ANYTHING BUT LOVE

ANYTHING BUT LOVE is a candid and unapologetic breakup anthem that explores the transition from heartbreak to indifference and, finally, to a sense of empowered superiority. The central theme is the total rejection of a toxic ex-partner, not through sadness, but through a collective and absolute dismissal. By listing family members, pets, and even an entire state (California) that is happy the ex is gone, McRae validates her own feelings through the support system around her, turning the breakup into a communal victory rather than a solitary loss.

The lyrics delve into the disparity between the two individuals post-breakup. McRae positions herself as thriving, visible, and successful (billboards, Jimmy Choos), while the ex is depicted as stagnant, bitter, and chasing clout ("punk ass does for views"). The song critiques the ex's performative hatred, suggesting that their negativity is just a ploy for attention or a way to stay attached to her narrative. The mention of "Tatiana," McRae's confident stage alter-ego, serves as a sharp psychological blow; it highlights the ex's hypocrisy in claiming to hate her while still desiring the image she projects to the world.

Ultimately, the phrase "anything but love" serves as a double entendre. On the surface, it means she feels hate, annoyance, or pity—anything except love. However, in the context of the song's dismissive tone, it also suggests that he deserves nothing from her—not even the energy required to hate him, just a command to "take a walk." It is a song about reclaiming one's space and refusing to let a past partner occupy any more emotional real estate.

The song opens with a blunt and humorous roll call of rejection, as the narrator lists everyone in her life who harbors disdain for her ex-partner—her father, her brother, and even her dog. She extends this sentiment to the entire state of California, claiming a collective sigh of relief at the ex's departure. The narrator contrasts her own upward trajectory, symbolized by stepping into high-end fashion like Jimmy Choo shoes, with her ex's desperate attempts to trample her success and generate cheap attention or "views." She mocks the ex's frustration at seeing her name everywhere—on billboards and skyscrapers—while they sit at home, stewing in anger at her thriving career.

In the pre-chorus, the setting shifts to a mundane encounter at a hair salon, where the narrator questions the ex's true desires. She recognizes their ambition to reach a higher social stratum or "upper echelon," but ruthlessly cuts them down by asserting they simply don't have what it takes to make the cut. The chorus then explodes into a catchy, rhythmic declaration where she tells them to "take a walk." She professes to have "anything but love" for them, a phrase that essentially voids any past affection, replacing it with a void of care or active dislike, emphasized by dismissive vocal vocalizations.

The second verse deepens the divide, bringing her fans and friends into the chorus of disapproval. She accuses the ex of trying to manufacture a competition between them, a futile effort since they aren't even allowed in the same room as her anymore. The narrator exposes the ex's hypocrisy, pointing out that their supposed hatred is merely a mask for an addiction to drama. She delivers the ultimate blow by revealing the ex's lingering obsession, noting that despite their claims of hate, they still sexually objectify her stage persona, "Tatiana." The song concludes with the repeated dismissal to "take a walk," reinforcing the finality of her rejection and the complete expulsion of this person from her life.

ANYTHING BUT LOVE was released on November 21, 2025, as a new track on the deluxe edition of Tate McRae's third studio album, So Close to What??? (deluxe). The song was written by Tate McRae alongside hitmakers Julia Michaels and Grant Boutin, with Boutin also handling the production. The track had a unique path to release; it was reportedly a "vault track" that had leaked online months prior to its official debut. The leak generated significant buzz and demand among her fanbase, prompting McRae and her team to include it on the deluxe reissue of the album.

The song's creation reflects a period of intense artistic output for McRae, who wrote much of the material for the So Close to What era while on her "Think Later" world tour. The lyrics reference her collaborator Ryan Tedder (referred to simply as "Ryan" in the line "Ryan hates you") and her alter ego "Tatiana," a persona she adopted to overcome shyness and channel confidence on stage. This specific reference anchors the song in her personal journey of evolving from a reserved songwriter into a global pop superstar. The production, characterized by "shimmering synths" and "airy" textures, was designed to contrast with the biting, aggressive nature of the lyrics, a stylistic choice McRae and Boutin utilized to emphasize the "unbothered" attitude of the track.

