Henry, come on Review – Lana Del Rey: Beautiful Song [4/5]

Guide

Beautiful as ever, Lana Del Rey enters my ears with her breathy, ethereal vocals. Her new single, “Henry, come on” is a velvet-sounding pop release which confirms that she is still one of the best singers on the planet. The track was released on the 11th of April 2025 through Polydor Records and Interscope Records and it will be featured on her upcoming album, “LDR10* “. Lana wrote the track with Luke Laird and it was produced by Drew Erickson, her longtime collaborator.

Song Analysis (Henry, come on Review)

The music is nothing too wild, it starts with subtle guitar picks before the arrival of Lana’s stadium-filling reverb-soaked vocals. Lana’s vocals are best served on stripped-back instrumentals and that is the case here with her words and vocal style becoming the focal point. The key is E Major and it has a slowed down tempo of just over 100bpm. Is it a happy release? Quite the opposite, it nearly brought me to tears and the acoustic backdrop adds extra emotional weight. I can there will be many weeping eyes in the UK come her tour which kicks off in Cardiff on the 23rd of June 2025.

Lana Del Rey – “Henry, come on” Lyrics (Henry, come on Review)

Verse 1
I mean, Henry, come on
Do you think I’d really choose it?
All this off and on
Henry, come on
I mean, baby, come on
Do you think I’d really lose it on ya
If you did nothing wrong?
Henry, come on

Pre-Chorus
Last call, “Hey, y’all”
Hang his hat up on the wall
Tell him that his cowgirl is gone
Go on and giddy up
Soft leather, blue jeans
Call us into void’s dreams
Return it but say it was fun

Chorus
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
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”

Verse 2
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 working it out
No way

Pre-Chorus
It’s last call, “Hey, y’all”
Hang his hat up on the wall
Tell him that his cowgirl is gone
Come on and giddy up
Soft leather, blue jeans
Don’t you get it? That’s the thing
You can’t chase a ghost when it’s gone

Chorus
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
Who flies too close to the sun”

Bridge
All these country singers
And their lonely rides to Houston
Doesn’t really make for the best
You know, settle-down type

Outro
It’s last call, “Hey, y’all”
Hang his hat up on the wall
Tell him that his cowgirl is gone
Go on and giddy up
Last call, “Hey, y’all”
Hang his hat up on the wall
Tell him that his cowgirl is gone
Go on and giddy up
Go on and giddy up
Go on and giddy up
Hey

Meaning (My Opinion) (Henry, come on Review)

I believe “Henry, Come On” captures that bittersweet space between longing and letting go. The way Lana addresses Henry with a pleading tone—”Do you think I’d really choose it?”—feels like a raw, unfiltered moment of emotional vulnerability. To me, it reflects that quiet ache of trying to hold onto someone who’s already drifting away. It’s not just a breakup song—it’s about the frustration of emotional whiplash, the kind that happens when you give your all but still feel like you’re being pushed to the edge. The references to soft leather, blue jeans, and country symbols paint this beautiful yet melancholic Americana backdrop, grounding the personal struggle in a larger cultural mood.

What struck me the most was the chorus, especially the line “Yesterday, I heard God say, ‘It’s in your blood.'” I feel like Lana is exploring the idea of fate—how some people are just wired to live fast, feel deeply, and get too close to the edge. It’s not Henry’s fault entirely, and maybe it’s not hers either. That fatalistic streak runs through a lot of her work, but here it feels especially poignant. It makes me think about how we often carry things within us—emotional patterns, tendencies, deep needs—that shape how our relationships unfold. This song feels like an acknowledgment of that truth, wrapped in heartbreak and a touch of defiant grace.