The vocal delivery in the choruses here is unusual in that it bucks the pop-EDM cliché for female vocals to start out breathy and conversational in the verse and then open out into some kind of more powerful, soulful chorus as the main beat kicks in. What the singer Dyo does instead is extend her breathy head voice right up into the soprano register (up to top F) and then slightly forces the level to impart a terrific ‘schoolgirl who smokes behind the bike sheds’ character that’s rarely been heard in the charts since the heyday of Macy Gray. But this vocal styling isn’t just ear-catching. It also works very well in arrangement terms, because it provides an excellent contrast with the voice-like distorted riffing first heard at 1:55, which therefore stands out in proud relief, and it still leaves Dyo room to ramp up the R&B posturing for climactic effect in the final chorus at 2:31.
If I’ve convinced you to check out this production for its vocals, though, don’t leave the song before also appreciating that great one-note rhythm guitar that so beautifully elevates the second chorus, as well as my most recent Snare Fill Of The Month laureate, which appears just before the final chorus at 2:30.