The song primarily utilizes an AABB or ABAB rhyme scheme in the verses, often relying on slant rhymes to maintain a conversational flow (e.g., "neck" / "views" isn't a rhyme, but "moved" / "Choo's" connects the thoughts). The rhythm is upbeat and driving, with a tempo likely around 120-130 BPM, characteristic of modern dance-pop. The lyrical rhythm is syncopated, with McRae often packing many syllables into a bar to mimic the rapid-fire nature of an angry vent, before opening up into longer, more melodic phrasing in the chorus. The contrast between the staccato verses and the flowing, repetitive hook ("Na-na-na") creates a dynamic tension that keeps the listener engaged, mirroring the shift from specific grievances to general dismissal.

Literary Techniques: McRae employs hyperbole extensively, particularly in the opening lines listing everyone who hates the ex, to create a comedic yet emphatic sense of solidarity. Irony is central to the song's bridge, where she exposes the contradiction of the ex hating her yet consuming her image sexually. The lyrics also use a conversational, direct address narrative voice ("Is that really what you want?"), making the listener feel like a confidant privy to a private takedown.

Musical Techniques: Musically, the song is built on a minimalist pop production. It often relies on a driving bassline and crisp, dry percussion that allows McRae's vocals to sit right at the front of the mix. Her delivery oscillates between a melodic, breathy pop tone and a more rhythmic, almost spoken-word cadence (Sprechgesang) during the verses, which enhances the feeling of a casual, petty rant. The use of group vocals or layered backing tracks during the "na-na-na" sections creates a playground chant atmosphere, reinforcing the mockery and juvenile nature of the ex's behavior.

Upon its release on the deluxe edition of So Close to What, ANYTHING BUT LOVE quickly became a fan favorite, largely due to its prior status as a highly anticipated leaked track. It solidified McRae's reputation for writing sharp, relatable breakup anthems that resonate with the Gen Z experience of digital-age relationships (referencing "views," "unfollowing," and public perception). The song's specific shout-out to her alter ego "Tatiana" deepened the lore surrounding her stage persona, encouraging fans to embrace their own more confident, aggressive sides. Critics noted it as a standout for its raw energy and humor, comparing it favorably to other "scorched earth" pop breakups songs of the 2020s.

The song utilizes several key symbols to establish status and emotional distance:

• Jimmy Choo's vs. Neck: The image of the ex trying to "step on my neck" (oppress or hold her back) contrasted with McRae "stepping in Jimmy Choo's" (luxury high heels) serves as a metaphor for their disparate paths. While the ex is focused on destruction, she is focused on elevation and success.
• California: Using the entire state of California as a character that is "happy you moved" symbolizes the sheer scale of the ex's unwanted presence. It implies that their toxicity was an environmental pollutant that has now been cleared.
• Tatiana: This name represents McRae's stage persona—the confident, untouchable pop star. By asking why the ex is "jacking off to Tatiana," she distinguishes between her real, vulnerable self (whom the ex claims to hate) and the commodified, sexualized image of her success (which the ex still covets). This highlights the shallow nature of the ex's attachment.
• The Hair Salon: Setting a confrontation or observation at a "hair salon" grounds the song in reality but also symbolizes transformation and vanity. It is a place of self-improvement, suggesting the ex is trying to change their image to fit an "upper echelon" they don't naturally belong to.

The phrase "So take a walk, baby" acts as a primary hook and instructional command. Its repetition transforms it from a suggestion into a non-negotiable order, stripping the ex of any agency. The motif of "Na-na-na, na-na-na" is a classic pop trope used here to signify distinct dismissiveness—it's the sound of someone tuning out noise, a childish but effective way of saying "I'm not listening." Additionally, the recurring list of people who "hate you" (Dad, dog, brother, Ryan, friends, fans) serves as a structural motif that grows throughout the song, solidifying the idea that the ex is universally disliked.