Chords for Lauren Daigle - About The Album: Look Up Child
Tempo:
91.025 bpm
Chords used:
D
Em
Bm
G
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Eb] [Bm] [B]
[Em] I grew [E] up in Lafayette and Baton Rouge.
[C] Lafayette is this vibrant, artistic, cultural scene
where music is super prevalent and you go dancing, Zydeco, and then also in New Orleans,
like being on the [Em] streets and seeing those jazz bands that blow musicians out of the water.
[C] And they're just like boys in sweatpants and t-shirts just hanging out on the street corners
with this [Am] heritage of sound.
[C] The thing that makes Louisiana special, it's just layers and layers and layers of friendship
and [D] of community [Bm] connection that's [Em] really, really deep.
[C]
[D] [Bm] I [Em] [C] remember the first time I sang on stage, [D] I was three [Bm] years old.
I was [Em] a camel [Am] in the Christmas church play.
It was the [Em] first moment that I realized, [C] I want to be a singer when I grow up, that kind of [Bm] thing.
And I remember getting [Eb] off stage and telling my parents, [Em] like, I want to be this when I grow up.
[E] [D] [C] The thing about being on stage that compelled me that young was
I knew there was some [Em] sort of expression that came alive in me
and I knew that I had finally tapped into the best [C] way of expressing it.
Like, looking back, I can see where my wheels were spinning.
What was it that I loved about this?
What was it?
And I think that's what it was.
I found the place where I communicate [D] the fullness of [Bm] the expression I'm [C] trying to give.
The tone I'm [F] trying to speak in.
[Am] My first song that I [Dm] ever wrote was when I was 11 years old.
And I [Bb] remember my parents put me to sleep.
They were like, okay, goodnight Lauren, you know, [F] standard.
And I woke up, like, got [Am] out of bed.
It was like 11 o'clock at night.
And I just sat [Dm] on my bedroom floor, writing, writing, writing, writing, writing.
And [Bb] I walk in and I'm like, I have a song [F] to show you.
And they're like, what are you doing awake?
We put [Am] you to bed like hours ago.
And I walk [Dm] in and I said, I'm going to sing it.
And they're like, okay, [Bb] sing for us.
What do you have?
And I stood on the fireplace [F] ledge and performed my [Am] first song for them.
[Dm] So I would just sit in my [Bb] bedroom up late at night, 1 o'clock in the morning, whenever,
writing, writing, [F] writing.
If I was having a [Am] hard time with any relational [Dm] anything, I would write about it.
And just the pen to [Bb] the paper kind of became this cathartic space for me.
[Gm] None of it [F] was good.
My gosh, I found things, like, I have notebooks of stuff [Am] when I was a kid writing.
And it's like, this is [Dm] awful.
I wish I could say it was like an Adele situation where she's like [Bb] five and she's written like [F] the best love song ever.
But that's not [G] my case.
My, my, my, I've been in a
I was sick when I turned 15.
I got this illness and was placed on homebound for two years.
At that time, I mean, I would just sing all over the [D] house.
And my [Em] mom came to me and kind of like to keep me out of depression and keep me like with something to stimulate me.
[Bm] She was like, [C] hey, what do you think about starting voice lessons?
I was like, oh man, that would be [G] amazing.
Let's try it.
And so I was 16 years old when I, when I did that.
And I realized more than technique, more than anything like that, it was really just a place of confidence.
Where I was learning how to approach the stage with [D] [Em] confidence and security versus [Bm] fear and [C] trembling.
Cytomegalovirus was an autoimmune [D] disorder.
[G] And a lot of the healing [C] of that resurfaced [D] actually in the making of [G] this record, which is [C] super ironic, personally.
But I [D] feel like [G] I had to [C] get to a place where [G] that wasn't a thing that consumed me.
It didn't overtake me.
Really, the recording process was walking out that season.
The cathartic thing for me was learning the difference [Em] between where [Bm] I take an [C] experience and where I'm just simply a mouthpiece.
