"Bedshaped" is a song by English rock band Keane, released as the third single from Hopes and Fears. It became their third consecutive top-10 hit on the UK Singles Chart, after "Somewhere Only We Know" and "Everybody's Changing", peaking at number 10. The song also reached the top 20 in Denmark and the Netherlands. Background and meaning "Bedshaped" was composed in 2001 by Tim Rice-Oxley. It was originally released as a B-side on the Fierce Panda release of "Everybody's Changing" in May 2003. James Sanger is credited on this song as the fourth composer. Rice-Oxley posted an explanation of the song on the official message board: Composition The song is written in the key of E major, with a tempo of 76bpm. After a mysterious intro, a honky tonk-reminiscent piano completes the main riff, with an Emaj chord. The vocals are introduced 59 seconds in. After the second chorus, a small piano-riff gives way to the song's instrumental bridge. This features gothic voices, and ends with a soaring synth lead-line (often sung by Chaplin during live performances). The song ends with Chaplin singing "But what do I know?, what do I know? I know". Music video The video for the song is available on the enhanced CD single version, as well as the bonus DVD edition of Hopes and Fears and on Strangers. The video is directed by Corin Hardy, and based on his 2003 stop-motion animated short film "Butterfly". The video shows a bedraggled, naked man amongst some refuse, drowning his sorrows in alcohol. He is lonely and sad, and crawls into a bathroom where he hides, and writes some of the song's lyrics such as 'don't laugh at me' and "don't look away" on the walls, like graffiti. A cat drags some ill-fitting clothes into the room for him, where he dresses and dares to venture outside. He exits and sees people gathered in a restaurant. He hallucinates and their faces turn into gremlin-like monsters, causing him to run back to the bathroom in fear, only for the walls to collapse and drown him in white light. The wizened man finds himself against a white background, where he witnesses animated versions of Keane's band members playing the titular song with the lyrics he wrote on the walls. Having seemingly found solace in this unusual scene, the man, along with Keane, fades into the light. The band appears throughout