IN A FEW WORDS :
I invite you to watch—and rewatch from different angles—the video below of the song “These Days” by the British drum & bass group Rudimental, recorded live at Abbey Road Studios in London in 2018 (which should ring a bell for the older among us…).
What is a music video doing on a site about movement, psychomotricity, and accompaniment ?
From its inception to its design, production and final performance, this video beautifully illustrates how harmony and collective performance emerge.
Watch it several times, focusing your attention on different aspects of what’s visible and audible. Perhaps, like me, as it unfolds you’ll notice the reasons (the “how”) and the foundations (the “why”) that make this song and this video work beyond their sentimental, cheerful, and nostalgic side.
“Collective Intelligence”
When music reveals and demonstrates it…
“Collective Intelligence”
When music reveals and demonstrates it…
FOREWORD
At the origin of this song is a chorus and a few lines by Dan Caplen (the singer), who created this initial draft in 2015. The song was then co-written in 2016 with several other members of the group (Piers Agget, Kesi Dryden, Amir Amor, and DJ Locksmith) and four additional writers: American singer John Ryan, British singer Jamie Scott, and composer Julian Brunetta.
Rudimental then invited rapper Macklemore, who collaborated with Dan Caplen by creating a few of his own verses, contributing the qualities of his differences and his unique touch.
It took two years for the producers to assemble this puzzle, bringing these talents together, notably convincing Jess Glynne – with her particularly distinctive voice – to join the project.
Neither a producer, composer, nor singer, but an exceptional drummer, Bennie Bhebhe, also known as Beanie, remains largely unnoticed in the credits. Yet his nuanced, eclectic rhythmic performance resonates perfectly throughout the track, adding real depth to the interpretation.
Every piece finds its place in this puzzle—from backing singers, musicians, and vocalists to cameramen, sound engineers, and the director.
In the end, the song embodies what a group of different individuals, with varied skills, diverse backgrounds, and heterogeneous priorities, can create when given the opportunity and space to express themselves – forming a cohesive ensemble of creative resources.
At the origin of this song is a chorus and a few lines by Dan Caplen (the singer), who created this initial draft in 2015. The song was then co-written in 2016 with several other members of the group (Piers Agget, Kesi Dryden, Amir Amor, and DJ Locksmith) and four additional writers: American singer John Ryan, British singer Jamie Scott, and composer Julian Brunetta.
Rudimental then invited rapper Macklemore, who collaborated with Dan Caplen by creating a few of his own verses, contributing the qualities of his differences and his unique touch.
It took two years for the producers to assemble this puzzle, bringing these talents together, notably convincing Jess Glynne – with her particularly distinctive voice – to join the project.
Neither a producer, composer, nor singer, but an exceptional drummer, Bennie Bhebhe, also known as Beanie, remains largely unnoticed in the credits. Yet his nuanced, eclectic rhythmic performance resonates perfectly throughout the track, adding real depth to the interpretation.
Every piece finds its place in this puzzle—from backing singers, musicians, and vocalists to cameramen, sound engineers, and the director.
In the end, the song embodies what a group of different individuals, with varied skills, diverse backgrounds, and heterogeneous priorities, can create when given the opportunity and space to express themselves – forming a cohesive ensemble of creative resources.
WHAT CONNECTION WITH THE APPROACH ?
To start, know that I love music – all kinds of music – if it speaks to me, whether at first glance or on a deeper level. I am not a musician, nor a music expert. An enthusiast ? Absolutely! – though some might find that term too modest. Perhaps a better way to put it is that I consider myself a true listener, not just someone who passively hears music.
It may seem difficult, even far-fetched, to draw a connection between a filmed piece of music and psychomotricity. This was not something I deliberately sought. Initially, I was simply struck by how this track literally grabbed me on the first listen.
A little googling later, I discovered the official video, released after the track went public, which features a couple—without me knowing at the time that it was rapper Macklemore and singer Jessica Hannah Glynne. At that stage, I had no deeper understanding of the reasons behind my auditory and rhythmic attraction.