And how both of those are equivalently beautiful.
[D]
[G] [C] So [Bm] stepping back just a second, [G] [C] I remember having written for about a year.
[Am] And I got [Gm] to this [D] place of burnout [G] one year in.
[C]
And there was so many [D] marks missed, if you will.
[Em] I [Bm]
[G] took about a [D] year off.
I went back home to Louisiana to just remind [Em] myself of who I was, where I came from, where are [Bm] my roots.
And in that awareness, in that [G] understanding, [D] I'm finally able to say, like, I'm not going anywhere.
Like it's too [G] deep in my veins to get [Bm] lost.
It's too deep for me to lose that.
For me to [A] love people to the depth that I love people.
For [D] me to have that joy to the depth that I have [Em] joy.
Like, is there a cost?
[Bm] Absolutely, [Gm] for sure.
There's a weight to all of it.
But it doesn't mean [D] that it is overcome [Em] by the tension of expectation.
[Bm]
[G] I finished a season [D] where I had to fight for joy.
[Em] And out of that season of difficulty, arriving to that place became the [Bm] record.
[G] That's what the making of this record is for me.
It's having the [D] experience, breathing it, letting it live in [G] my bones, and then expressing it.
[Bm] And hopefully someone else out there connects [D] to that as well.
[Em] I feel like the [G] past few years have been me discovering that joy again.
And [Em] so I would love for people [D] to take that from this record.
[Em] To be in touch with their childlike nature again.
[D] But also for them to experience [Em] joy that they might not have felt in years.
[Bm] As I started writing, [G] that became Look Up Child.
[D]
In the moments when [Em] we don't have it nailed, when we don't have it figured out, [Bm] what is the one thing that we could do?
[G] Look up.
And that's what I want [D] people to leave with.
I want people to leave [Em] with the hope and the joy that comes [Bm] upon that simple action of looking up.
[G] [D] [Em] [Bm]
[Em] I grew [E] up in Lafayette and Baton Rouge.
[C] Lafayette is this vibrant, artistic, cultural scene
where music is super prevalent and you go dancing, Zydeco, and then also in New Orleans,
like being on the [Em] streets and seeing those jazz bands that blow musicians out of the water.
[C] And they're just like boys in sweatpants and t-shirts just hanging out on the street corners
with this [Am] heritage of sound.
[C] The thing that makes Louisiana special, it's just layers and layers and layers of friendship
and [D] of community [Bm] connection that's [Em] really, really deep.
[C]
[D] [Bm] I [Em] [C] remember the first time I sang on stage, [D] I was three [Bm] years old.
I was [Em] a camel [Am] in the Christmas church play.
It was the [Em] first moment that I realized, [C] I want to be a singer when I grow up, that kind of [Bm] thing.
And I remember getting [Eb] off stage and telling my parents, [Em] like, I want to be this when I grow up.
[E] [D] [C] The thing about being on stage that compelled me that young was
I knew there was some [Em] sort of expression that came alive in me
and I knew that I had finally tapped into the best [C] way of expressing it.
Like, looking back, I can see where my wheels were spinning.
What was it that I loved about this?
What was it?
And I think that's what it was.
I found the place where I communicate [D] the fullness of [Bm] the expression I'm [C] trying to give.
The tone I'm [F] trying to speak in.
[Am] My first song that I [Dm] ever wrote was when I was 11 years old.
And I [Bb] remember my parents put me to sleep.
They were like, okay, goodnight Lauren, you know, [F] standard.
And I woke up, like, got [Am] out of bed.
It was like 11 o'clock at night.
And I just sat [Dm] on my bedroom floor, writing, writing, writing, writing, writing.
And [Bb] I walk in and I'm like, I have a song [F] to show you.
And they're like, what are you doing awake?
We put [Am] you to bed like hours ago.
And I walk [Dm] in and I said, I'm going to sing it.
And they're like, okay, [Bb] sing for us.
What do you have?
And I stood on the fireplace [F] ledge and performed my [Am] first song for them.
