Burn the Witch

The harmonic language of 'Burn the Witch' is deliberately spare — the song's power comes from orchestration and rhythm rather than chord movement. Playing strings with plectrums transforms a traditionally warm chamber texture into something mechanical and threatening. The cellos and basses hold a minor-key foundation while the upper strings gradually destabilize in the second half, drifting from tightly controlled unison into tonal friction that mirrors the lyrical subject of mob hysteria spiraling out of control.

Radiohead began working on 'Burn the Witch' during the Kid A sessions in 2000, returning to it during the making of Hail to the Thief (2003) and In Rainbows (2007). The title appeared in the Hail to the Thief album booklet artwork, and Thom Yorke mentioned the song in a 2005 blog post and circulated draft lyrics in 2007. During live performances in 2006 and 2008 he played a few chords from it, telling audiences Radiohead would perform it properly 'when we get the orchestra.' Jonny Greenwood, who arranged the string parts, said the song was always conceived for strings: 'We left it unfinished on purpose and left lots of room for the strings and we never do that usually. Usually the strings are the icing on top.' The piece finally came together for A Moon Shaped Pool in 2016.

Released on 3 May 2016 as the lead single from A Moon Shaped Pool, 'Burn the Witch' announced Radiohead's return with an orchestral assault unlike anything in their back catalog. The London Contemporary Orchestra played their strings with guitar plectrums rather than bows, turning chamber textures into a taut, percussive engine. Thom Yorke aimed the lyrics at groupthink and public shaming, while the stop-motion video drew on The Wicker Man and 1960s British children's television.