It happened in 2015. You couldn't escape it. You'd walk into a CVS or turn on the radio, and there it was—that relentless, sugary explosion of "really, really, really, really, really, really." It’s a lot of "reallys." I Really Really Like You by Carly Rae Jepsen wasn't just a song; it was a cultural phenomenon that attempted to strike lightning twice after the inescapable "Call Me Maybe."
Most people think of it as a simple bubblegum pop track. They're wrong.
While the surface level is all neon colors and teenage longing, the construction of this track is a masterclass in maximalist pop production. It’s heavy. It’s loud. It’s mathematically designed to get stuck in your brain like a splinter you can’t quite reach.
The Tom Hanks Factor and That Music Video
Honestly, we have to talk about the video first. It’s still one of the weirdest, most delightful marketing pivots in music history. Why is an Oscar-winning actor lip-syncing to a 29-year-old woman’s pop song? According to Jepsen, it happened over a few drinks. Her manager, Scooter Braun, was chatting with Tom Hanks, and the idea just... landed.
Hanks didn't just show up; he committed. He spent an entire day in New York City cold, walking through the streets, pretending to sing about "sipping on a crush." It gave the song a surrealist edge that saved it from being "just another pop song." It made it a meme before we were even fully using that word for music marketing.
Then you’ve got the Justin Bieber cameo at the end. It was a passing of the torch, or maybe a reminder of the Braun empire's reach. But let's be real: Hanks stole the show. He made I Really Really Like You feel universal. It wasn’t just for kids; it was for anyone who has ever felt that awkward, over-the-top rush of a new attraction.
Why the Production is Actually Genius
If you pull the track apart, it’s a beast. Produced by Peter Svensson (of The Cardigans fame), the song leans heavily into 80s synth-pop revivalism. This wasn't a mistake. In 2015, we were seeing a massive shift toward that retro-analog sound, and Svensson nailed the "huge" feeling.
The chorus has about six "reallys." That’s a bold move.
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Most songwriters would tell you it's repetitive. It is. But that repetition serves a psychological purpose. It mimics the obsessive nature of a crush. When you like someone that much, your brain doesn't have a varied vocabulary. You just loop the same thought over and over. The song structure reflects the state of mind. It’s manic. It’s breathless.
The Anatomy of the Hook
The synth chords in the opening are bright and jagged. They cut through the noise of a car's speakers.
- The Verse: Relatively stripped back, letting Carly’s breathy vocals do the heavy lifting.
- The Pre-Chorus: The tension builds. The drums start to kick in with a more consistent four-on-the-floor beat.
- The Chorus: Everything explodes. The layering of vocals—multi-tracking Carly’s voice dozens of times—creates a "wall of sound" effect that feels like a physical wave.
It’s actually quite difficult to sing. The phrasing requires a lot of breath control because the lyrics are packed so tightly together. Try doing it at karaoke. You'll run out of air by the second chorus.
Impact on Carly Rae Jepsen’s Career Path
Many critics at the time labeled this as a "flop" compared to "Call Me Maybe." That’s a bit of a reach. While it didn't hit Number 1 on the Billboard Hot 100 (it peaked at 39), it paved the way for her album E•MO•TION.
That album changed everything for her.
It moved her from "one-hit wonder" status to "indie-pop darling." The irony is that I Really Really Like You was the most "commercial" song on an album that was actually quite sophisticated and experimental for the genre. It served as the bait. It brought the casual listeners in, while tracks like "Run Away With Me" solidified her as a critical powerhouse.
Critics from Pitchfork to Rolling Stone eventually came around to the idea that Jepsen was doing something special. She wasn't just making radio filler. She was crafting high-art pop.
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The 2026 Perspective: Why It Still Hits
Music moves fast. Ten years is an eternity in the streaming era. Yet, if you look at TikTok or Reels today, this song still pops up. Why? Because it’s "shorthand."
It is the perfect audio for expressing enthusiasm. In a world where we communicate through 15-second clips, a song that repeats its core message six times in the first ten seconds of the chorus is gold. It’s efficient.
But more than that, there's a certain sincerity in it. We live in an era of "ironic" pop and "sad-girl" indie. Sometimes, you just want to hear someone scream that they really, really like you. There’s no subtext. There’s no hidden trauma. It’s just pure, unadulterated dopamine.
Misconceptions About the Lyrics
Some people find the song "juvenile." I’d argue it’s actually quite honest about the embarrassment of adulthood. Carly was nearly 30 when this came out. Singing "I really, really, really, really, really, really like you" at 30 is a lot different than singing it at 15.
It’s an admission that even as we get older, we don't actually get any cooler. We still get butterflies. We still act like idiots. We still overthink every text message. The "childishness" of the song is its most relatable feature.
Technical Details You Probably Missed
The song is set in the key of G major. It’s a happy key. It’s the key of sunlight.
The tempo is roughly 122 BPM (Beats Per Minute). This is the "sweet spot" for dance music. It’s fast enough to make you want to move but slow enough that it doesn't feel like a frantic club track. It’s a walking pace—specifically, a "strutting down the street in the summer" pace.
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The bridge of the song is where things get interesting. The music drops out, leaving just a pulsing beat and Carly's voice. This is a classic "tension and release" tactic. By stripping the music away, the return of the final chorus feels twice as loud. It’s a trick used by everyone from Max Martin to Taylor Swift, and it works every single time.
How to Actually Appreciate the Track Today
Don’t listen to it on your phone speakers.
Pop music of this caliber is designed for high-end systems or, at the very least, a decent pair of headphones. There are layers of percussion and tiny synth flourishes hidden in the mix that get lost in low-quality audio. Listen for the way the background vocals pan from left to right during the bridge.
It’s a masterclass in spatial audio before that was even a marketing buzzword.
Moving Forward With the Jepsen Discography
If you've only ever known her for this song, you’re missing out on about 80% of the story. I Really Really Like You is the entry point, but it's not the destination.
- Listen to the full E•MO•TION album. It's widely considered one of the best pop albums of the 2010s.
- Compare it to her later work. Songs like "Want You In My Room" (produced by Jack Antonoff) show a much more rhythmic, funky side of her songwriting.
- Watch the live performances. Jepsen is a road warrior. Seeing how she handles the "reallys" live gives you a lot of respect for her vocal stamina.
The legacy of this track isn't just a catchy hook. It's the moment Carly Rae Jepsen decided to embrace the "uncool" sincerity of pop music and, in doing so, became one of the most respected figures in the industry. It’s a reminder that sometimes, being "too much" is exactly what the world needs.
Stop overthinking your playlists. Put it on. Turn it up. It’s okay to admit you really, really, really, really, really, really like it.
To get the most out of your 2010s pop nostalgia trip, go back and watch the behind-the-scenes footage of the music video. Seeing the genuine confusion of New Yorkers watching Tom Hanks dance in the street provides a level of context that makes the song even more endearing. Afterward, dive into her B-sides—Jepsen is famous for leaving her best songs off the main records, and "Emotion: Side B" contains tracks that many argue are even stronger than the lead singles.