When I close my eyes

Get so high when I think of you

I could paint the sky

Pre 1:

Tell me what’s been on your heart, I feel it too

Even when we’re worlds apart

And when we

Chorus 1:

“Oooooo”

Touch me all the ways that you do

Slowly, slipping, fading into you

And I just wanna live inside

All the love that shines in you

Verse 2:

Lift me up when I needed you, always catch my fall, you always catch my fall

Kiss me on all the broken parts, love me with flaws, love me with my flaws

Pre:

Tell me what’s been on your heart, I feel it too

Even when we’re worlds apart.

But when we

Chorus 2:

Ooooooo

Touch me all the ways that you do

Slowly, slipping, fading into you

And I just wanna live inside

All the love that shines in you

Bridge:

I can feel your light

Oh it’s everything I see

I can feel your light

Oh it’s everything to me

I can feel your light

Oh it’s everything I see

I can feel your light

Oh and when we

Chorus 3:

Ooooo

Touch me all the ways that you do

Slowly, slipping, fading into you

And I just wanna live inside

All the love that shines in you

Oooooo

Touch me all the ways that you do

Slowly, slipping, fading into you

And I just wanna live inside

All the love that shines in you

Let’s Stop Fucking Around

Verse 1:

Gimme that slow burn

Gimme that real real

Baby, it’s our turn

Come on let’s grab the wheel

Where do you wanna go from here?

Wanna quit chasing

Wanna stop playing games

Wanna get serious,

And take it to the next phase

Where do we wanna go from here?

Where do you wanna go, baby?

Chorus 1:

Girl,
I have been everywhere

Looking all over the world

Nothing like this I found

So let’s stop fucking around

Verse 2:

Maybe we slow down

But not a lot, just a little bit

Move it outta downtown

To a nice spot, we can settle in

We got the time, but the time slips away,

If we wait, this all we get baby

Pre Chorus 1:

We could build something

We never thought we could

What we’re becoming

Darling is so damn good

Chorus 2:

Girl

I have been everywhere

Looking all over the world

But nothing like this I found

So let’s stop fucking around

(Instrumental)

Bridge:

We could build something

We never thought we could

What we’re becoming

Darling is so damn good

Chorus 3:

Girl

I have been everywhere

Looking all over the world

But nothing like this I found

So let’s stop fucking around

Keep On Movin’

Chorus 1:

3x We gonna keep on movin’

Gonna get it done for you

Verse 1:

I’ve been working, working all day

I’ve been running, chasing my pay

I’ve been working, working all day

I’ve been running, chasing my pay

Chorus 2:

3x We gonna keep on moving

Gonna get it done for you

(Instrumental)

Verse 2:

I’ve been working, working all day

I’ve been running, chasing my pay

I’ve been working, working all day

I’ve been running, chasing my pay

Chorus 3:

3x We gonna keep on moving

Gonna get it done for you

6x

Hey!

Ha!

Chorus 4

8x We gonna keep on moving

Gonna get it done for you

5x

Ha!

Hey!

Some Days

Verse 1:

Wake up in the morning and

Before the ground hits my feet

Give my head the space to think

Before the day gets the best of me

Pre Chorus 1:

You never know

How hard the wind will blow

It can lift you up or send you to your knees

Chorus 1:

Some days I can’t believe how lucky I am

Some days I feel like I’m a shell of a man

Some days I don’t know where the time has gone

But Imma keep moving on, but Imma keep moving on

Verse 2:

Watching as the sun goes down

Sky painted pink and red

Waiting for her to return

She appears like a long lost friend

Pre-Chorus 2:

The seeds you sow

I hope they grow

If they don’t today

There’s always tomorrow

Chorus 2:

Some days I can’t believe how lucky I am

Some days I feel like I’m a shell of a man

Some days I don’t know where the time has gone

But Imma keep moving on, but I’mma keep moving on, hey yea

Chorus 3:

Some days I can’t believe how lucky I am

Some days I feel like I’m a shell of a man

Some days I don’t know where the time has gone

But Imma keep moving on, but Imma keep moving on

You Can Hate Me Now

Chorus 1:

You can hate me now

That’s alright,that’s OK, that’s alright

I feel the changes now

That’s alright that’s ok that’s alright

Verse 1:

Trynna hold

Pieces of our souls

Slipping through our fingers

False hope, it lingers

Not trynna be cold

Someone’s gotta let go

We keep holding onto cycles

Lovers into rivals

Chorus 2:

You can hate me now

That’s alright, that’s OK, that’s alright

I feel the changes now

That’s alright, that’s OK, that’s alright

Verse 2:

There’s no other way

Underneath the pain

We just gotta go through

No one’s to blame

I see through the haze

More lighter days

A much better view

Room for some grace

Chorus 2:

You can hate me now

That’s alright, that’s OK, that’s alright

I feel the changes now

9x That’s alright, that’s OK, that’s alright, that’s OK

Time (Reprise)

No Lyrics