[Dm] So I would just sit in my [Bb] bedroom up late at night, 1 o'clock in the morning, whenever,
writing, writing, [F] writing.
If I was having a [Am] hard time with any relational [Dm] anything, I would write about it.
And just the pen to [Bb] the paper kind of became this cathartic space for me.
[Gm] None of it [F] was good.
My gosh, I found things, like, I have notebooks of stuff [Am] when I was a kid writing.
And it's like, this is [Dm] awful.
I wish I could say it was like an Adele situation where she's like [Bb] five and she's written like [F] the best love song ever.
But that's not [G] my case.
My, my, my, I've been in a
I was sick when I turned 15.
I got this illness and was placed on homebound for two years.
At that time, I mean, I would just sing all over the [D] house.
And my [Em] mom came to me and kind of like to keep me out of depression and keep me like with something to stimulate me.
[Bm] She was like, [C] hey, what do you think about starting voice lessons?
I was like, oh man, that would be [G] amazing.
Let's try it.
And so I was 16 years old when I, when I did that.
And I realized more than technique, more than anything like that, it was really just a place of confidence.
Where I was learning how to approach the stage with [D] [Em] confidence and security versus [Bm] fear and [C] trembling.
Cytomegalovirus was an autoimmune [D] disorder.
[G] And a lot of the healing [C] of that resurfaced [D] actually in the making of [G] this record, which is [C] super ironic, personally.
But I [D] feel like [G] I had to [C] get to a place where [G] that wasn't a thing that consumed me.
It didn't overtake me.
Really, the recording process was walking out that season.
The cathartic thing for me was learning the difference [Em] between where [Bm] I take an [C] experience and where I'm just simply a mouthpiece.
And how both of those are equivalently beautiful.
[D]
[G] [C] So [Bm] stepping back just a second, [G] [C] I remember having written for about a year.
[Am] And I got [Gm] to this [D] place of burnout [G] one year in.
[C]
And there was so many [D] marks missed, if you will.
[Em] I [Bm]
[G] took about a [D] year off.
I went back home to Louisiana to just remind [Em] myself of who I was, where I came from, where are [Bm] my roots.
And in that awareness, in that [G] understanding, [D] I'm finally able to say, like, I'm not going anywhere.
Like it's too [G] deep in my veins to get [Bm] lost.
It's too deep for me to lose that.
For me to [A] love people to the depth that I love people.
For [D] me to have that joy to the depth that I have [Em] joy.
Like, is there a cost?
[Bm] Absolutely, [Gm] for sure.
There's a weight to all of it.
But it doesn't mean [D] that it is overcome [Em] by the tension of expectation.
[Bm]
[G] I finished a season [D] where I had to fight for joy.
[Em] And out of that season of difficulty, arriving to that place became the [Bm] record.
[G] That's what the making of this record is for me.
It's having the [D] experience, breathing it, letting it live in [G] my bones, and then expressing it.
[Bm] And hopefully someone else out there connects [D] to that as well.
[Em] I feel like the [G] past few years have been me discovering that joy again.
And [Em] so I would love for people [D] to take that from this record.
[Em] To be in touch with their childlike nature again.
[D] But also for them to experience [Em] joy that they might not have felt in years.
[Bm] As I started writing, [G] that became Look Up Child.
[D]
In the moments when [Em] we don't have it nailed, when we don't have it figured out, [Bm] what is the one thing that we could do?
[G] Look up.
And that's what I want [D] people to leave with.
I want people to leave [Em] with the hope and the joy that comes [Bm] upon that simple action of looking up.
[G] [D] [Em] [Bm]
Key:
D
Em
Bm
G
C
D
Em
Bm
[Eb] _ [Bm] _ _ [B] _ _ _ _ _
_ _ [Em] _ I grew [E] up in Lafayette and Baton Rouge.
[C] Lafayette is this vibrant, artistic, cultural scene
where music is super prevalent and you go dancing, Zydeco, and then also in New Orleans,
like being on the [Em] streets and seeing those jazz bands that blow musicians out of the water.
