Where Are You Now

Lost Frequencies · Where Are You Now

You're just like my favorite song
Going round and round my head
Like my favorite song
Going round and round my head
Five days on the freeway
Ridin' shotgun with you (yeah, yeah)
Two hearts in the fast lane
We had big dreams in blue (yeah, yeah)
Playin' "Sweet Child O' Mine"
And I still feel that line
Where are you now?
Where are you now?
Hey, it's been too long
Too long to go, my love
Where did we go wrong?
Too late to turn around
Where are you now?
Where are you now?
Hey, it's been too long
You're just like my favorite song
Going round and round my head
Like my favorite song
Going round and round my head
You're just like my favorite song
Going round and round my head
Like my favorite song
Going round and round my head
Hey, it's been too long
Some days I can feel it
But the feelin' ain't all blue
You got me believin'
One day you gotta come through
Lost in these city lights
'Cause I can't sleep tonight
Where are you now?
Where are you now?
Hey, it's been too long
Too long to go, my love
Where did we go wrong?
Too late to turn around
Where are you now?
Where are you now?
Hey, it's been too long
You're just like my favorite song
Going round and round my head
Like my favorite song
Going round and round my head
You're just like my favorite song
Going round and round my head
Like my favorite song
Going round and round my head
Where are you now?
Where are you now?
Where are you now?
Where are you now?
Where are you now?

About Where Are You Now

"Where Are You Now" is a collaboration between Belgian producer Lost Frequencies and British singer Calum Scott. The song combines a plaintive vocal with a clean dance-pop frame, turning longing into something suitable for both radio and festival sets. Scott's voice carries the emotional weight, asking after someone absent, while Lost Frequencies keeps the production smooth and uncluttered. The track avoids the heavy drop structure of some dance music, choosing instead a melodic, bittersweet lift. Its international success came from that balance: it is sad enough to feel personal, but bright enough to move easily through mainstream pop spaces.