Takin’ SHoTs by Post Malone Lyrics Meaning – Decoding the Ode to Excess
Lyrics
Waitin’ on the plug, but he ain’t come yet (yet)
Still need somethin’? Put your bank on it (bank on it)
Got a big bag with a Bape on it
Party ain’t over if they say somethin’ (say somethin’)
No sleep ’til I’ve seen three suns
Party gon’ end with a threesome
Raw dog, prolly have three sons
Chasin’ the Perc’ with somebody, that shit never lets me down
They go to work for some money, we make it from actin’ out
Grrrrrah, we takin’ shots right now
Grrrrrah, yeah, we takin’ shots right now
See me in a ‘Rari goin’ vroom-vroom (skrrt skrrt)
Sexy motherfucker in the car too
Saint Laurent, 40 on a new suit
Sippin’ Bud Light, that’s the new Goose
Baby bust it open like woah-oh
The diamonds got cut like a boo-boo
Pockets so fat, rock a muu-muu
Me and Dre came for the pum pum
Drippin’, drippin’, drippin’, women tryna take my millions
Help my bro with Hannah since I’m Jason Williams (White Chocolate)
Heard that there’s a party, I might pay a visit
That’s a moment, hopped out frog like ribbit, ribbit (skrrt)
Drunk when I walked in the door
So fuckin’ high like, “Hello”
I told her pour me some more
Then she went right for the blow (the blow)
30 more girls wanna roll
Let’s get this bitch on the road (on the road)
Already losin’ control, this is the life that we chose
Drinkin’ all night, but we ain’t done yet (yet)
Waitin’ on the plug, but he ain’t come yet (yet)
Still need somethin’? Put your bank on it (bank on it)
Got a big bag with a Bape on it
Party ain’t over if they say somethin’ (say somethin’)
No sleep ’til I’ve seen three suns
Party gon’ end with a threesome
Raw dog, prolly have three sons
Chasin’ the Perc’ with somebody, that shit never lets me down
They go to work for some money, we make it from actin’ out
Grrrrrah, we takin’ shots right now
Grrrrrah, yeah, we takin’ shots right now
Frontin’ on me, but you love it (love it)
Tryna act like you above it (‘bove it)
Everybody know you wanna rub it (rub it)
Have you ever done it in public?
Sippin’ all night, let it rotate
Baby, just for the night, you my soulmate
Mixin’ vodka with the champagne
Tell me how much liquor can a man take
How many records have I sold?
I don’t even know, can’t keep count (nope)
You know that I’ve been on a roll
Celebratin’ life when I come around (come around)
Sippin’ all night, sippin’ all day
Brought the beerbong out like a tailgate
All these big words that I can’t say
Got me speakin’ drunkanese, can you translate?
Drunk when I walked in the door
So fuckin’ high like, “Hello”
I told her pour me some more
Then she went right for the blow (the blow)
30 more girls wanna roll
Let’s get this bitch on the road (on the road)
Already losin’ control, this is the life that we chose
Drinkin’ all night, but we ain’t done yet (yet)
Waitin’ on the plug, but he ain’t come yet (yet)
Still need somethin’? Put your bank on it (bank on it)
Got a big bag with a Bape on it
Party ain’t over if they say somethin’ (say somethin’)
No sleep ’til I’ve seen three suns
Party gon’ end with a threesome
Raw dog, prolly have three sons
Chasin’ the Perc’ with somebody, that shit never lets me down
They go to work for some money, we make it from actin’ out
Grrrrrah, we takin’ shots right now
Grrrrrah, yeah, we takin’ shots right now
In a culture that both lionizes and demonizes excess, Post Malone’s ‘Takin’ SHoTs’ stands as a hymn for hedonism. With a blase insistence, the song parades as a minute-by-minute account of a never-ending rave where the only currency is indulgence and the only sin is sobriety. At its core, ‘Takin’ SHoTs’ is less about the act of partying and more about the escape and defiance it symbolizes.
Peeling back the layers of Malone’s intoxicating revelry reveals a narrative deeper than the purple cups and Bape-adorned duffels suggest. In juxtaposition to the lifestyle glorified by the glittering beat, the lyrics delve into themes of escapism, the fleeting nature of fame, and the search for identity amidst substance-fueled partying. Let’s uncork the bottle and savor what ‘Takin’ SHoTs’ is truly pouring out.
A Vivid Mural of Modern Hedonism
Each line paints a vivid image: from the pungent scent of bacchanal awaiting a plug’s contribution to the carousel of bodies longing for a touch of stardom. By juxtaposing luxury brand names with colloquial drug references, the song reads like a Gen Z remix of the Great Gatsby’s opulent despair.
It’s this duality—the blend of high-status symbols and raw, unfiltered impulses—that shapes Post Malone’s artistic silhouette. The uproarious chant-like delivery of ‘we takin’ shots right now’ serves not only as a testament to endurance but also as a battle cry against the mundane.
Unearthing the Echoes of Loneliness
Beneath the strobe lights and the clinking glasses lies a softer, more vulnerable beat. Malone murmurs about sipping Bud Light as if to toast to camaraderie that’s as watered down as his choice of drink. The ’30 more girls wanna roll’ line reads less like a boast and more like a band-aid over a gaping loneliness.
In the maelstrom of fleeting connections and surface-level interactions, Post Malone’s music often hints at a longing for something more substantial, a true ‘soulmate’ even if just for the night. The bravado and swagger cloak an unspoken yearning, common to us all, for authentic connection.
Memorable Lines: The Art of Crafting an Anthem
‘Drunk when I walked in the door / So fuckin’ high like, “Hello”‘—with these lines, Post Malone encapsulates the audacity of entrance that marks every night as legendary. The track brims with such earworm phrases designed to stick, to be shouted from rooftops and slurred in alleyways.
These chants serve as the binding agent for the collective memory of revelers, creating a shared experience that transcends language—’drunkanese’ as Malone dubs it. In this crafted mythology, every line becomes memorable, each utterance a mantra for the night’s escapades.
The Side Effects of Fame Unveiled
‘How many records have I sold?,’ he muses, a rhetorical question lodged between references to alcohol and anonymity. It stands as a moment of self-reflection, a brief meditation on the side effects of fame—numbness to one’s accomplishments and a detachment from self in the face of public persona.
This mental stupor, induced by one’s success, is an area Malone returns to again and again in his music. His success is not the focal point; it’s the altered state of reality it imposes, where the lines between person and persona blur and one becomes indistinguishable from the other.
Deciphering the Song’s Hidden Meaning
‘Mixin’ vodka with the champagne’ could be read as a cryptic comment on the nature of fame—volatile, unpredictable, and often a dangerous cocktail. The constant clash of public expectation and personal reality is a silent battle waged behind closed doors, with Malone as a field commander.
With ‘Takin’ SHoTs,’ Malone isn’t just indulging in a world of luxury and libation; he’s offering a nuanced look into the pressures of staying on top. Perhaps, in the ephemeral chase for the next high, he’s sketching out a survival guide for navigating the treacherous waters of stardom.
