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No, not necessarily at the same time. For that tune, I'd say low root on 1 and then the fifth or higher root on the upbeat of the other beats. For a simple example, play 4 quarter notes in the right hand on any chord. Play the low root together with the chord on 1 and then play either the fifth or the high root on the upbeat of 2, 3 and 4. So on those beats, you will be alternating between the hands. Do this with the pedal down and you've got a smooth but rhythmic part. Then it's just a matter of adding the melody and picking your RH chords.

Brian’s approach for the LH will work well – in fact there’s not a lot more you can do! If this or another thread looks at other tunes I think that might become more apparent. Rhythmically you can sometimes sharpen things up a bit but so much depends on the feel of the song and this one is staunchly an 8s feel both for the verse where it sways between that root and fifth idea (or root/octv-root) and the chorus where it pounds the roots on 8s. One thing I would steer clear of is playing *chords* in the LH. For pop songs in this style that is rarely going to work.

I’d say the main focus – after locking in a simple LH pattern you can play without thinking - should be on the RH melody and the way you mix that into the chord movement while trying to give it some of the vocal flow (not too piano-y!). I’d be inclined to keep it harmonically very open, not overly defined. Although the chords are as Russ has them, there’s such a mish-mash of layers that most of them with the exception of the Eb and Eb sus can be taken as embellishments and suspensions on Ab major, in fact you can play the entire chorus just by playing Ab maj and moving the bass under it. But there’s also a lot of gentle dissonance in the background, e.g. in the chorus on the word 'let' the backing vocals are singing Db in every bar. It doesn’t work so well on the piano but it’s worth experimenting.

You didn’t say what you thought of the piano intro on the original. Are you trying to get away from that feel?

@Brian Lucas
I think I understand now what you mean. Concentrating more on rhythm using single notes. I'll give it a shot.

@dire tonic
I do like the intro to the song. I've experimented with triads in root position and octaves using the 5th in between and they both fit in quite nicely for the intro.

It's when I get into the verse and chorus do I feel like I have a lot of empty, "dead" space. Too much silence after I play the fifths in the bass and after the verse has ended. It's hard to explain, and I'm not sure if I'm making much sense, but I'm just looking for some fillers I suppose to carry me into the next verse.

I've roughed out an idea for the intro/verse and 1 chorus

https://app.box.com/s/p15z4950wxvltcnsjdo2

LH is mostly roots-5ths until the chorus which is all octaves. All the chording is with the melody in the RH.

It was a struggle to find something for the chorus that had enough power, hence the pounding!

- hope it helps to provide some ideas...

Turn those bass chords into tango or calypso rhythms. Anything syncopated might do the trick to alter the mood. You might also try changing your time sig e.g. a 3/4 into 4/4 or vice vers.

Very cool rendition, dire. Thank you for taking the time to do that. I like the more upbeat rhythm you gave it.
I'll continue to listen more closely to it when I get back home.

Would anyone have any videos (of any song) that I could check out for more ideas with LH arpeggio patterns?