(Em)Talk in’ like we (C)used to (G)do,
(Em)it was al ways (C)me and you.
(Em)Shap in’ up and (C)ship pin’ (G)out,
(Em)check me in and (C)check me out.
You’re the (Em)you like walk in’ (C)in the (G)rain?
When you (Em)think of love, do you (C)think of (G)pain?
You (Em)You can tell me (C)what you (G)see,
but (Em)I will choose what (C)I be lieve.
Well, hold on (C)dar lin’.
This bod y is yours, this bod y is yours and mine.
Well, hold on my (C)dar lin’.
This mess was yours,
now your mess is mine.
Ahh, (Em)ooh,
your (C)mess is (G)mine.
(Em)See you in the (C)mar ket (G)place
(Em)walk in’ ’round at (C)eight A.
M.
(Em)Got two hours be (C)fore my (G)flight,
(Em)luck be on my (C)side to night.
You’re the (Em)rea son that I (C)feel so (G)strong,
When the (Em)rea son that I’m you (C)hang in’ (G)on.
You (Em)know you gave me (C)all the (G)time
but (Em)did I give e (C)nough of mine?
Well, hold on (C)dar lin’.
This bod y is yours, this bod y is yours and mine.
Well, hold on my (C)dar lin’.
This mess was yours,
now your mess is mine.
Ahh, (Em)ooh,
your (C)mess is (G)mine.
(Em)Ooh,
your mess is mine.
Your (C)mess is (G)mine.
(Em)Bring me to your house and tell me, (G)“Sor ry for the mess.” Hey, I don’t mind.
You’re (G)talk in’ in your sleep, out of time.
Well, you (G)still make sense to me.
Your mess is mine.
Ahh, (Em)ooh,
(Em)ooh,
your mess is mine.
This (C)bod y’s (G)yours and this bod y’s mine.
(Em)Ooh,
your mess is mine.
Your (C)mess is (G)mine.
This page shows “Mess Is Mine” by Vance Joy 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 G at 105 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to solidify your four-chord confidence in the key of G, cycling through G, Em, C, and D — the classic I–vi–IV–V family that shows up everywhere in rock and pop. Your left hand holds a pedal bass pattern, meaning you'll mostly anchor on one low note while your right hand voices the chords above, so start hands-separate to lock in that steady left-hand foundation before layering the right. At 105 BPM the tempo is moderate but the ballad feel means every note rings out clearly, so sloppy transitions — especially moving from C up to D — will be obvious. Practice that C-to-D shift slowly until your fingers land together without hesitation. Once both hands feel comfortable alone, combine them at around 70 BPM and nudge the tempo up gradually. Keep your wrist relaxed through the repeated chord patterns; tension sneaks in fast on songs with a lot of repetition. This is the piece that'll make your I–vi–IV–V changes feel automatic, and that muscle memory pays off in dozens of songs ahead.