Lindsey Rose Black’s “CUNT HONEY” presents a campy, cathartic country-pop farewell – an extravagantly glittery reclamation of femininity, queerness, and Southern heritage that exudes confidence while challenging purity culture.
Follow our Today’s Song(s) playlist Stream: “CUNT HONEY” – Lindsey Rose Black
For years, I’ve been engaged in unraveling the narratives of shame related to my body, femininity, and sexuality.
* * *
Lindsey Rose Black’s “CUNT HONEY” is as daring as its title implies – and even more so. It’s an addictive singalong brimming with cheeky humor, heart, and confidence, offering a mix of dreamy and dramatic elements, together with a wink and a sashay, all infused with a country rhythm and an alluring feminine energy. From the very first beat, the song demands attention, a whirlwind of grit and glamour that feels both defiant and celebratory.
The track opens with sharp imagery: “You can break a mare / put a curse on Eve / take a bite of the apple / and blame it on me.” By the time Black reaches the chorus – “No you can’t take the cunt, honey, out of country” – it’s hard not to join in. The lyrics are both playful and raw, combining catharsis with humor, as if she’s transforming the language of country music in real time while reclaiming the stories of femininity, queerness, and Southern identity.
You can break a mare
Put a curse on Eve
Take a bite of the apple
And blame it on me
See God in the flower
But don’t forget the weed
No you can’t take the cunt, honey
Out of country
“‘CUNT HONEY’ is a country-alt-pop hit that delves into themes of queer identity, Y2K purity culture, and feminine empowerment,” Black tells Atwood Magazine. “Growing up in a small religious town in Texas, I was told that painful periods were ‘Eve’s curse’ for causing Adam to sin… There’s so much to unpack regarding why this is such a CRAZY thing to hear as an adolescent with a menstruating body, and I’ve spent years unpacking the narratives of shame, femininity, and sexuality my body has carried.”
This blend of anger and playfulness is what makes “CUNT HONEY” so captivating. It’s a sharp, humorous, and fearless foundation for a song that approaches rebellion with a grin. Black transforms all the shame and confusion stemming from her upbringing under purity culture into something fun, campy, and loud. It’s both tongue-in-cheek and deeply serious, a reclamation wrapped in sparkle.
Turned 13
Polishing my purity ring
Make my bed
Leave room for Jesus Christ
Principal said
Oh it’s your fault, all your fault, all your fault
Those boys are touching themselves at night
Well, alright
As for the writing process, Black shares, “I was actually on my period when I created the track, and sometimes the best inspiration comes from being present in the moment. It started with a simple drum machine beat, and within minutes, the entire song flowed out. It honestly felt like ‘divine intervention’ for a piece that critiques the divine belief system I was raised on.”
“‘CUNT HONEY’ is fundamentally a very silly song that brings forth serious reflections regarding my religious background, purity culture, and the journey of freely, beautifully, and wholly expressing queer identity. I adore pop music, I cherish my complicated Southern girl roots, and I have profound faith in God/Spirit/the universe – it just doesn’t resemble what it used to.”
You can break a mare
Put a curse on Eve
Take a bite of the apple
And blame it on me
See God in the flower
But don’t forget the weed
No you can’t take the cunt, honey
Out of country
Donut, mango, cherry, peach
No you can’t take the cunt, honey
Out of country
Devil’s kiss, set me free
No you can’t take the cunt, honey
Out of country
In essence, “CUNT HONEY” is both a sermon and a satire, a country farewell with an edge. It’s the interplay of silliness and seriousness, sacredness and irreverence that ignites the song’s compelling energy. Black embraces contradiction and discovers freedom within it, transforming her history into a vibrant celebration of self. The outcome is music that feels both therapeutic and indulgent at the same time.
“My hope with this track is to create a space for the complex experience of feeling both gratitude and anger toward the beliefs and environments that shaped you. I have enormous respect and compassion for fellow ex-evangelicals navigating the challenging, reflective process of reconstruct
Indie Christmas is in full effect, thanks to artists like Bombay Bicycle Club, CMAT, The Cribs, and others, making for an unforgettable final night of the festival.
There’s an undeniably British quality to End of the Road. Perhaps it’s the setting of the Wiltshire countryside, or maybe it’s the sporadic rain showers.
Artists such as Midland, Mackenzie Carpenter, Alana Springsteen, and others shone brightly at this year's larger edition of the country, Americana, and blues festival.
JADE, Chloe Qisha, and the last-minute addition FKA twigs were significant highlights at the sold-out event in Victoria Park on Saturday.
After a breakout year characterized by international tours, headline performances, and remixing Pet Shop Boys, I. JORDAN returns with a fresh release titled ‘Without’.
By embracing change and stepping outside her comfort zone, Billie Marten’s fifth album, which focuses on collaboration, stands as her most assured work to date.
Lindsey Rose Black’s "CUNT HONEY" is a playful and cathartic country-pop break-up anthem—a sparkly reclamation of femininity, queerness, and Southern heritage that confidently embraces attitude while critiquing purity culture.