Lotta True Crime by Penelope Scott Lyrics Meaning – Unveiling the Complex Layers of Safety, Fear, and Feminine Solidarity

You can view the lyrics, alternate interprations and sheet music for Penelope Scott's Lotta True Crime at Lyrics.org.

Lyrics

So this girl’s outside behind the bar
She’s a good girl
She called a car
Y’got three motherfuckers in a big white van
Two dumb friends and one mean man
Well she’ll fucking kill you
She wins every fight
She’s gonna rock your shit by the end of the night
And the only advantage that a killer has
Is they think they have the right

I listen to a lot of true crime
I listen to it at night
I like the girl talk
It makes me feel alright
I like scary stories in the morning
And I like them at night
I like the girl talk vibes
They make me feel just fine
I listen to a lot of true crime

Y’know Dennis Rayder and David Parker Ray
Actually sit together in Hell
Shaking quaking terrified
That someday
Somehow someway
They might meet me

They took our girls away from home
They’re in the woods they’re all alone
The ropes are heavy and the knots are tight
Tied by a monster and his oblivious wife
Well I hope this doesn’t seem too impolite
But Ted Bundy was just never that fucking bright
He was just sorta charismatic and White alright
And he was so fucking sure he had the right

But he’s ugly and I’m glad he’s dead
Cuz there was no fucking candle in his pumpkin head
You’re not special for winning a game
With someone who you know was never playing
She could’ve killed you
She had every right
You just caught her off guard tonight
But it’s alright
She’ll be fine
We listen to a lotta true crime

One of our young turned up last night
They found their body but not their eyes
Somebody new must’ve
Gone bad
Where’s the lord to take care of that
Where’s the lord to take care of that

I listen to a lot of true crime
I listen to it at night
I like the girl talk vibes
They make me feel alright
I like scary stories in the morning
And I like ’em at night
I like the girl talk vibes
They make me feel just fine
I listen to a lot of true crime

Penelope Scott’s ‘Lotta True Crime’ is more than a haunting melody that weaves through the intricacies of true crime obsession; it’s a raw commentary on the fears that women navigate daily. It’s a reverberating anthem of feminine resilience against a backdrop of a society that often leaves them vulnerable.

This track isn’t just another melodic foray into the world of folk-punk; it is a scathing analysis of power dynamics, a testament to the ever-present dread of being a potential victim, and an ode to the solidarity found amongst women sharing these narratives.

Between Fear and Empowerment: A Deep Dive into Feminine Psyche

At the heart of ‘Lotta True Crime’ lies a paradoxical relationship with the genre. While true crime inherently details the darkest aspects of humanity, it paradoxically serves as a comfort to the listener. Scott deftly captures this duality in her chorus, emphasizing how ‘girl talk vibes’ provide solace in the midst of chilling stories of abduction and murder.

The song probes the psyche of women who find community and caution in the threat-laden narratives, suggesting that, through these stories, there is a subconscious preparation and an affirmation of survival. They are not just passive consumers; they are mentally arming themselves against the world’s lurking dangers.

A Chorus of Camaraderie: Lacing Hope with Doses of Realism

Penelope Scott uses ‘Lotta True Crime’ to evoke a sense of camaraderie among listeners who are often the subjects of true crime stories. The ‘girl talk’ that radiates a sense of well-being is not only about comfort, but also about the unspoken understanding that the listeners could be, or have been, in the victims’ shoes.

The song becomes an anthem of solidarity, creating a shared space where fear is acknowledged but also defied. By invoking ‘the only advantage that a killer has is they think they have the right,’ Scott alludes to the unjust powers held by perpetrators and the inherent strength that victims and survivors possess.

Hidden Depths: The Sociopolitical Commentary in Melodic Disguise

Deftly stitched into the fabric of ‘Lotta True Crime’ is a poignant critique of societal attitudes towards criminals like Ted Bundy. Scott points out the misplaced adulation afforded to infamous murderers, attributing it to factors like charisma and societal privilege, reflected in lines like ‘He was just sorta charismatic and White alright.’

Within the stirring verses, there is a caustic denunciation of the normalization of violence and the systemic flaws that allow predators to roam unchecked. By questioning where divine justice or societal protection lies, the song becomes not just a commentary on individual acts of violence but a critique of collective failure.

Murder Ballads Reimagined: The Presentation of Victimhood

Scott inverts the traditional murder ballad narrative by focusing on the victims’ potential and strength rather than their demise. By stating ‘She’ll be fine’ and ‘She could’ve killed you,’ Scott reframes victims not as wholly powerless, but as individuals caught off-guard in a moment of vulnerability.

It challenges the often passive portrayal of victims in media and true crime, instead imagining victims as individuals with agency who ‘win every fight’ but were simply tricked into losing this one. This shift in perspective empowers and humanizes the true crime subjects without dismissing the gravity of their struggles.

Memorable Lines that Linger: Dissecting Scott’s Narrative Arsenal

Penelope Scott doesn’t just craft a song; she weaves an evocative tale that claws at memory. ‘Actually sit together in Hell, Shaking quaking terrified’ are lines that paint a picture of notorious criminals trembling at the might of the empowered women they once wronged.

‘They took our girls away from home’ is a mournful acknowledgment of lost innocence, while ‘You’re not special for winning a game / With someone who you know was never playing’ is an acerbic takedown of the predator’s illusion of superiority. These lines stay with listeners, echoing in their minds long after the song ends.