High Road (feat. Jessie Murph)

"High Road" is a dramatic duet that delves into the explosive and exhausting dynamics of a toxic relationship. The song, performed by Koe Wetzel and Jessie Murph, captures a conversation between two lovers who are caught in a perpetual cycle of fighting, accusations, and emotional pain. The core meaning revolves around the concept of choosing self-preservation over continued conflict. However, the term "high road" is used as a powerful double entendre. On one hand, it signifies the traditional idea of taking the moral high ground and walking away from a fight. On the other, it explicitly refers to getting high—using substances like marijuana as a means to escape the emotional turmoil. This clever wordplay highlights the characters' desperate and unhealthy coping mechanisms. Rather than resolving their issues, they opt to disengage entirely—Wetzel by getting stoned and Murph by matching his transgressions with her own defiant anger. The song portrays a raw and honest look at a relationship's breaking point, where both parties are too weary to continue the battle but choose personal escape over mutual resolution.

The narrative unfolds within a perpetually stormy relationship, where arguments and emotional wounds are a recurring theme. The male protagonist, voiced by Koe Wetzel, expresses a sense of weary resignation. He's no longer surprised by his partner's anger, acknowledging their dynamic has always been a painful competition of who can inflict hurt first, rather than who is left bleeding. He observes how easily rumors escalate into full-blown fights, taking over his partner's mindset and setting them on a destructive path he knows all too well.

In response to this predictable chaos, he declares his intention to opt out. His version of taking the “high road” is a form of escapism; he’ll get stoned and indulge in something “terrible” as a coping mechanism. It's a conscious decision to disengage, letting his partner “cool down” while he removes himself from the situation, refusing to be emotionally dismantled as he has been in the past. He cynically dismisses the drama as a “shit show” for which he needs no ticket, encouraging his partner to hit a new low on their own.

The female perspective, delivered by Jessie Murph, echoes the dysfunction but from her point of view. She confronts his avoidance, noting his refusal to talk and his frequent return home smelling of liquor. She counters his implied infidelity with a threat of her own retaliation, making it clear that she is aware of the rumors circulating about his behavior. Her verse reinforces the cycle of accusation and conflict, showing that her mind is also set on a collision course once provoked.

Together, their voices unite in the chorus, a shared but separate declaration of taking this unconventional “high road.” It's not a path of moral superiority but one of mutual, albeit destructive, self-preservation. They are both choosing to step away from the immediate conflict, one through substance use and the other through vengeful resolve, rather than continue the endless, damaging cycle of their arguments. The repetition of taking the “high road” becomes an anthem of their shared decision to end the fight by any means necessary, even if those means are unhealthy.

"High Road" was released on June 7, 2024, as a single from Koe Wetzel's sixth studio album, 9 Lives, and was also included on Jessie Murph's 2024 album, That Ain't No Man That's the Devil. The song was co-written by a team of seven: Ropyr (Koe) Wetzel, Jessie Murph, Amy Allen, Gabe Simon, Carrie Karpinen, Josh Serrato, and Laura Veltz. The production was handled by Gabe Simon, Josh Serrato, Carrie K, and Ben Maddahi. Wetzel has mentioned that the song represents a more mature and different side of him, a departure from the rowdier themes of his earlier work. In an interview, he revealed that the now-famous line, "I don't need a ticket to your s--t show," actually started as a joke during the writing session. The writers laughed about it but then realized it worked perfectly for the song's unexpected and candid tone. Jessie Murph wrote her verse separately after hearing Wetzel's part; she initially wrote a rap verse before settling on the more melodic version that made the final cut. The collaboration came about as the two artists had been friends and had worked together before. As a token of appreciation for her contribution, Wetzel gifted Murph a custom-engraved pistol.

The song's structure is built around a consistent verse-chorus form. The lyrical rhythm is conversational and direct, mirroring the confrontational nature of the lyrics. The rhyme scheme within the verses is generally straightforward, often using couplets (AABB) or near rhymes to maintain a natural flow, as seen in lines like "surprise"/"night" and "him"/"again". The chorus, however, is where the rhythmic and lyrical hook is most powerful. The repetition of "take the high road" creates a memorable and anthemic quality, hammering home the song's central theme. The tempo is moderate, but builds in intensity, reflecting the escalating emotions of the argument. The combination of a steady rock beat with country and R&B-inflected vocal cadences gives the song its unique rhythmic feel, allowing the emotional and theatrical delivery of the lyrics to take center stage.