I then found another video of the same track on Google: a live recording – the one you can see above. Here again, what I saw perfectly matched what I heard. I felt compelled – perhaps even driven – to watch and rewatch this video. Its apparent simplicity made it easy to dissect what happens during the performance, with the word “live” carrying signififcant meaning in relation to what is actually unfolding.
To start, know that I love music – all kinds of music – if it speaks to me, whether at first glance or on a deeper level. I am not a musician, nor a music expert. An enthusiast ? Absolutely! – though some might find that term too modest. Perhaps a better way to put it is that I consider myself a true listener, not just someone who passively hears music.
It may seem difficult, even far-fetched, to draw a connection between a filmed piece of music and psychomotricity. This was not something I deliberately sought. Initially, I was simply struck by how this track literally grabbed me on the first listen.
A little googling later, I discovered the official video, released after the track went public, which features a couple—without me knowing at the time that it was rapper Macklemore and singer Jessica Hannah Glynne. At that stage, I had no deeper understanding of the reasons behind my auditory and rhythmic attraction.
I then found another video of the same track on Google: a live recording – the one you can see above. Here again, what I saw perfectly matched what I heard. I felt compelled – perhaps even driven – to watch and rewatch this video. Its apparent simplicity made it easy to dissect what happens during the performance, with the word “live” carrying signififcant meaning in relation to what is actually unfolding.
First connection : Context
For those who have explored my site, in the field of psychomotricity, I frequently emphasize the importance of context – the environment we are confronted with or interact within. In this case, the “live” setting represents that context, combined with what each participant brings to the moment: their expectations, fears, doubts, ambitions, and certainties. All of this, coming together in such a short span of time, inevitably influences what follows—emotionally, cognitively, and mentally—for each person in different ways.
Research in psychomotricity (psychology of movement) and related fields shows that these factors shape how we coordinate and organize ourselves physically, cognitively, and mentally – perhaps even neurologically – all of which are deeply interdependent when operating in a fluctuating environment. And what could be more unpredictable than the challenge of generating emotion during the live performance and recording of a newly created piece ? Consider a collective performance on an unstable or shifting surface, requiring the same precision and timing. Individual athletes face similar challenges in sports such as skiing, mountain biking, or sailing. On a collective level, examples include relative formation skydiving, synchronized swimming, synchronized skiing, and synchronized diving.
These disciplines highlight the tight connection between performers and the environment they engage with every second. Yet this is something utterly commonplace, because we all do it constantly in every context – whether in sports, artistic creation, intellectual work, administrative tasks, manual or creative activities, scientific or technological work, biological or medical practice, or teaching. We are always adapting to what is happening around us. This is brain’s primary function: to allow us to adapt. However, we all do it differently. Even choosing no to act is itself a form of adaptation.
First connection : Context
For those who have explored my site, in the field of psychomotricity, I frequently emphasize the importance of context – the environment we are confronted with or interact within. In this case, the “live” setting represents that context, combined with what each participant brings to the moment: their expectations, fears, doubts, ambitions, and certainties. All of this, coming together in such a short span of time, inevitably influences what follows—emotionally, cognitively, and mentally—for each person in different ways.
Research in psychomotricity (psychology of movement) and related fields shows that these factors shape how we coordinate and organize ourselves physically, cognitively, and mentally – perhaps even neurologically – all of which are deeply interdependent when operating in a fluctuating environment. And what could be more unpredictable than the challenge of generating emotion during the live performance and recording of a newly created piece ? Consider a collective performance on an unstable or shifting surface, requiring the same precision and timing. Individual athletes face similar challenges in sports such as skiing, mountain biking, or sailing. On a collective level, examples include relative formation skydiving, synchronized swimming, synchronized skiing, and synchronized diving.
These disciplines highlight the tight connection between performers and the environment they engage with every second. Yet this is something utterly commonplace, because we all do it constantly in every context – whether in sports, artistic creation, intellectual work, administrative tasks, manual or creative activities, scientific or technological work, biological or medical practice, or teaching. We are always adapting to what is happening around us. This is brain’s primary function: to allow us to adapt. However, we all do it differently. Even choosing no to act is itself a form of adaptation.
