TRYING ON SHOES

TRYING ON SHOES is a poignant exploration of the performative nature of healing after a heartbreak. At its core, the song dissects the "fake it 'til you make it" mentality often adopted to cope with the bitterness of a failed relationship. Tate McRae uses the metaphor of trying on shoes and putting on glitter to represent the external changes we make to convince ourselves—and our ex-partners—that we are okay.

The lyrics reveal a dichotomy between the narrator's public persona and her internal reality. Explicitly, she is defiant and actively erasing her ex from her life (symbolized by drowning her diary). She uses fashion and beauty as armor, creating a version of herself that is "less bitter" and visually stunning enough to elicit a reaction of regret from her ex. This highlights a modern form of revenge: winning the breakup through aesthetic perfection and perceived happiness.

Implicitly, however, the song tells a sadder story of incompatibility and lingering attachment. The mention of her partner "rolling his eyes" at her shows suggests a deep-seated lack of support for her career and identity. The realization that he wanted a domestic partner ("warming the seat") rather than a star underscores the fundamental disconnect between them. The bridge serves as the emotional climax, where the facade crumbles, and she admits a desperate wish to return to him for closure, proving that the "new shoes" haven't yet carried her away from the pain.

The song opens with a sense of disorientation and emotional purging, as the narrator admits to not knowing which country she is in, guided only by her physical feelings. She recalls a deliberate act of erasing memories—dropping her diary into a pool to wash away every line written about a past lover. There is a flash of defiance as she reminds her ex of her intensity, noting that while she falls in love hard, she can delete that attachment just as quickly.

The chorus reveals the central coping mechanism: a superficial reinvention. She describes the act of trying on shoes and applying glitter not for joy, but as a remedy for her bitterness. She curates a perfect image in her favorite blue outfit, taking a photo designed to shock her ex and make him believe she has completely transformed into someone else. This performance is driven by a mix of spite and survival; when he angers her, she channels that energy into looking her best.

In the second verse, the cracks in the relationship are exposed. She recalls him rolling his eyes at her shows, a gesture of disrespect she saw clearly but chose to ignore. She admits to having idolized him, taking a year to accept the hard truth that she wasn't what he needed. He desired a partner who was more domestic and passive—someone "warming the seat" and staying at home—which stood in stark contrast to her life and ambition.

The bridge strips away the glitter, offering a moment of raw desperation. She wonders if she wasn't the girl he thought she was, or if he simply forgot his love for her. Despite her outward display of moving on, she confesses a lingering desire to go back to his place and talk things over just one last time, exposing the fragility beneath her polished exterior. The song concludes with her returning to the ritual of dressing up, caught in a cycle of trying to outrun her pain through transformation.

TRYING ON SHOES was released on November 21, 2025, as the opening track of the deluxe edition of Tate McRae's third studio album, So Close To What???. The song was written by Tate McRae alongside hitmakers Amy Allen, Grant Boutin, and Emile Haynie, with production handled by Haynie and Boutin. The track marks a sonic shift for McRae, leaning into a more cinematic, orchestral sound compared to her earlier pop-trap hits.

The song's creation was fueled by McRae's personal experiences with heartbreak in the public eye. Fans speculate the lyrics reference her relationship with The Kid LAROI, particularly the lines about a partner disrespecting her shows. A specific real-life detail embedded in the song is the line about dropping a diary in a pool; McRae had previously shared an Instagram Story in October 2025 from Bologna, Italy, showing a wet diary page, confirming the lyric is rooted in a literal event where she sought to "erase" the past.

The song utilizes a mix of perfect and slant rhymes. The chorus features a prominent AAAA rhyme scheme with the "-itter" sound (glitter, bitter, picture), creating a repetitive, almost obsessive rhythm that mirrors the cyclical nature of her thoughts. This tight rhyming structure gives the chorus a catchy, nursery-rhyme quality that contrasts with the mature, painful content.

Rhythmically, the verses have a conversational, almost spoken-word flow that allows McRae to deliver the narrative details clearly. The pre-chorus and chorus pick up in melodic intensity. The pacing of the song feels deliberate, like a slow walk in new shoes, until the bridge, where the phrasing becomes more urgent and breathless, reflecting her crack in composure before settling back into the resignation of the outro.

Musical Arrangement: The track is notable for its orchestral pop production, featuring lush string arrangements by Larry Gold and Steve Tirpak. The use of violins and cellos adds a cinematic, almost tragic grandeur to the song, elevating it from a standard breakup track to a dramatic emotional saga.

Contrast: There is a strong lyrical contrast between the aggressive, dismissive tone of the verses (e.g., "turn around and delete it") and the vulnerable, pleading nature of the bridge. This mirrors the psychological split between her confident outer self and her hurting inner child.

Imagery and Specificity: McRae uses hyper-specific imagery (dropping the diary in the pool, the partner rolling eyes at shows) which grounds the song in reality, making the universal feelings of heartbreak feel personal and authentic.

Juxtaposition: The rhyme scheme pairs "glitter" with "bitter," directly linking the sparkly facade with the sour emotion it is meant to hide.

Released as part of the deluxe edition of a highly anticipated album, TRYING ON SHOES quickly became a fan favorite for its lyrical vulnerability and departure from typical pop production. It resonated with listeners for its honest depiction of the "glow-up" culture following a breakup, questioning whether the transformation is for oneself or for the ex.

The song's specific references to her diary and the "eye-rolling" incident sparked significant discussion on social media platforms like TikTok and X (formerly Twitter), where fans dissected the lyrics to understand the timeline of her relationship with The Kid LAROI. It stands as a key track in McRae's discography that showcases her growth as a songwriter and her willingness to experiment with more classical instrumentation alongside modern pop themes.

The Shoes and Glitter: These serve as the central metaphor for superficial transformation. They represent the tangible, material items used to patch over invisible emotional wounds. Putting on glitter is a way to cover up the "bitter," acting as a distraction that shines outwardly while the internal feeling remains dark.

The Diary in the Pool: This acts as a powerful symbol of erasure and cleansing. Water often signifies rebirth or washing away sins, but here it destroys the written record of their relationship. By drowning her memories, she attempts to physically destroy the narrative of their love.

Blue Outfit: The "favorite blue" likely symbolizes a specific version of herself that feels most authentic or powerful, used here as a weaponized image to make her ex regret his loss.

Rolling Eyes at Shows: This imagery serves as a metonym for lack of respect. It encapsulates the conflict between her rising fame/career and a partner who belittles her success, highlighting the theme of incompatibility.

"Tryin' on shoes, puttin' on glitter": This phrase is the hook and the anchor of the song. Its repetition emphasizes the ritualistic nature of her coping mechanism. It suggests that this isn't a one-time fix, but a continuous process of dressing up to feel better.

"I can't stop": Repeated in the post-chorus, this phrase highlights the compulsive nature of her reaction. She cannot stop the cycle of getting angry, dressing up, and performing happiness. It suggests a lack of control despite her attempts to appear in charge.

"Ah-ah" Vocals: The intro and outro feature melodic vocalizations that create a haunting, atmospheric bookend to the track, setting a mood of melancholy introspection.