Lyrically Speaking: the darker meaning of Frankie Goes To Hollywood hit ‘The Power of Love’
Due to its timing and cultural associations, the enduring classic ‘The Power of Love’ by Frankie Goes To Hollywood has become synonymous with the Christmas season. While the Nativity-themed music video also contributed to this connection, the song has acquired new significance over the years, influenced by evolving societal acceptance and its integration into popular culture.
When ‘The Power of Love’ debuted in 1984, Frankie Goes To Hollywood had already established a reputation for their bold musical approach. Previous hits like ‘Relax’ and ‘Two Tribes’, addressing themes of sex and politics, showcased their willingness to explore controversial subjects through their music. This period also coincided with the burgeoning AIDS crisis, which was transitioning from a bubbling health concern to a fully established media-driven moral panic.
At the same time, band members Holly Johnson and Paul Rutherford, both gay, played a significant role in the musical movement that brought homosexuality into the musical mainstream. While initially perceived as a festive anthem, ‘The Power of Love’ delves into spirituality and religion themes, conveying love’s profound significance. Within the context of Johnson’s complex personal life and the era’s defining sense of paranoia, the song becomes allegorical, exploring the challenges of strained love and the yearning to experience it authentically.
While singing about gay themes in the 1980s was not as concealed or taboo as in earlier years, the context of the AIDS epidemic intertwined homosexuality with the macabre and notions of sin. Still, queer musical icons remained steadfast in the fight towards acceptance. For instance, Bronski Beat’s ‘Smalltown Boy’ delved into the challenges faced by homosexuals within the family, while the band’s polished synth-pop style aligned seamlessly with the prevalent musical tastes of the early 1980s. Even in the later years of the decade, the spirit of gay pride persisted with anthems like Erasure’s ‘A Little Respect’.
‘The Power of Love’, however, was unique in its approach. Rather than emanating a sense of celebration akin to the joyfulness of “coming out” or being your true self, Frankie Goes To Hollywood explored the universal notion that love is more important in life than anything else. Even the music video, which appears overtly religious, set out to hit those profound moments. “We didn’t set out to take the piss,” said Kevin Godley, who directed the video alongside Lol Creme. “We wanted it to be as genuine as possible, to hit some emotional marks in the song.”
While there’s no indication that ‘The Power of Love’ was originally intended for the realm of gay pride, its evolution over time has led it to be associated with such themes, especially through its inclusion in mainstream art. In All Of Us Strangers, the song takes on a significant role in the film’s soundtrack, particularly as Andrew Scott’s character Adam embraces his overwhelming love in the final moments, delivering some of the song’s profound lyrics to comfort Paul Mescal’s Harry.
Elsewhere, it’s clear within the lyrics that the song possesses incredible depth, paralleling the oftentimes tragic outcomes of falling in love during a time as complicated and heartbreaking as the 1980s landscape. “I’ll protect you from the hooded claw,” Johnson speaks in between piercing chords, “keep the vampires from your door”. Immediately, it’s clear this is an overwhelming kind of love, one that “feels like fire”.
This remains constant throughout the first verse with lines like, “Dreams are like angels / They keep bad at bay / Love is the light / Scaring darkness away.” It’s dark and endearing, cutting deep into the corners of those who have ever felt a love too overpowering. However, even though it’s clearly terrifying, it’s worth it: “I’m so in love with you / Purge the soul / Make love your goal.”
The song’s intense association with the Christmas period renders it almost lost to the meaningless facade of endless festive tracks played alongside it. However, a deeper listen is sure to reconcile its poignancy. There are three moments within the song that appear of heightened intensity; the first comes as Johnson sings, “When the chips are down I’ll be around / With my undying, death-defying love for you,” with vocal climaxes that speak of truth and longing to his everlasting muse.
The second, “Love is like an energy / Rushin’ an’ rushin’ inside of me,” strengthens the complete message of the song about limitless, almost forbidden love. If crafted with the societal taboo on homosexuality in mind, this would mark the point where it becomes all-encompassing, a force impossible to resist even in the face of societal opposition.
Then there’s the song’s pinnacle, the haunting words, “This time we go sublime / Lovers entwine, divine, divine / Love is danger, love is pleasure / Love is pure, the only treasure.” If distilled to a single lyric encapsulating its entire essence, this would be it. Love embodies danger, yet it’s also pleasure, our sole treasure, compelling us to surrender to it despite its potential to destroy us, piece by piece.
