COFFEE BEAN

"COFFEE BEAN" is one of Travis Scott's most vulnerable and lyrical tracks, serving as the introspective closer to his blockbuster album, ASTROWORLD. The song's meaning revolves around the complexities and struggles of his high-profile relationship, widely believed to be with Kylie Jenner. It strips away the usual bravado and autotune-heavy production, offering a raw, honest look at insecurity, racial prejudice, and the pressures of fame.

The central theme is the acknowledgment of being "bad news" for his partner. Scott explores the external judgment they face, particularly from her family, with the poignant line, "Your family told you I'm a bad move / Plus, I'm already a black dude." This highlights the racial dynamics and preconceived notions that strain their relationship. He feels perceived as inadequate or opportunistic, a stereotype he pushes back against by noting his own success and willingness to provide.

Furthermore, the song delves into the internal turmoil and emotional distance caused by their lifestyle. He reflects on periods of not speaking and feeling like his absence brings his partner a sense of freedom. The title itself, "COFFEE BEAN," is a metaphor for reflection and perhaps even a dark premonition. Just as one might read coffee grounds, Scott seems to be looking at the state of his relationship and foreseeing potential disaster, referencing divorce, alimony, and custody battles. The act of being "back on the coffee bean" signifies a moment of sobering clarity, a return to these anxious thoughts amidst the chaos of his life.

The narrative unfolds as a deeply personal and introspective reflection on a strained romantic relationship, complicated by the pressures of fame and public scrutiny. The protagonist, a successful figure in the public eye, acknowledges his own flaws and the negative perception he carries, labeling himself as "bad, bad news." This admission sets a tone of self-awareness and regret that permeates the entire song. He directly addresses his partner, anticipating her anger and validating it, suggesting that if their roles were reversed, he would feel the same level of frustration. A central theme is the external judgment the couple faces, particularly from his partner's family, who view him as a "bad move," a sentiment amplified by his race. This points to societal and familial pressures that add another layer of complexity to their personal issues.

He delves into a period of silence and distance between them, a "week and a half" of not speaking, during which he imagines she feels a sense of freedom in his absence. This highlights his insecurity and the emotional toll the conflict is taking on him. While he is physically absent or emotionally distant, he is grappling with his own struggles "behind this glass tent," a metaphor for his life in the spotlight, which is both transparent and isolating. Despite the turmoil and his own self-acknowledged shortcomings, there's a recurring promise of return. He assures her, "I'll be back for you," suggesting a deep-seated commitment beneath the surface-level chaos. This promise is juxtaposed with the materialistic trappings of his life—money, cars, and tattoos—which are presented as insufficient substitutes for genuine connection.

The second verse shifts to a more anxious and forward-looking perspective, imagining the potential downfall of their relationship. He observes his partner's stress, not over their core issues, but over superficial markers of their lifestyle, like "award shows" and "wardrobes." This observation creates a sense of disconnect, as if they are both overwhelmed by the external pressures of their world. He then spirals into a darker premonition, envisioning a future of divorce, legal battles over their children ("seeds"), property ("deeds"), and possessions ("keys"), complete with lawyers delivering more "bad news." This foresight is tinged with a sense of tragic inevitability, a feeling that their current path leads to a painful end. The phrase "back on the coffee bean" acts as a recurring motif, a moment of pause and reflection where he processes these anxieties and observations. It can be interpreted as a moment of clarity, or perhaps a form of fortune-telling, where he sees the unfortunate future laid out before him like grounds at the bottom of a cup. The song closes on this somber, reflective note, caught between the hope of reconciliation and the fear of an impending breakup, encapsulating a feeling of love struggling to survive under immense external and internal pressure.

"COFFEE BEAN" was created as the closing track for Travis Scott's critically acclaimed third studio album, ASTROWORLD, which was released on August 3, 2018. The production was handled by a notable team consisting of nineteen85, Tim Suby, and longtime Travis Scott collaborator Mike Dean. Unlike the majority of the album's psychedelic trap sound, "COFFEE BEAN" stands out for its more subdued, boom-bap influenced instrumental, which features a hypnotic groove anchored by a Fender Rhodes piano and a prominent cello arrangement at the end.

