THE 1975 SONG LYRICS & MEANINGS FINALLY EXPLAINED BY MATTY

sex: i luv a girl, she has a boyfriend but she’s a cheater so she always has sex with me. she also gives me blowjobs. i’m sad. imma fuck all her friends lol

chocolate: we luv to smoke weed. weed weed weED!!!!! WE LOVE WEED. weed!!! everything smells weed. my hair smells weed. my car smells weed. fuk the cops are coming we needa go!!!! who tf is rebecca

antichrist: i hate religions, hell yea satan!!!! go richard dawkins!!!

woman: i fell in love with a prostitute when i was like 12 hehe

she way out: she can’t dance, she has two phones why does she have two phones put your fuckin phones away i wanna see your eyes

you: my girlfriend kissed all my friends so i fucked everybody here. not my fault m8

head cars bending: more blowjobs. this time in a car. drinking falling spewing.

menswear: trying to get some drugs for the wedding. i only brought 3 and everybody’s talking to me about it. bet you all googled “yosh in your mouth”

girls: trying to rationalize falling in love with a fit 17 and a half year old girl when i was 23 and feeling weird about it because she was closer to my little brother’s age than mine. chestle to the ground.

robbers: i’m obsessed with true romance, just wrote this song so i could shoot the video where i get drunk and use a gun and make out with a model the whole time

settle down: more soft sounds, more hooking up with girls in my childhood bedroom, let’s be honest the only thing that matters about this song is the “oohh” after “you’re cold and i burn” when i sing it live

money: more drugs, feed the nose means cocaine, he likes to get blown = more blowjobs and/or cocaine, depends on the day, basically i don’t like golddiggers, bloody nose and powders = more coke references, when you lark about = dog barks

so far: more coke, but this time at pete’s house. more weed references, sex and killing yourself. girl with silver spoon and zoot in her mouth is same girlfriend with enormous house in fallingforyou (her daddy rich). gave adam a shoutout. hann, please.

the city: best advice i ever got for a bad trip: get in the shower if it all goes wrong (more drugs i love drugs). literally no idea what the second verse about counting cards means, i was drunk lolz. mostly just wanted an excuse to project a cityscape onto my shirtless body and a model’s for the video.

talk: lungs in tar = i love ciggies, kitchen full of pop stars = my mum is famous. who the fuck knows what polemic means? i love big words lol i left school at 16 didnt even pick up my GCSE results, went to leeds festival and got wrecked instead. doesn’t matter anyway because we can’t play this live anymore because george has tendinitis in his arm and it hurts him i never want you to hurt george are you ok george i love you george.

heart out: more drug references, fucked the whole town again whoops. doesn’t my little bruva look like me in the video? we painted my chest tattoo on him hey give me back my floral robbers shirt louis. russian in a small town.

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One of the solid raw interviews :

This all came as the group were approaching the end of two years of solid touring in front of crowds that were growing ever bigger and ever more voracious. It was like, Healy says, being in a “really glamorous version ofDawn of the Dead. Instead of being followed by zombies, it was iPhone-clutching kids. There’d be 100 kids between the tour bus and the stage door, when I’m in my boxers with a hangover. So my first reaction with human beings is in a resentful, semi-clothed situation – ‘Matty! Matty! Matty!’ – and I’d be, ‘They don’t even care about the music! They’ve just got their phones out!’”

Healy found himself tumbling towards a crisis, which arrived on 6 December, onstage in Boston. “There was girl stuff,” he says. “There was family stuff. There was financial stuff. There was drug stuff. I remember hearing the crowd and having an identity crisis. I thought: ‘If you want to see a show, I’ll give you a fucking show. If you’ve come to see the jester drink himself into a slumber, I’ll give it to you.’ I felt like I’d become an idea as opposed to being a person.”

At one point, a fan shouted, “I love you, Matty!” He’s ashamed of his response. “What did I say to the poor fucking girl? ‘You don’t have the right to love me. You don’t know me. I love you but you don’t get to love me.’ Jesus. Can you imagine your favourite band shouting that at you? What a dickhead. What a horrible thing to say to a kid who fucking does love me.”

At the show’s end, Healy fell to the stage and refused to leave. “George carried me off, cos I would have stayed there, apparently. I just wanted to sit there and do something you don’t. It was so blurry and of such a particular colour: I remember everything as orangey yellow.”

The easy reaction to take – and one we see again and again when members of groups with startlingly passionate teenage followings hit a wall, as opposed to troubled stars with middle-aged male followings, like Wilco’s Jeff Tweedy – is to say: suck it up, pal. You’re in a band. People love you. You’re making money. Grow a pair.