Coffee bean by Travis Scott Lyrics Meaning – Unveiling the Raw Emotion Behind the Metaphors

You can view the lyrics, alternate interprations and sheet music for Travis Scott's Coffee bean at Lyrics.org.

Lyrics

(This is all)

Bad-bad news, I’m just bad-bad news
Good thing, the two, Bonnie and Clyde
The money and who?
It’s bad news, bad-bad for you
But I’m back on the coffee bean
Anything in between (this is all, this is all)
Back of the coffee line
Back-back-back in the bathroom line (this is all)

How would you feel if I had you?
Trust me, you’d be mad too
But shawty, we can be mad cool
Just hit me if anything past due
Your family told you I’m a bad move
Plus I’m already a black dude
Leavin’ the bathroom, my hands is half-rinsed
If only a nigga just had sense
Speaking in past tense
It’s been a week and a half since
We ain’t been speaking and that meant
You feeling free in my absence
I’ve been going through a lot behind this glass tint, yeah
(This is all, this is all)

Back of the coffee line
Back-back-back in the bathroom line (this is-)
I know they told you I’d be bad for you
Don’t worry I’ll be back for you
All the money and cars
Stripper hoes and the tattoos, bad news
Back off a coffee bean
Reflecting on all you see (this is all, this is all)

Stressing over award shows
She’s stressin’ over her wardrobe
Bought the mansion on foreclose
No matter how many tickets your tour sold
You feel this deep in your torso
Feel like someone’s readin’ your horoscope
Some shit only me and the Lord knows
SOS, that’s for those who hear this in morse code
Too many doors closed Cul-de-sacs and foor doors
Still ended up at the North Pole
This is where remorse goes
This shit’ll have you in divorce court
Fighting over your seeds, writing over your deeds, sliding over your keys
Alimony and fees, as your lawyer proceeds
To give out bad news

I’m just bad-bad news
Good thing, the two, Bonnie and Clyde
The money and who?
It’s bad news, bad-bad for you
But I’m back on the coffee bean
Anything in between (this is all, this is all)
Back of the coffee line
Back-back-back in the bathroom line (this is all)

Travis Scott’s ‘Coffee Bean’ stands out as an introspective conclusion to his acclaimed album, ‘Astroworld’, presenting a narrative that strips away the larger-than-life persona to expose a raw and personal dialogue. The track isn’t an anthem for arenas; it’s a quiet moment in a bustling coffee shop where introspection brews alongside the dark roast.

The honest lyricism serves as a conduit for Scott’s personal introspections, relationship conundrums, and the epitome of celebrity predicaments. It’s a poignant meditation that ventures away from the psychedelic trap sound that permeates the rest of the album, instead, providing a stripped-back, jazz-infused beat that allows the primary focus to rest on the storytelling.

Espresso Shot of Realness: ‘Coffee bean’ as a Metaphor for Concealment

Travis Scott’s lyrical mastery often involves clever metaphors, and ‘Coffee bean’ is no exception. Here, the renowned bean symbolizes the hidden layers of one’s personality and emotional baggage that are only revealed in the most intimate settings, much like the essence of a coffee bean is only uncovered when ground and brewed.

As Scott journeys back to the ‘back of the coffee line,’ he’s not only revisiting his roots but also the uncomfortable truths that life has handed him. The simplicity of the coffee bean juxtaposes his complex reality, emphasizing the idea that beneath the facade, there’s a depth that often remains unexplored.

The Haunting Past: When Old Lovers and Society’s Gaze Collide

The specter of a past relationship looms large over the lyrics: ‘How would you feel if I had you? Trust me, you’d be mad too.’ Travis Scott grapples with the aftermath of a love that was criticized and scrutinized, with him bearing the brunt of prejudice for being a ‘black dude.’

The haunting nature of this reflection is a heart-wrenching reminder of how the judgments of others, particularly from a lover’s inner circle, can taint the color of a relationship. It’s an all-too-familiar narrative where societal perceptions influence personal connections, leading to an undercurrent of stigma that can linger long after the romance has cooled.

The Price of Fame: Glittering Success Versus Inner Turmoil

Scott deftly turns his pen to the dichotomy of his public life filled with ‘all the money and cars, stripper hoes and the tattoos, bad news’ and the less glamorous reality of personal struggle. Even amidst the trappings of success, the pressures of ‘award shows’ and ‘wardrobe’ choices underscore the emptiness of such victories.

A mansion on ‘foreclose’ is not just a failed investment, but a symbol of Scott’s internal battle, navigating the chilly path of fame that can lead to ‘the North Pole,’ a place where remorse goes. The industry and its trappings are depicted as a double-edged sword, where public adoration is coupled with private challenges.

Dissecting the Hidden Meaning: Morse Code, Foreclosure, and Personal Battles

While the song boldly discusses relationships and fame, there’s a hidden layer that speaks to the listener in ‘morse code.’ The deeper communication here is Scott’s struggle with his personal demons, being fully seen and understood by his audience—’some shit only me and the Lord knows.’

The lyrics paint the portrait of a man caught in a labyrinth of life’s closed doors, navigating the celeb sphere’s cul-de-sacs. The cryptic ‘morse code’ serves as a distress signal, an SOS call that underscores the isolation felt even when surrounded by the world’s gaze.

Memorable Lines: The Echo of Travis Scott’s Existential Musings

Lines like ‘I’ve been going through a lot behind this glass tint,’ encapsulate the existential solitude Scott feels. It’s a powerful metaphor for the way fame can isolate artists behind the tinted windows of their own celebrity, visible yet distant from real connection.

‘This shit’ll have you in divorce court’ evokes the struggle with commitment in a life littered with distractions. Tying into the coffee bean metaphor, the song reflects on relationships strained by public life, and how splitting ‘seeds’ and ‘deeds’ can be as routine as ordering a cup of coffee—but with devastating emotional costs.