[C] And they're just like boys in sweatpants and t-shirts just hanging out on the street corners
with this [Am] heritage of sound.
[C] The thing that makes Louisiana special, it's just layers and layers and layers of friendship
and [D] of community [Bm] connection that's [Em] really, really deep.
[C] _
_ [D] _ [Bm] I _ [Em] [C] remember the first time I sang on stage, [D] I was three [Bm] years old.
I was [Em] a camel [Am] in the Christmas church play.
It was the [Em] first moment that I realized, [C] I want to be a singer when I grow up, that kind of [Bm] thing.
And I remember getting [Eb] off stage and telling my parents, [Em] like, I want to be this when I grow up. _
_ _ _ [E] _ _ [D] _ [C] The thing about being on stage that compelled me that young was
I knew there was some [Em] sort of expression that came alive in me
and I knew that I had finally tapped into the best [C] way of expressing it.
Like, looking back, I can see where my wheels were spinning.
What was it that I loved about this?
What was it?
And I think that's what it was.
I found the place where I communicate [D] the fullness of [Bm] the expression I'm [C] trying to give.
The tone I'm [F] trying to speak in.
_ _ _ _ [Am] _ My first song that I [Dm] ever wrote was when I was 11 years old.
And I [Bb] remember my parents put me to sleep.
They were like, okay, goodnight Lauren, you know, [F] standard.
And I woke up, like, got [Am] out of bed.
It was like 11 o'clock at night.
And I just sat [Dm] on my bedroom floor, writing, writing, writing, writing, writing.
And [Bb] I walk in and I'm like, I have a song [F] to show you.
And they're like, what are you doing awake?
We put [Am] you to bed like hours ago.
And I walk [Dm] in and I said, I'm going to sing it.
And they're like, okay, [Bb] sing for us.
What do you have?
And I stood on the fireplace [F] ledge and performed my [Am] first song for them.
_ _ _ [Dm] _ _ So I would just sit in my [Bb] bedroom up late at night, 1 o'clock in the morning, whenever,
writing, writing, [F] writing.
If I was having a [Am] hard time with any relational [Dm] anything, I would write about it.
And just the pen to [Bb] the paper kind of became this cathartic space for me.
[Gm] None of it [F] was good.
My gosh, I found things, like, I have notebooks of stuff [Am] when I was a kid writing.
And it's like, this is [Dm] awful.
I wish I could say it was like an Adele situation where she's like [Bb] five and she's written like [F] the best love song ever.
But that's not [G] my case.
_ _ _ _ _ _ My, my, my, I've been in a_
I was sick when I turned 15.
I got this illness and was placed on homebound for two years.
At that time, I mean, I would just sing all over the [D] house.
And my [Em] mom came to me and kind of like to keep me out of depression and keep me like with something to stimulate me.
[Bm] She was like, [C] hey, what do you think about starting voice lessons?
I was like, oh man, that would be [G] amazing.
Let's try it.
And so I was 16 years old when I, when I did that.
And I realized more than technique, more than anything like that, it was really just a place of confidence.
Where I was learning how to approach the stage with [D] [Em] confidence and security versus [Bm] fear and [C] trembling. _ _ _ _
Cytomegalovirus was an autoimmune [D] disorder.
[G] And a lot of the healing [C] of that resurfaced [D] actually in the making of [G] this record, which is [C] super ironic, personally.
But I [D] feel like [G] I had to [C] get to a place where [G] that wasn't a thing that consumed me.
It didn't overtake me.
Really, the recording process was walking out that season.
The cathartic thing for me was learning the difference [Em] between where [Bm] I take an [C] experience and where I'm just simply a mouthpiece.
And how both of those are equivalently beautiful.
[D] _
_ [G] _ _ _ _ [C] So [Bm] stepping back just a second, [G] _ [C] I remember having written for about a year.
[Am] And I got [Gm] to this [D] place of burnout [G] one year in.