Second connection : Tempo
“Rhythm” and “tempo” are often confused. Tempo refers to the overall pace of a piece of music, usually measured in beats per minute (BPM) and often set by a metronome. This pace can be established by percussion instruments of any kind and is typically associated with what a drummer expresses. However, in this track, the drummer shapes rhythms more than a strict tempo. He organizes variable durations over time, giving the piece different rhythmic patterns. The reverse can also be true: a slow and a fast military march can share the same rhythmic patterns, played at different speeds.
In the field of psychomotricity, each of us has our own personal tempo – a frequency that resonates with who we are, both neurocerebrally and energetically. When aligned with this natural tempo, we make better use of our psychomotor and neurocerebral resources. This can be applied to coordinated execution of complex, rhythmic movements – such as skiing through a slalom – but also in cognitive or manual tasks.
Tempo is one reason I was inspired to write this post: the connection between this song and my own psychomotor organization. That’s what seemed to happen to me (or within me…) when I listened to this track. Its tempo matched my psychomotor rhythm. Beyond my personal musical tastes, this resonance had a stimulating, even energizing effect, giving me the urge to experience it again and again – much like the effect of sugar in food: a subtle “soft power” whose benefits we feel without fully understanding why, yet our psychomotor system instinctively takes advantage of it.
Since we’re talking about frequencies, it’s worth noting another characteristic of our neurocerebral preferences: our systems operate at different frequencies – higher or lower, faster or slower. This directly relates to the tempo discussed above, and it also influences our visual perception. What occurs in response to an auditory tempo can similarly occur when we focus visually on colors: warm colors resonate with systems favoring lower frequencies, while cool colors resonate with systems prioritizing higher frequencies.
Second connection : Tempo
“Rhythm” and “tempo” are often confused. Tempo refers to the overall pace of a piece of music, usually measured in beats per minute (BPM) and often set by a metronome. This pace can be established by percussion instruments of any kind and is typically associated with what a drummer expresses. However, in this track, the drummer shapes rhythms more than a strict tempo. He organizes variable durations over time, giving the piece different rhythmic patterns. The reverse can also be true: a slow and a fast military march can share the same rhythmic patterns, played at different speeds.
In the field of psychomotricity, each of us has our own personal tempo – a frequency that resonates with who we are, both neurocerebrally and energetically. When aligned with this natural tempo, we make better use of our psychomotor and neurocerebral resources. This can be applied to coordinated execution of complex, rhythmic movements – such as skiing through a slalom – but also in cognitive or manual tasks.
Tempo is one reason I was inspired to write this post: the connection between this song and my own psychomotor organization. That’s what seemed to happen to me (or within me…) when I listened to this track. Its tempo matched my psychomotor rhythm. Beyond my personal musical tastes, this resonance had a stimulating, even energizing effect, giving me the urge to experience it again and again – much like the effect of sugar in food: a subtle “soft power” whose benefits we feel without fully understanding why, yet our psychomotor system instinctively takes advantage of it.
Since we’re talking about frequencies, it’s worth noting another characteristic of our neurocerebral preferences: our systems operate at different frequencies – higher or lower, faster or slower. This directly relates to the tempo discussed above, and it also influences our visual perception. What occurs in response to an auditory tempo can similarly occur when we focus visually on colors: warm colors resonate with systems favoring lower frequencies, while cool colors resonate with systems prioritizing higher frequencies.
Third connection : Collective Intelligence
Context and environment influence an individual’s psychomotor organization… Said like that, it may not sound extraordinary. Some argue that “it’s all mental” – that the mind alone is sufficient to cope with what surrounds us. In certain group settings, this perspective makes more simple analysis, observation, communication, and the actions to be taken… It’s no surprise that this approach is popular in today’s culture.
