Lana Del Rey's initial release of the year, "Henry, Come On," suggests a new chapter characterized by cinematic strings and a touch of the West, representing a subtle yet notable shift in her musical style.
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Stream: “Henry, Come On” – Lana Del Rey
Yesterday, I heard God say, “You were destined to be the one to hold the hand of the man who flies too close to the sun”...
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"Henry, Come On" is one of the few hints about how the next phase of the American singer/songwriter's career might unfold. While the title and release date of her tenth studio album remain undisclosed, this single is one of two recent tracks that encapsulate the melancholic, narrative-driven essence that fans associate with Del Rey. Nevertheless, she has once more revised certain elements of her artistry.
Henry, come on – Lana Del Rey
I mean, Henry, come on
Do you really think I’d choose it?
All this back and forth
Henry, come on
I mean, baby, come on
Do you truly think I’d lose it on you
If you did nothing wrong?
Henry, come on
The song is instantly identifiable as a creation of Lana Del Rey: her distinct whispery vocals, orchestration that incorporates strings, a cinematic flair, and her persistent themes of love and heartbreak. However, this time the song is set in the West, co-written with Grammy-winning country songwriter Luke Laird and produced by Drew Erickson. Together, the trio presents a refreshing ballad from Lana Del Rey, even though the narrative draws from a different genre.
Last call, "Hey, y’all"
Hang his hat on the wall
Tell him his cowgirl has left
Go on and giddy up
Soft leather, blue jeans
Call us into the void’s dreams
Return it but say it was enjoyable
And it’s not because of you
That I turned out so dangerous
Yesterday, I heard God say,
“It’s in your blood”
And it hit me just like lightning
I’ve been battling, I’ve been striving
Yesterday, I heard God say,
“You were born to be the one
To hold the hand of the man
Who flies too close to the sun”
Despite her recent marriage and public relationship from last year, "Henry, Come On" bears little relevance to her current personal life. Instead, the track narrates an on-again, off-again relationship that is evidently coming to a close, this time identifying one character by name: Henry. While there may not be a real person by that name linked to Lana Del Rey’s history, listeners inevitably speculate it connects to one of her former lovers. Ultimately, however, the song serves as an allegory: Every listener has their own Henry – someone who departs because there's nothing left to mend. Del Rey has transformed this breakup ballad into a narrative inspired by the West.
In this story, a cowboy bids farewell to his lover, leaving her to confront themes of acceptance, fate, vulnerability, and destructive cycles. With lyrics like, “I’ll still be nice to your mom / It’s not her fault you’re leaving” and “Don’t even bother explaining,” she reveals that both parties have surrendered, recognizing that time and opportunities have expired. Other lines, such as, “You can’t chase a ghost when it’s gone,” intensify the narrator's lament and anguish, complicating the seemingly straightforward nature of the song's opening minute.
I’ll still be nice to your mom
It’s not her fault you’re leaving
Some people come and they’re gone
They just fly away
Take your ass to the house
Don’t even bother explaining
There’s no possibility of working it out
No way
It's last call, “Hey, y’all”
Hang his hat on the wall
Tell him his cowgirl has left
Come on and giddy up
Soft leather, blue jeans
Don’t you realize? That’s the thing
You can’t chase a ghost when it’s gone
Some might argue that country music is characterized by detailed storytelling. Yet, “Henry, Come On” doesn’t fully capture that aspect of the genre. Still, in true Lana Del Rey fashion, there are always signature elements that transcend genres: lush instrumentals and an intimate atmosphere that perfectly complement the “Summertime Sadness” singer’s smoky voice. If her aesthetic is seen as cinematic, then she has once again succeeded – this time with a Western-flavored ballad.
And it’s not because of you
That I turned out so dangerous
Yesterday, I heard God say,
“It’s in your blood”
And it struck me just like lightning
I’ve been fighting, I’ve been striving
But yesterday, I heard God say,
“You were born to be the one
To hold the hand of the man
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Lana Del Rey's initial release of the year, “Henry, come on,” suggests the start of a new chapter characterized by cinematic strings and a Western influence, indicating a subtle yet noticeable change in her sound.