[C]
And there was so many [D] marks missed, if you will. _
_ _ [Em] _ _ I [Bm] _ _
_ [G] took about a [D] year off.
I went back home to Louisiana to just remind [Em] myself of who I was, where I came from, where are [Bm] my roots.
And in that awareness, in that [G] understanding, [D] I'm finally able to say, like, I'm not going anywhere.
Like it's too [G] deep in my veins to get [Bm] lost.
It's too deep for me to lose that.
For me to [A] love people to the depth that I love people.
For [D] me to have that joy to the depth that I have [Em] joy.
Like, is there a cost?
[Bm] Absolutely, [Gm] for sure.
There's a weight to all of it.
But it doesn't mean [D] that it is overcome [Em] by the tension of expectation.
_ _ _ [Bm] _ _
_ [G] I finished a season [D] where I had to fight for joy.
[Em] And out of that season of difficulty, arriving to that place became the [Bm] record.
[G] That's what the making of this record is for me.
It's having the [D] experience, breathing it, letting it live in [G] my bones, and then expressing it.
[Bm] And hopefully someone else out there connects [D] to that as well. _ _ _ _ _
_ [Em] I feel like the [G] past few years have been me discovering that joy again.
And [Em] so I would love for people [D] to take that from this record.
[Em] To be in touch with their childlike nature again.
[D] But also for them to experience [Em] joy that they might not have felt in years.
[Bm] As I started writing, [G] that became Look Up Child.
_ [D] _
In the moments when [Em] we don't have it nailed, when we don't have it figured out, [Bm] what is the one thing that we could do?
[G] Look up.
And that's what I want [D] people to leave with.
I want people to leave [Em] with the hope and the joy that comes [Bm] upon that simple action of looking up.
[G] _ _ _ _ [D] _ _ _ _ [Em] _ _ _ _ [Bm] _ _
_ _ [Em] _ I grew [E] up in Lafayette and Baton Rouge.
[C] Lafayette is this vibrant, artistic, cultural scene
where music is super prevalent and you go dancing, Zydeco, and then also in New Orleans,
like being on the [Em] streets and seeing those jazz bands that blow musicians out of the water.
[C] And they're just like boys in sweatpants and t-shirts just hanging out on the street corners
with this [Am] heritage of sound.
[C] The thing that makes Louisiana special, it's just layers and layers and layers of friendship
and [D] of community [Bm] connection that's [Em] really, really deep.
[C] _
_ [D] _ [Bm] I _ [Em] [C] remember the first time I sang on stage, [D] I was three [Bm] years old.
I was [Em] a camel [Am] in the Christmas church play.
It was the [Em] first moment that I realized, [C] I want to be a singer when I grow up, that kind of [Bm] thing.
And I remember getting [Eb] off stage and telling my parents, [Em] like, I want to be this when I grow up. _
_ _ _ [E] _ _ [D] _ [C] The thing about being on stage that compelled me that young was
I knew there was some [Em] sort of expression that came alive in me
and I knew that I had finally tapped into the best [C] way of expressing it.
Like, looking back, I can see where my wheels were spinning.
What was it that I loved about this?
What was it?
And I think that's what it was.
I found the place where I communicate [D] the fullness of [Bm] the expression I'm [C] trying to give.
The tone I'm [F] trying to speak in.
_ _ _ _ [Am] _ My first song that I [Dm] ever wrote was when I was 11 years old.
And I [Bb] remember my parents put me to sleep.
They were like, okay, goodnight Lauren, you know, [F] standard.
And I woke up, like, got [Am] out of bed.
It was like 11 o'clock at night.
And I just sat [Dm] on my bedroom floor, writing, writing, writing, writing, writing.
And [Bb] I walk in and I'm like, I have a song [F] to show you.
And they're like, what are you doing awake?
We put [Am] you to bed like hours ago.
And I walk [Dm] in and I said, I'm going to sing it.
And they're like, okay, [Bb] sing for us.