The song was written by Scott (credited as Jacques Webster), Cydel Young (CyHi the Prynce), Mike Dean, Tim Suby, and Paul Jefferies (nineteen85). Lyrically, it is considered one of Scott's most personal and introspective works, widely interpreted as a reflection on the early, tumultuous stages of his relationship with Kylie Jenner, with whom he had his first child, Stormi, earlier that year. The song's creation marks a significant moment in Scott's discography, showcasing his ability to step away from his signature autotuned sound to deliver a more raw, lyrical performance that digs into themes of self-doubt, love, and the pressures of celebrity. The cello parts heard at the song's conclusion were orchestrated by Johan Lenox, who worked with Mike Dean to add the distinctive classical element to the track.

The rhyme and rhythm of "COFFEE BEAN" are crucial to its introspective and conversational feel, setting it apart from the more energetic, trap-influenced tracks on ASTROWORLD.

Rhyme Scheme:

Travis Scott employs a fluid and complex rhyme scheme that avoids rigid, predictable patterns. He leans heavily on multi-syllabic rhymes and slant rhymes rather than perfect rhymes, giving the lyrics a more natural, prose-like quality. For example, in the lines, "Your family told you I'm a bad move / Plus, I'm already a black dude," the rhyme between "move" and "dude" is straightforward, but he weaves in assonance and consonance throughout the verses to create a cohesive sound. He frequently rhymes within lines (internal rhyme) as well, such as "stressin' over a wardrobe, wanna mention four clothes / No matter how many tickets your torso, you feel this deep in your torso." This technique makes his flow more intricate and engaging.

Rhythm and Flow:

The song's rhythm is built on a relaxed, boom-bap style beat, which is much slower and more deliberate than typical trap rhythms. This laid-back tempo allows Scott to adopt a more conversational and narrative flow. His delivery is less about aggressive ad-libs and more about storytelling. The rhythm of his lyrics often plays against the beat, with phrases starting and ending in unexpected places, mimicking the patterns of natural speech. This creates a sense of intimacy and raw honesty, as if the listener is hearing his unfiltered thoughts. The lack of heavy autotune further contributes to this feeling, allowing the natural cadence of his voice to define the rhythmic texture of the song.

"COFFEE BEAN" distinguishes itself from the rest of ASTROWORLD through its unique stylistic choices, both musically and lyrically.

Musical Techniques:

• Shift in Genre: The track eschews the psychedelic trap sound dominant on the album for a more soulful, boom-bap hip-hop style. This change is marked by a prominent, laid-back bassline and a jazzy Fender Rhodes melody.
• Minimalist Production: Compared to the dense, layered production on other tracks, "COFFEE BEAN" is relatively sparse. This minimalist approach places the focus squarely on Scott's lyrics and vocal delivery.
• Raw Vocal Delivery: A notable stylistic choice is the absence of Scott's signature heavy autotune. He delivers his verses in a more natural, conversational tone, which enhances the song's vulnerability and emotional honesty.
• Instrumentation: The use of a live-sounding cello arrangement, orchestrated by Johan Lenox, in the song's outro adds a melancholic and cinematic quality, providing an emotional release after the lyrical tension.

Literary Techniques:

• Direct Address: Scott frequently uses the second person, speaking directly to his partner ("How would you feel if I had you?", "Your family told you..."). This creates an intimate and confessional narrative voice.
• Foreshadowing: The entire second verse acts as a form of dark foreshadowing, where he vividly imagines a future of divorce court, fighting over children ("seeds"), and legal fees, illustrating his deep-seated anxiety.
• Rhetorical Questions: He employs questions like "The money and who?" to provoke thought about the nature of his relationship and its motivations.
• Internal Rhyme: Scott utilizes intricate internal rhymes and slant rhymes (e.g., "past due" / "bad move" / "black dude"; "torso" / "Lord knows" / "doors closed") which adds a sophisticated lyrical rhythm to his verses.

