Don't Forget - Composition

Composition

Musically, the songs on Don't Forget draw from pop rock and power pop genres. Stephen Thomas Erlewine of Allmusic wrote that it includes "bright, sugary, snappy power pop, fueled by big, fuzzy guitars and big, muscular hooks." As most of the album was co-written and co-produced by the Jonas Brothers, critics noted a similar sound between the artists. Erlewine noted that, unlike the Jonas Brothers' album A Little Bit Longer (2008), the album does not attempt to draw an audience broader than the tween demographic, calling it "pure, unapologetic bubblegum". Lyrically, the songs deal with teen issues, such as being independent or heartbroken. Digital Spy's Nick Levine wrote that recurring themes include; "staying true to yourself, making up and breaking up, lusting over someone unattainable." The opening track, "La La Land", is about Lovato feeling "out of place" in Hollywood, demonstrated in the verses, "Who said I can't wear my Converse with my dress?", and "I'm not a supermodel, I still eat McDonald's."

The next track, "Get Back", is a guitar-driven upbeat 1980s power pop song. The track speaks of wanting to get back together with an old boyfriend. "On the Line", a duet with the Jonas Brothers, is a breakup song described as bubblegum with a "fizzy" singalong hook. The album's title track shows a transition from the album's tween pop into more mature glam rock. The song is a midtempo power ballad and features Lovato singing with breathy vocals in a falsetto tone. According to Joey Guerra of Houston Chronicle, "Trainwreck" and "Gonna Get Caught" include Beatles-esque melodies. "Trainwreck" contains references to medication. "Two Worlds Collide" is about a young couple who finds strength from their shared dreams. The ninth track, "The Middle", is about Lovato being eager to go for a ride with a guy, and willing to "crash" and "fall" just for the thrill of it. In "Until You're Mine", Lovato is desperate to "fill an emotional vacancy with a boy". Michael Slezak of Entertainment Weekly wrote that the closing track, "Believe in Me", includes "platitudes that might as well have been penned by Dora the Explorer."