girls

"girls" by girl in red is a direct and unambiguous anthem about sapphic attraction and the process of coming to terms with one's sexuality. The song's meaning is rooted in its lyrical honesty, rejecting metaphors in favor of straightforward declaration. Lyrically, it explores the internal struggle of harboring feelings for other women while living in a heteronormative society. The opening lines, "I've been hiding for so long / These feelings, they're not gone," set a tone of concealed identity and emotional burden. The core message is encapsulated in the blunt chorus: "They're so pretty it hurts / I'm not talkin' 'bout boys, I'm talkin' 'bout girls." This line serves as a powerful and clear affirmation of lesbian identity, moving beyond ambiguity. Marie Ulven, the artist, explicitly challenges the notion that her feelings are a "phase" or a simple part of growing up, solidifying the song as a statement of enduring identity. The track has been widely embraced by the LGBTQ+ community as a coming-out anthem and a celebration of queer love.

The narrative unfolds from the perspective of someone who has long concealed their true feelings, a secret that has become a heavy burden. This person is grappling with the fear of judgment, hesitating to confide in anyone about their attraction to other women. The internal conflict is palpable; they feel estranged from their own behavior, acting in ways that feel unnatural as they suppress a fundamental part of their identity. The feelings are persistent and refuse to disappear, creating a sense of inner turmoil and alienation.

The chorus serves as the song's emotional and thematic core, a direct and unfiltered confession. The lyrics, "They're so pretty it hurts / I'm not talkin' 'bout boys, I'm talkin' 'bout girls," mark a pivotal moment of clarity and assertion. It's a raw acknowledgment of attraction, shifting the focus entirely away from heterosexual expectations. This line is repeated with growing conviction, acting as a personal mantra of acceptance. The beauty of other girls is described with an intensity that borders on pain, highlighting the depth and overwhelming nature of these long-suppressed emotions.

The second verse delves deeper into the societal pressures and the heteronormative narrative that has shaped the narrator's life. The line, "This is not a phase / Or a coming of age," directly confronts common dismissals of same-sex attraction, rejecting the idea that it is temporary or a form of experimentation. It's a firm statement of a permanent, innate identity. The narrator reflects on the absurdity of their situation, having been told that love for a man was their inevitable destiny, a notion that now feels entirely foreign and incorrect. The imagery of a "white-picket fence" symbolizes a conventional, heterosexual life path that the narrator decisively rejects, realizing it is not meant for them.

The story concludes not with a resolution of external conflicts, but with a powerful internal one. The repetition of the chorus reinforces the central theme. By the end, the song becomes less about the fear of what others will think and more about the liberating power of self-admission. It's a journey from hiding and fear to a bold, unapologetic embrace of one's own truth, a personal anthem celebrating sapphic love and identity in its purest form.

"girls" was written, recorded, and produced by Marie Ulven Ringheim, known as girl in red, in her own bedroom. This self-production is characteristic of her early work and the "bedroom pop" genre she is associated with. Ulven began making music after receiving a guitar from her grandfather and taught herself production using GarageBand on her laptop. The song came to her quickly, with Ulven stating in an interview that it was written in about a day, and that her best lyrics often come when she doesn't have to strive for them. Released in June 2018, "girls" was one of the singles, alongside "summer depression," that gained millions of online streams and significantly grew her following. Ulven has mentioned that after releasing "girls," she started receiving numerous messages from fans who used the song to come out or who felt it helped them accept their own sexuality, highlighting the song's immediate and personal impact.

The most significant stylistic choice in "girls" is its deliberate lack of symbolism and metaphor. The song's power comes from its directness. In a musical landscape where queer themes were often veiled in allegory, Marie Ulven's lyrics are refreshingly and intentionally blunt. The central lyric, "I'm not talkin' 'bout boys, I'm talkin' 'bout girls," functions as an anti-metaphor, stripping away any potential for misinterpretation. This approach is a statement in itself, symbolizing a rejection of the need to hide or code queer narratives. Instead of using imagery to suggest attraction, the song presents it as a plain fact. The phrase "They're so pretty it hurts" is less a metaphor and more a direct, visceral expression of overwhelming aesthetic and romantic attraction, a feeling so intense it becomes physically palpable. The rejection of the "white-picket fence" life is a direct rejection of a heteronormative societal symbol, rather than a subtle metaphorical device.