As the closing track to the massively successful and critically acclaimed album ASTROWORLD, "COFFEE BEAN" holds a unique place in Travis Scott's discography. While not a commercial single like "SICKO MODE," its cultural influence lies in its artistic impact and what it revealed about Scott as an artist.

Artistic Departure and Critical Acclaim: The song was frequently highlighted by critics as a standout moment on ASTROWORLD for its surprising vulnerability and lyrical depth. By stripping away his signature autotune and psychedelic production, Scott proved his versatility and ability to craft a poignant, narrative-driven song. This earned him respect for his artistry beyond his skills as a curator of energy and sound, showcasing a more mature and introspective side.

Fan Reception: For many fans, "COFFEE BEAN" is considered one of his most personal and profound songs, a cherished deep cut that offers a rare glimpse into his private life and insecurities. It demonstrated that behind the "La Flame" persona was a person grappling with universal themes of love, family pressure, and self-doubt. Its raw honesty has made it a fan favorite for moments of reflection, often cited as a perfect album closer that provides an emotional resolution to the chaotic energy of ASTROWORLD.

Legacy within Hip-Hop: While its direct sonic influence is less widespread than his trap anthems, the song's success reinforced the value of a vulnerable, introspective closing track on a major rap album. It stands as a testament to the idea that even the biggest stars can connect deeply with audiences by momentarily setting aside their larger-than-life personas. The song has been sampled by other artists, such as Artigeardit in their 2020 song "#%_! Dig Selv," indicating its resonance within the music community.

"COFFEE BEAN" is rich with symbolism and metaphors that illustrate the song's themes of introspection, anxiety, and a troubled relationship.

• Coffee Bean/Coffee Line: The central metaphor of the "coffee bean" represents moments of reflection, clarity, and perhaps fortune-telling. When Scott is "back on the coffee bean," he is contemplating his situation. The imagery suggests looking into the bottom of a coffee cup and seeing the future, which in this case, is filled with anxieties about divorce and conflict. The "coffee line" can symbolize a waiting period or a moment of pause from the chaos of his life to confront these thoughts.
• Glass Tent: The line "I've been goin' through a lot behind this glass tent" is a powerful metaphor for life in the public eye. A glass tent offers no privacy; everyone can see in, yet it also creates a barrier, isolating the person inside. It perfectly captures the paradox of celebrity—being constantly watched yet feeling incredibly alone with one's struggles.
• Bonnie and Clyde: The reference to "Good thing, the two, Bonnie and Clyde" is quickly subverted. While it initially suggests a ride-or-die partnership, he immediately follows it with "The money and who?" This questions the foundation of their relationship, wondering if it's based on true loyalty or on materialistic aspects, hinting at a lack of trust or external perceptions of their bond.
• Award Shows and Wardrobes: Mentioning that his partner is "stressin' over award shows" and "stressin' over a wardrobe" serves as a symbol of the superficial pressures of their lifestyle. While he is consumed with existential fears about their relationship's future, her anxieties are focused on public image and appearances, highlighting a potential emotional disconnect between them.

Several recurring phrases and motifs anchor the themes and emotional core of "COFFEE BEAN".

• "Bad, bad news": This is the most significant recurring phrase, appearing in the song's intro, chorus, and outro. It functions as a confession and a self-fulfilling prophecy. Scott identifies himself as "bad news," acknowledging his flaws and the negative perception others have of him. Its repetition reinforces his insecurity and his belief that he brings trouble into his partner's life, setting a somber and apologetic tone for the entire track.
• "Back on the coffee bean / Back of the coffee line": This motif serves as the song's reflective anchor. Each time it's mentioned, it signals a return to his inner thoughts and anxieties. The "coffee bean" can be seen as a symbol of contemplation or a catalyst for his dark premonitions about the future of his relationship. It's the quiet moment where the external noise fades and the internal fears surface.
• "I'll be back for you": This phrase, repeated for emphasis, acts as a counterpoint to the overwhelming negativity. Despite being "bad news" and the distance between them, this line is a promise of loyalty and commitment. It suggests that underneath the turmoil and self-doubt, his intention is to return and make things right, adding a layer of bittersweet hope to the narrative.