Self Love (Spider-Man: Across the Spider-Verse) (Metro Boomin & Coi Leray)

"Self Love" delves into the critical importance of valuing oneself before seeking validation or love from others. The song's narrative centers on a young woman who recognizes that her partner's inability to love her properly stems from his own lack of self-worth. This central theme is powerfully captured in the recurring line, "Self-love, he don't love himself, tryna love me." It explores the emotional turmoil of being in a relationship where trust is absent and affection is performative rather than genuine. The lyrics paint a picture of disillusionment, as the protagonist moves from a small town to the city for love, only to find heartbreak and emotional conflict.

Furthermore, the song intertwines this personal journey with the character arc of Gwen Stacy from the film Spider-Man: Across the Spider-Verse. Coi Leray's lyrics reflect Gwen's own quest for belonging and her complicated relationship with Miles Morales, as she fears repeating tragic patterns from other universes. The mention of being "cuffed" and not trusted can be interpreted in multiple ways within Gwen's story: her police captain father trying to apprehend her, Miles' desire for a committed relationship, and her own web of lies preventing genuine connection. The song ultimately serves as an anthem of empowerment, championing the idea that true, healthy love can only be built on a foundation of individual self-acceptance and strength.

The narrative begins with a young woman who has ventured far from her suburban origins, drawn to the big city by the promise of love, only to find herself wounded by the experience. This journey has left her feeling lost and overwhelmed, a stark contrast to the simple life she once knew. She finds herself in a state of emotional turmoil, overthinking and using alcohol to cope with the mental drowning she's experiencing. She pleads for her partner to stop doubting her, pointing out that what he offers isn't true love but merely a performance of it.

The core of her struggle lies in her relationship with a partner who is incapable of truly loving her because he lacks love for himself. This central conflict is highlighted by the repeated realization that his insecurities and inability to trust her—even when she is honest—are insurmountable barriers. She feels the pressure to be "cuffed" or committed, yet recognizes the unhealthy dynamic at play. The relationship is a paradox; a quest for connection that only deepens her sense of isolation.

Amid this emotional chaos, she grapples with her new environment. The allure of "big dreams and big screens" makes her feel impressionable and vulnerable. She questions the intentions of those around her, seeing potential money schemes and deceit. Even her friendships feel superficial, symbolized by friends in flashy drop-top cars. This glamorous but hollow lifestyle makes her feel increasingly introverted and disconnected. She is caught in a battle between maintaining her morals and being swept away by the hedonistic nightlife of the city. It’s a period of profound self-questioning and vulnerability as she navigates a world where everyone seems to be out for themselves.

Ultimately, the song culminates in the profound understanding that the key to her own happiness and stability is self-love. She must save herself because she cannot be saved by someone who is not whole. The story is paralleled with that of Gwen Stacy from Spider-Man: Across the Spider-Verse, who also leaves her home in search of belonging and struggles with complex relationships. The song ends with a dialogue from the film, where Gwen states that in every other universe, her romance with Spider-Man doesn't end well. Miles Morales' hopeful reply, "Well, there's a first time for everything, right?" introduces a glimmer of optimism, suggesting that perhaps this time, the cycle can be broken—both for the characters and for the narrator, who is learning to prioritize herself above a toxic love.

"Self Love" was created as a key track for the soundtrack of the animated film Spider-Man: Across the Spider-Verse, which was released on June 2, 2023. The soundtrack was executive produced by the acclaimed producer Metro Boomin, who was specifically chosen for his cinematic production style. He curated a diverse lineup of artists, including Coi Leray, to create original songs inspired by the film's narrative and striking visual style.

The song marks the first official collaboration between Metro Boomin and Coi Leray. It was written by a team of talented individuals including Coi Leray (Coi Collins), Metro Boomin (Leland Wayne), Brittany "Starrah" Hazzard, Andre "Dre Moon" Proctor, Mejdi Rhars, Johan Lenox, and Prince85. The production was handled by Metro Boomin, Dre Moon, and Prince85, with additional production by Johan Lenox. The track was teased on social media in May 2023 leading up to the soundtrack's release, building anticipation among fans. The song incorporates dialogue from the film, featuring the voices of Shameik Moore (Miles Morales) and Hailee Steinfeld (Gwen Stacy) in the outro, directly linking it to a pivotal moment in their relationship.