Yet nothing could be further from the truth. All living things properly only as a whole. Some call this “harmony,” but that’s a rather idealized view. Fundamentally, it’s a question of coherence among three dimensions that our psychomotor systems constantly rely on, in this order: context, perception, and action. Whether cognitive or physical, action emerges from what we implement based on the first two. Ignoring this exposes us to inconsistencies that undermine stability, regularity, and energy – the very qualities some refer to as “flow” in movement and coordination. The same applies to our cognitive and intellectual capacities: imagination, creativity, reasoning, analysis, and decision-making.
Within a group, this coherence – or the pursuit of it – begins with each member at their own level. What some call “thinking of oneself, focusing on oneself” does not mean disconnecting from what is happening around you – as is often suggested – or simply responding to external demands for the sake of efficiency. Rather, it means staying true to oneself from a psychomotor perspective, in relation to the specific context at hand.
This is what I observe in the performance of Rudimental and the guest artists. Each participant expresses who they are, turning fundamentally different intrinsic qualities into a remarkable collective cohesion. So much so that initial individual focus gives way to group harmony (in this case, musical harmony) and an instant – perhaps even ‘quantum’ – collective awareness of what they are experiencing and producing.
You may have noticed, as I did, that the voices of Jess Glynne and Dan Caplen evolve throughout the track, entering into resonance at the beginning of the second chorus. Because both are focused on context – their own voice while perceiving the other’s when singing separately – as they sing together, their voices resonate perfectly at that moment.
This did not escape Jess or Dan. By turning toward each other, they perceive the magic unfolding, allowing themselves to fully experience the moment. This acts as a catalyst, benefiting all performers and giving the piece additional energy and interpretive depth at every level.
The surrounding conditions and each individual’s personal state made this collective emergence possible.
Working within a group aims to create a enabling framework that fosters the emergence of individual and collective creative potential.
There is no intelligence without a body.
Third connection : Collective Intelligence
Context and environment influence an individual’s psychomotor organization… Said like that, it may not sound extraordinary. Some argue that “it’s all mental” – that the mind alone is sufficient to cope with what surrounds us. In certain group settings, this perspective makes more simple analysis, observation, communication, and the actions to be taken… It’s no surprise that this approach is popular in today’s culture.
Yet nothing could be further from the truth. All living things properly only as a whole. Some call this “harmony,” but that’s a rather idealized view. Fundamentally, it’s a question of coherence among three dimensions that our psychomotor systems constantly rely on, in this order: context, perception, and action. Whether cognitive or physical, action emerges from what we implement based on the first two. Ignoring this exposes us to inconsistencies that undermine stability, regularity, and energy – the very qualities some refer to as “flow” in movement and coordination. The same applies to our cognitive and intellectual capacities: imagination, creativity, reasoning, analysis, and decision-making.
Within a group, this coherence – or the pursuit of it – begins with each member at their own level. What some call “thinking of oneself, focusing on oneself” does not mean disconnecting from what is happening around you – as is often suggested – or simply responding to external demands for the sake of efficiency. Rather, it means staying true to oneself from a psychomotor perspective, in relation to the specific context at hand.
This is what I observe in the performance of Rudimental and the guest artists. Each participant expresses who they are, turning fundamentally different intrinsic qualities into a remarkable collective cohesion. So much so that initial individual focus gives way to group harmony (in this case, musical harmony) and an instant – perhaps even ‘quantum’ – collective awareness of what they are experiencing and producing.
You may have noticed, as I did, that the voices of Jess Glynne and Dan Caplen evolve throughout the track, entering into resonance at the beginning of the second chorus. Because both are focused on context – their own voice while perceiving the other’s when singing separately – as they sing together, their voices resonate perfectly at that moment.
This did not escape Jess or Dan. By turning toward each other, they perceive the magic unfolding, allowing themselves to fully experience the moment. This acts as a catalyst, benefiting all performers and giving the piece additional energy and interpretive depth at every level.
The surrounding conditions and each individual’s personal state made this collective emergence possible.
Working within a group aims to create a enabling framework that fosters the emergence of individual and collective creative potential.
There is no intelligence without a body.
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