The emotional landscape of "girls" charts a course from apprehension to defiant pride. It opens with a tone of nervous vulnerability and isolation, captured in lyrics about hiding feelings and being "afraid of what they'll say." As the song progresses into the chorus, this anxiety gives way to a powerful feeling of liberating honesty and yearning. The phrase "They're so pretty it hurts" conveys an overwhelming sense of attraction that is both beautiful and painful in its intensity. The latter part of the song adopts a more assertive and confident tone, directly refuting dismissive ideas that this love is "a phase." This creates an emotional arc of self-realization and empowerment. The lo-fi, intimate production and Marie Ulven's candid vocal performance enhance this emotional journey, making the listener feel as though they are part of a deeply personal, yet universally relatable, moment of self-acceptance.

The cultural influence of "girls" and girl in red as an artist is immense, particularly within the LGBTQ+ community. The song became a sapphic anthem, celebrated for its direct and unapologetic lyrics about loving women. Its impact extends beyond music into internet culture, where the question "Do you listen to Girl in Red?" evolved into a popular, discreet way for young women to ask each other if they are gay or queer, especially on platforms like TikTok. This phenomenon made Marie Ulven a prominent queer icon for Gen Z. The song's popularity helped solidify the bedroom pop genre's place in the mainstream and demonstrated a significant audience for openly queer narratives in music. It has been praised for providing much-needed representation and helping countless young people feel seen and validated in their identity, with many fans sharing stories of how the song helped them come out or accept themselves. The song was also notably featured in the popular LGBTQ+ Netflix series "Heartstopper."

The rhyme scheme in "girls" is relatively simple and direct, reinforcing the song's lyrical clarity. The verses tend to follow an AABB or ABCB pattern, using straightforward, often perfect rhymes (e.g., "long"/"gone", "say"/"away"). This unadorned structure makes the lyrics easy to follow and adds to their conversational feel. The rhythm is built on a steady, mid-tempo 4/4 time signature, driven by a simple drum machine beat and consistent guitar strumming. This creates a relaxed, swaying groove that is characteristic of the bedroom pop genre. The pacing remains consistent throughout, allowing the focus to remain on the lyrics and Ulven's vocal delivery. The interplay between the lyrical rhythm and the musical rhythm is synergistic; the conversational flow of the lyrics sits comfortably atop the steady instrumental pulse, making the song feel both natural and musically cohesive.

Musically, "girls" is a prime example of the bedroom pop and lo-fi genres. The production, handled by Marie Ulven herself, is characterized by its simplicity and intimacy. The instrumentation typically features a slightly hazy electric guitar with a clean, jangly tone, a straightforward bassline, and simple drum machine patterns. This minimalist setup creates a sense of authenticity and closeness. Ulven's vocal delivery is relaxed and conversational, almost as if she's confiding a secret to the listener. This enhances the lyrical candor. The song employs a simple verse-chorus structure, making it highly memorable and anthemic. Lyrically, the most potent technique is the use of direct address and declaration. Phrases like "This is not a phase" and "I'm not talkin' 'bout boys" are unambiguous statements that confront potential counterarguments head-on, functioning as a powerful form of lyrical assertion. This candidness, combined with the accessible pop melody, makes the song both a personal confession and a public anthem.

What is the song 'girls' by girl in red about?

'girls' is an unapologetic song about a woman's attraction to other women. The lyrics describe the journey from hiding these feelings due to fear of judgment to openly embracing her sexuality. It directly confronts heteronormative expectations and declares that her attraction is not a phase.

What does the lyric 'They're so pretty it hurts' mean?

This lyric expresses an overwhelming and intense attraction to women. The beauty being witnessed is so profound that it causes a visceral, almost painful emotional response. It's a raw and direct way to convey the depth of the narrator's feelings without relying on complex metaphors.

When was 'girls' by girl in red released?

The song 'girls' by girl in red was released in June 2018. It was one of her early singles that helped establish her as a prominent artist in the bedroom pop scene and as a queer icon.

Why did 'Do you listen to Girl in Red?' become a code question?

The phrase became a coded way to ask if someone is a lesbian or queer woman because girl in red's music, especially songs like 'girls' and 'i wanna be your girlfriend,' is so explicitly and famously about sapphic love. It became a discreet identifier within the community, primarily on social media platforms like TikTok.

What genre of music is 'girls'?

'girls' is primarily categorized as indie pop, bedroom pop, and lo-fi. It features the characteristic DIY production style, with simple instrumentation and a focus on candid, personal lyrics, all recorded by the artist herself in her bedroom.

Who is the artist girl in red?

girl in red is the stage name of Marie Ulven Ringheim, a Norwegian singer-songwriter and record producer. She gained viral fame for her self-recorded bedroom pop songs about romance, mental health, and queer identity, becoming a celebrated icon for LGBTQ+ youth.