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(D)I wan na be like (Gsus2)oth er girls.
(D)I wan na see what (Gsus2)oth er girls see.
(Bm7)Just to be free like (Em7)oth er girls
get to (D5)be.
na na,
na na na, na na na,
na na na, (G5)na na na,
na na na, whoa.)
To wear my old (F5)jeans.
To eat a whole (Bb5)cake.
Feel the sun on my (F5)feet.
Be qui et.
Be (D5)cra zy.
Be an y thing I (Eb5)want to be.
(D5)Dance a round in my (F5)un der wear.
To walk by my (F5)self.
Do noth ing all (Bb5)day.
To eat a whole (F5)cake.
Be crank y.
With (D5)frost ing.
No cam ’ras, no (Eb5)pres sures, no pho nies, no (D5)hair gel, no peo ple who (Eb5)think that they (CN.C.)know me but don’t.
No plat form (F5)shoes.
(D5)I wan na be like oth er girls.
I wan na see what oth er girls see.
(G5)Just to be free like oth er girls.
Whoa oh,
whoa oh.
(D5)I wan na be like oth er girls, (D5)I wan na see what oth er girls see.
(B5)Just to be free like oth er girls
(G5)get (F#5)to (D5)be.
na na,
na na na, na na na,
na na na, (G5)na na na,
na na na, whoa.)
er girls
(D5)I wan na be like oth er girls.
(D)I wan na see what oth er girls see.
(B5)Just to be free like oth er girls.
Whoa oh,
whoa oh.
(D5)I wan na be like oth er girls.
(D)I wan na see what oth er girls see.
(B5)Just to be free like oth er girls.
Whoa oh,
whoa oh.
(B5)Just to be free like oth er girls,
(A5)Just to be free like oth er girls
(G5)get (F#5)to (D5)be.
This page shows “Like Other Girls” by Atomic Kitten in our color-coded kid songbook view — every note is colored by pitch (red C, orange D, yellow E, green F, blue G, purple A, pink B) and the lyrics sit directly under each note, so children can sing along while they play. The song is in the key of D at 168 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great workout for keeping a steady oompah bass pattern in your left hand while your right hand navigates a surprisingly wide set of chord shapes. At 168 BPM the tempo moves briskly, so your left hand's root-fifth bounce needs to feel automatic — start hands-separate at around 120 BPM until that pattern locks in without thinking. The good news is that many of the 14 chords here are power shapes (root and fifth only), which sit easily under your fingers, but watch the transitions into Bm7, Em7, and Gsus2 where you suddenly need to voice fuller shapes — that shift in hand position trips people up mid-phrase. Pay special attention to any passages jumping between Bbpow or Ebpow and the home key of D; those chromatic moves demand quick, confident repositioning. Loop those specific transitions slowly before running full sections. Once this clicks, you'll have real confidence managing busy chord sets over a driving left-hand groove — a skill that transfers to dozens of pop arrangements.