The most revealing line on “Shotgun” isn’t about love at all. When Reuben Aziz sings “Cupid got good aim”, he admits something sharper: he’s been hit, and he’s choosing to stay anyway.
The pitched-up vocals that open the track aren’t just Southampton’s answer to 808s-era Kanye. They’re the sound of someone trying to stay tender while nursing a wound.
The shotgun metaphor cuts deeper than its road-trip packaging suggests.
Aziz isn’t driving. He’s riding passenger, asking his girl not to “drive me insane” while admitting his heart’s already sawed in half. There’s a quiet horror in that image. A sawn heart doesn’t heal clean. It splinters.
The production sits somewhere between R&B meditation and mosh-pit tension. Those MBDTF-inspired atmospherics create space for Aziz’s falsetto to float, but the bass threatens to crack through at any moment.
That duality mirrors the lyrics: he wants limitless love (“we could touch sky, there’s no roof”), but he’s already calculating losses (“there is no losing me”).
When he insists “I can never change on you, baby I promise”, it feels less like devotion and more like negotiation.
Young love in Britain right now means proving constancy in a landscape built for ghosting. Aziz positions himself as reliable, but the repetition betrays the doubt.
“Shotgun” works because it refuses to pretend proximity equals safety. You can be right there in the passenger seat and still feel the distance widening. Aziz knows that. The pitched vocals just make it easier to say.