What do you have?
And I stood on the fireplace [F] ledge and performed my [Am] first song for them.
_ _ _ [Dm] _ _ So I would just sit in my [Bb] bedroom up late at night, 1 o'clock in the morning, whenever,
writing, writing, [F] writing.
If I was having a [Am] hard time with any relational [Dm] anything, I would write about it.
And just the pen to [Bb] the paper kind of became this cathartic space for me.
[Gm] None of it [F] was good.
My gosh, I found things, like, I have notebooks of stuff [Am] when I was a kid writing.
And it's like, this is [Dm] awful.
I wish I could say it was like an Adele situation where she's like [Bb] five and she's written like [F] the best love song ever.
But that's not [G] my case.
_ _ _ _ _ _ My, my, my, I've been in a_
I was sick when I turned 15.
I got this illness and was placed on homebound for two years.
At that time, I mean, I would just sing all over the [D] house.
And my [Em] mom came to me and kind of like to keep me out of depression and keep me like with something to stimulate me.
[Bm] She was like, [C] hey, what do you think about starting voice lessons?
I was like, oh man, that would be [G] amazing.
Let's try it.
And so I was 16 years old when I, when I did that.
And I realized more than technique, more than anything like that, it was really just a place of confidence.
Where I was learning how to approach the stage with [D] [Em] confidence and security versus [Bm] fear and [C] trembling. _ _ _ _
Cytomegalovirus was an autoimmune [D] disorder.
[G] And a lot of the healing [C] of that resurfaced [D] actually in the making of [G] this record, which is [C] super ironic, personally.
But I [D] feel like [G] I had to [C] get to a place where [G] that wasn't a thing that consumed me.
It didn't overtake me.
Really, the recording process was walking out that season.
The cathartic thing for me was learning the difference [Em] between where [Bm] I take an [C] experience and where I'm just simply a mouthpiece.
And how both of those are equivalently beautiful.
[D] _
_ [G] _ _ _ _ [C] So [Bm] stepping back just a second, [G] _ [C] I remember having written for about a year.
[Am] And I got [Gm] to this [D] place of burnout [G] one year in.
[C]
And there was so many [D] marks missed, if you will. _
_ _ [Em] _ _ I [Bm] _ _
_ [G] took about a [D] year off.
I went back home to Louisiana to just remind [Em] myself of who I was, where I came from, where are [Bm] my roots.
And in that awareness, in that [G] understanding, [D] I'm finally able to say, like, I'm not going anywhere.
Like it's too [G] deep in my veins to get [Bm] lost.
It's too deep for me to lose that.
For me to [A] love people to the depth that I love people.
For [D] me to have that joy to the depth that I have [Em] joy.
Like, is there a cost?
[Bm] Absolutely, [Gm] for sure.
There's a weight to all of it.
But it doesn't mean [D] that it is overcome [Em] by the tension of expectation.
_ _ _ [Bm] _ _
_ [G] I finished a season [D] where I had to fight for joy.
[Em] And out of that season of difficulty, arriving to that place became the [Bm] record.
[G] That's what the making of this record is for me.
It's having the [D] experience, breathing it, letting it live in [G] my bones, and then expressing it.
[Bm] And hopefully someone else out there connects [D] to that as well. _ _ _ _ _
_ [Em] I feel like the [G] past few years have been me discovering that joy again.
And [Em] so I would love for people [D] to take that from this record.
[Em] To be in touch with their childlike nature again.
[D] But also for them to experience [Em] joy that they might not have felt in years.
[Bm] As I started writing, [G] that became Look Up Child.
_ [D] _
In the moments when [Em] we don't have it nailed, when we don't have it figured out, [Bm] what is the one thing that we could do?
[G] Look up.
And that's what I want [D] people to leave with.
I want people to leave [Em] with the hope and the joy that comes [Bm] upon that simple action of looking up.
[G] _ _ _ _ [D] _ _ _ _ [Em] _ _ _ _ [Bm] _ _