For all that “Move Closer”‘s intro positions the song as a see-what-you’re-giving-up-boy move, on the surface there’s something surprisingly chaste about this record – maybe it’s Nelson’s high-register sweetness, or just the way she calls her lover “my dear”. It’s the sort of song people make Hallmark Card-style videos for, all soft focus and sunsets.
And for the first verse that’s all it is: the percussion does that 80s soul thing of slowly touring all available drum sounds and adding some echo, Nelson herself glides easily into the memorable but low-intensity chorus. But then things get more intriguing. She starts to wander around the melody, and her wavering, joy-distracted singing turns the song from a public declaration into a private moment. The climax – the push from “my dear” into the blissful command of that long “move” – is almost uncomfortably intimate. A second chorus serves as comedown, and then nothing: in true old-school Mills and Boon style the bedroom door is discreetly closed, and the lovers hidden from sight.