"High Road" employs a blend of musical and literary techniques to create its distinctive, theatrical feel.

• Musical Style: The song is a fusion of genres, blending country rock with R&B and grunge elements, and even a touch of hip-hop swagger in the vocal delivery. This cross-pollination of styles mirrors the chaotic and multifaceted nature of the relationship depicted. The production is polished, creating a sound that is both raw in emotion and commercially accessible, which some critics have noted as a departure from Wetzel's grittier work.
• Narrative Voice: The song is structured as a dramatic duet, with Wetzel and Murph each taking a verse to present their side of the story. This call-and-response structure creates a powerful narrative tension, as if the listener is witnessing a pivotal argument in real-time.
• Vocal Delivery: Both artists deliver their lines with a palpable sense of exasperation and defiance. The performance is theatrical, emphasizing the emotional weight of the lyrics. The blending of their voices, described as a "fire and ice combo," is a key component of the song's appeal.
• Figurative Language: The track relies heavily on the central metaphor of the "high road" and the striking imagery of the "ticket to your sh*t show" to convey its themes of conflict and escapism.

"High Road" has had a significant cultural impact since its release, marking a major milestone in the careers of both Koe Wetzel and Jessie Murph. The song became Wetzel's first No. 1 on the Billboard Country Airplay chart and his highest-charting song on the all-genre Billboard Hot 100, peaking at number 22. For a remarkable five consecutive weeks, it held the top spot on the Country Airplay chart, a rare achievement for a debut single and the first time a collaboration by two artists new to the chart accomplished such a feat. The song achieved RIAA Platinum certification faster than any of Wetzel's previous singles and has amassed over 330 million global streams. Its success was recognized across the industry, with the Los Angeles Times naming it one of the best songs of 2024. The track's genre-bending sound and candid lyrics resonated widely, pushing it onto Hot AC and Top 40 radio formats, showcasing a broad appeal beyond the typical country audience. The song solidified Wetzel's position as a "genre disruptor" and a major force in modern country music.

The central metaphor of the song is the "high road," which operates on two distinct levels.

• The Dual-Meaning High Road: The phrase is a double entendre, the song's most significant literary device. Literally, the characters sing, "I'ma take the high road, baby get stoned," directly linking the idea of taking the high road to substance use as an escape. This subverts the traditional meaning of taking a morally superior or more difficult path in a conflict. Here, the 'high road' is the easier, albeit more destructive, path of avoidance. It symbolizes a complete disengagement from the relationship's problems.
• Ticket to Your Sh*t Show: This metaphor vividly paints the couple's recurring drama as a chaotic, public spectacle. By refusing a "ticket," the singers are refusing to be spectators or participants in the other's meltdown. It symbolizes their desire to opt out of the toxic cycle of performance and conflict that has defined their relationship.
• Who Cuts First and Never Who Bleeds Last: This phrase, found in the opening verse, symbolizes the competitive and destructive nature of their arguments. Their fights are not about resolution but about inflicting pain, a contest to see who can deliver the most cutting remark first, with no regard for the emotional damage left behind.

The most prominent recurring motif in "High Road" is the titular phrase itself.

• "I'ma take the high road": This phrase is repeated multiple times in each chorus, functioning as the song's central hook and thesis. Its repetition drills in the dual meaning of moral disengagement and substance-fueled escape. Each time it's sung, it reinforces the characters' decision to choose avoidance over confrontation. The final lines of the chorus, simply repeating "take the high road," act as a definitive, almost defiant, declaration.
• "Rumors always turn into yelling and fighting": This line appears in both Wetzel's and Murph's verses, though slightly altered. Its recurrence highlights the cyclical and predictable nature of their conflict. It establishes that this isn't a one-time argument but a toxic pattern fueled by external gossip and internal mistrust.
• "I know, I know" / "You know, I know": This short, simple phrase precedes each chorus. It signifies a weary acknowledgment of their destructive pattern. There are no surprises left in their relationship; both partners are fully aware of how the other will react, underscoring the exhaustion and futility of their situation.