If this is true, then maybe a strong key change right at the end doubles the effect. It creates the illusion that the song continues, thus prolonging the connection we feel to other listeners.
The appeal of the fade out, in Jeremy’s view, is that it allows our internal metronomes to persist. The Beat connects us, and we get pleasure from knowing that everyone feels it. And Jeremy theorized that maybe the reason why humans have such an innate love of music is that they allow us to experience the sense of time passing, and know that the rest of the group was experiencing it the same way. After all, the fade-out is something that can’t be recreated in live performance, so it seems like a very strange way to go. I once asked him why pop songs often ended with a fade-out at the end. My friend Jeremy Taylor understands music a lot better than I will probably understand anything, with the exception of Mario Kart. But I think something more subtle is at play here. Like, maybe the group wanted there to be one more chorus in the new key, but some record producer decided the track needed to come in under three minutes. Check it out yourself in the end credits of There’s Something About Mary. In total, there’s less than four measures of the new key. The fade-out begins immediately after the new key is locked in with “I need you,” and the song’s completely done five seconds later. And when I say right smack, I mean right smack. The key change in this song comes right smack at the end.
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