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After she drops off her work, Bedingfield grabs a parachute and jumps out the window. She lands on a rooftop with a change of attire and more people following suit. While Bedingfield sings, the crowd dances.

Meanwhile, a teenager is spray painting on a wall until the police arrive to arrest him. The video also cuts into scenes of Bedingfield in a red dress spinning around against the wind. In an attempt to escape, the teenager punches through the wall, entering the rooftop with Bedingfield and the backup dancers.

Bedingfield is then sitting in a chair and when an eclipse occurs, hence the line "in the darkness there's light. Back at the work building, the employees watch Bedingfield's performance via the LG Voyager cell phone. The video at this point features the child still drawing his picture and covering his ears, blocking out the sound of his parents arguing. The child walks out of the house he drew, when the camera shows Bedingfield meditating on a large lotus flower, while a group of belly dancers dance around her.

As the child walks up to her, Bedingfield opens her eyes. The end of the video shows the lotus flower rising up, while Bedingfield sings the final lines, then looking at the child. Future Dance Central choreographer Nick Demoura appears in the video. Despite the fact Bedingfield herself licenses a lot of her songs to video games this song has yet to appear in a Dance Central, We Cheer 2.

Usage in media[ edit ] "Pocketful of Sunshine" was recorded in Simlish for the video game The Sims 2: FreeTime ; a music video was also made using the game and portraying Bedingfield as a Sim. Charles wrote, sung, and produced the track. Why We Like It The song is cinematic. Charles channels the delivery and range of Marvin Gaye with the soul and unique energy of Sampha.

But do not mistake him for feeling like a replica. The song begins with simple glittery piano chords and leaves the vocals feeling naked in the most freeing sense. As the verse builds to the chorus the chords intensify but no other instruments are added. Charles floats from chest voice to falsetto with such ease it feels like it could only come from a natural impulse rather than a conscious melodic tactic.

The most remarkable part of the song is initially when you just hear his voice and piano you expect and hope at some point other instruments will enter. They never do. They would have taken away from the core energy carried by the duality of piano and singer.

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