A hand finds a belly, the clock won’t move, the room starts to tilt. A voice, half-hoarse with relief, blurts the line every new parent waits to hear: “Here comes your baby.”
Baby! isn’t a lullaby so much as a delivery-room prologue, a candid memo from the moment life gets noisy for real.
The song opens Dijon’s second album, Baby, released 15 August 2025 on R&R/Warner, a compact 12-track set that treats love, family and mess as the same weather system.
Play it once and the seams glow like neon. Acoustic guitar is chopped until it crackles, breaths are left in, edits jut like unfiled nails.
Pitchfork called the album “bold, irreverent, exploratory,” the kind of R&B that makes the seams the point, and “Baby!” sets that manifesto in motion.
He writes it like a letter to his kid.
“Yes, I did dance with your mother before I knew her name”
He recalls, then fast-cuts from the meet-cute to a palm on the stomach to a panicked wait in the corridor.
“Touched her belly… how long until you land?”
Naming becomes a game, a joke and a vow: “what about ‘Baby,’ that’s a pretty good name.” A simple image locks in: a father improvising as the lights flare.
Where does a love song end and a family document begin?
The track’s bones tell you who built it. Writers listed for Baby! are Dijon Duenas, Buddy Ross, Henry Kwapis and Tobias Jesso Jr., with production by Dijon and Andrew Sarlo.
Across the album Sarlo is the deep co-pilot, a collaborator Dijon thanked publicly when he introduced Baby to the world.
“Baby is album 2 for [Joanie] and our son Baby, made in a fever storm,” he posted, saluting Sarlo as “deep co pilot” and shouting out Mk.gee, BJ Burton, Henry Kwapis, Tommy King and Tobias Jesso Jr. as “potent and heavy and vital.” It reads like a family roll call. You can feel that village in the sound.
The quick runtime and compact architecture, twelve songs in thirty-seven minutes, but the interior feels huge, like someone knocked down walls between rooms.
One moment you’re inside a gentle guitar loop, the next you’re swallowed by a hi-hat blizzard or a re-amped piano shard.
Baby! sketches the lore. The album then flips immediacy into euphoria on Another Baby!, a gleaming stomp that treats desire and domestic ambition like the same voltage.
Yamaha is the most obvious pop lure, chrome-bright and huge, the track feels floated as a hypothetical single in a record that pretends singles don’t exist.
The middle stretch cuts darker and thornier. FIRE! howls until the speakers feel like they’re rattling off their mounts, while Rewind sits with doubts about what a child might inherit from you once the glow wears off.
When a voice tries to be brave and ordinary at once, what breaks and what holds?
You hear it as emotion first, narrative second, a choice that fits the way parenthood really arrives: together and too much.
Dijon chose not to keep the mess off the tape. Early in his career he said he wanted to engage with pop using “messy, far-out sonic choices,” a line The Fader has echoed in coverage, and Baby finally plants that flag on the highest hill.
The result earned Best New Music at Pitchfork and a Metacritic score in the 90s within days, a tidy counter to the idea that scuff equals self-indulgence.
The reception on the ground has its own texture. In the official Baby! audio comments, a wave of listeners arrives through Kim Taehyung’s recommendation, which means the thread reads like a live export of Internet word-of-mouth: thanks to V, proclamations of album of the year, long-time fans relieved he’s back after four years, people joking they won’t sleep because they’re looping it.
That mix of day-one devotion and new-fan curiosity tells you a lot about how this song travels.
Two other early listener reviews put useful frame around Baby! without flattening it.
One channel admitted the opener caught them off guard emotionally, talking about how the abrupt edits and stop-starts somehow sharpen the intimacy rather than pull you out of it.
Another reviewer called the album “messy yet warm,” praising how Yamaha explodes without losing control. Hear those as patterns, not absolute truths.
If you want the lyrics meaning in one breath: the song is a timeline compressed until it sparks.
First night, first touch, the waiting, the doctor’s voice, then the goofy solemnity of choosing what to call the new person. It sounds like a wink, it reads like a promise.
The album takes that little story and runs a circuit through it: joy, sex, fatigue, fear, repair, repeat.
When Dijon writes on Instagram that this is for Joanie and their son, that the record was made “in a fever storm,” he’s not being grand. He’s filing a field report.
Baby! is the smudge. “Here comes your baby.” A line like “yes, I did dance with your mother before I knew her name” glows because it’s not trying to be clever, it’s trying to be true under stress.
The production’s cracks are the story’s cracks, and that’s why the entry point feels so immediate: you’re there, in the hall, fidgeting, stalling, blurting jokes to keep the panic at bay, then the door opens and the world rearranges.
Some reviewers talk about “errors” as expression. Others calls it mania, a total artwork made from collision.
Both reads are useful; neither replaces the small, private images the song leaves behind.
Maybe that’s the test for love songs now, especially ones carrying family on their shoulders.
Not divine language, just plain talk that keeps coming back, the way a newborn’s first sound reorganises a room.
If the album is the house where that life happens, Baby! is the doorway.
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Full Baby! Lyrics from Dijon
Intro
(Baby, baby, baby, baby)
Verse 1
Yes, I did dance with your mother ‘
Before I knew her name (Baby)
Before I knew her name
Before I knew
Had a laugh with your mother, went on our first date
I said “I’m glad you came.”
She said “I feel the same”
So how about that now, Baby
Chorus
Baby (Baby)
What a beautiful thing
I said, “Baby” (Baby)
“What a beautiful thing”
Verse 2
I got wild with your mother, ended on the bed
She said “kiss me on the neck”
So I kissed her neck
Took like really no time with your mother
You had bigger plans
I said that “I’m half a man–
And darling I can’t, or maybе I can?”
How could you know, Baby
Chorus
Baby
That’s a beautiful thing
How could you know!? Baby
What’s a beautiful thing?
Verse 3
So I touched hеr belly about a million times
Lord
“How long until you land, okay?
Because we’re waiting for you, Baby.”
Baby (Baby)
Went to chat with your mother, then the doctor came
I said the doctor came
And I said “Hey, Doc…”
Tried to laugh with my baby, then she made that face
I said if I could take your pain you know I would
You know I wo–
Chorus
“Here comes your baby!” (Baby)
Well that’s a beautiful thing
Said I’m with it now, Baby
What a beautiful thing
I said “what about “Baby–
That’s a pretty good name.”
“I said what about Baby”
That’s a pretty good name.”
And here comes your baby