"Self Love" employs a relatively straightforward rhyme scheme in its chorus and verses, which enhances its pop and hip-hop accessibility. The chorus uses a simple AABB-like pattern with the rhymes on "love me" and "trust me," making the core message incredibly catchy and memorable. For instance: "Self-love, he don't love himself, tryna love me / Cuff me, told the truth to him, he don't trust me".

Rhythmically, the song is built on a mid-tempo hip-hop beat produced by Metro Boomin. Coi Leray's vocal delivery is fluid and melodic, often weaving between singing and rapping. Her flow is synchronized with the beat's prominent bass and percussion, but it maintains a relaxed, conversational quality that enhances the introspective nature of the lyrics. The interplay between her smooth vocal rhythm and the slightly more complex, layered beat creates a dreamy yet grounded atmosphere. This rhythmic structure supports the song's emotional arc, allowing for moments of contemplative quietness in the verses and a more assertive, hook-driven feel in the chorus.

Musically, "Self Love" showcases Metro Boomin's signature production style, characterized by a dreamy, atmospheric beat built on a sine piano patch, emotional string melodies, and complex drum patterns. The production uses a blend of synth pads, a prominent bassline, and dynamic percussion, including tom fills and reverb-heavy claps, to create an immersive, cinematic soundscape that complements the film's aesthetic. Coi Leray employs a melodic, almost numb vocal delivery that conveys both vulnerability and burgeoning confidence. Her silky tone and catchy hooks are central to the song's appeal.

Lyrically, the song utilizes direct, declarative statements and repetition to emphasize its central theme. The recurring chorus acts as a powerful mantra of self-realization. The narrative is structured as a personal reflection, intertwining Coi Leray's own artistic journey with the fictional story of Gwen Stacy. This technique of parallel storytelling enriches the song's meaning, allowing it to function both as a standalone piece and as a commentary on the film's characters. The inclusion of dialogue from the movie in the outro is a key technique that directly grounds the song within the Spider-Verse narrative, blurring the line between the soundtrack and the film itself.

"Self Love" was released as part of the highly anticipated soundtrack for Spider-Man: Across the Spider-Verse, executive produced by Metro Boomin. The album was a commercial success, debuting at number seven on the US Billboard 200 chart. As a standout track, "Self Love" received positive attention for its smooth vibe and relatable message.

The song plays a significant role within the film, thematically linked to the character arc of Gwen Stacy (Spider-Woman). Its introspective lyrics about trust, identity, and the difficulty of relationships resonate with her storyline, particularly her strained connections with her father and Miles Morales. The soundtrack as a whole was praised for its ability to blend hip-hop culture with the film's unique visual and narrative style, continuing the successful trend set by its predecessor, Into the Spider-Verse. "Self Love" contributed to this success by providing an emotionally resonant and character-driven musical moment that enhanced the cinematic experience.

The lyrics of "Self Love" utilize several metaphors to deepen its themes of emotional struggle and empowerment.

• The City vs. Suburban Towns: The move from a "suburban town" to the "city" serves as a metaphor for a loss of innocence. The suburbs represent a simpler, perhaps more genuine past, while the city symbolizes a complex, often hurtful world of adult relationships and superficiality where the protagonist gets "hurtin' now."
• Drowning: The line "thoughts drownin' me" is a powerful metaphor for feeling overwhelmed by anxiety, overthinking, and emotional distress. It creates a vivid image of being submerged and suffocated by one's own internal struggles, amplified by a toxic relationship.
• Cuffing: The word "cuff me" is used as a double entendre. In the context of the song's primary narrative, it refers to the desire for a committed, exclusive relationship. However, within the parallel story of Gwen Stacy, it also alludes to her father, a police captain, literally wanting to apprehend (or "cuff") her, and the distrust that exists between them. This dual meaning adds a layer of complexity, tying themes of romantic and familial entrapment together.

The most significant recurring phrase in the song is the chorus: "Self-love, he don't love himself, tryna love me / Cuff me, told the truth to him, he don't trust me." This couplet is the thematic core of the entire track. Its repetition drills home the central conflict: the impossibility of receiving genuine love from someone who lacks self-worth and the subsequent breakdown of trust. This phrase functions as a moment of epiphany for the narrator, repeated to solidify her understanding of the situation.

Another recurring refrain is, "Oh my, she's a long way from suburban towns / Came to the city for the love, got her hurtin' now." This line opens and reappears in the song, acting as a motif that frames the narrative. It establishes the backstory and the emotional stakes, reminding the listener of the journey and the disillusionment that has led the protagonist to her current state of introspection. Its repetition emphasizes the profound change and loss of innocence she has experienced.