Happier than ever Billie Eilish lyrics: full lyrics Video, Album review, songs ranked and more
Happier than ever Billie Eilish lyrics: full lyrics Video and more things you need know about the trending song.
Happier than ever Billie Eilish lyric in text.
When I’m away from you
I’m happier than ever
Wish I could explain it better
I wish it wasn’t true
Give me a day or two to think of something clever
To write myself a letter
To tell me what to do, mm-mm
Do you read my interviews?
Or do you skip my avenue?
When you said you were passin’ through
Was I even on your way?
I knew when I asked you to (When I asked you to)
Be cool about what I was tellin’ you
You’d do the opposite of what you said you’d do (What you said you’d do)
And I’d end up more afraid
Don’t say it isn’t fair
You clearly werеn’t aware that you made me misеrable
So if you really wanna know
When I’m away from you (When I’m away from you)
I’m happier than ever (Happier than ever)
Wish I could explain it better (Wish I could explain it better)
I wish it wasn’t true, mm-mm
You call me again, drunk in your Benz
Drivin’ home under the influence
You scared me to death, but I’m wastin’ my breath
‘Cause you only listen to your fuckin’ friends
I don’t relate to you
I don’t relate to you, no
‘Cause I’d never treat me this shitty
You made me hate this city
And I don’t talk shit about you on the internet
Never told anyone anything bad
‘Cause that shit’s embarrassing, you were my everything
And all that you did was make me fuckin’ sad
So don’t waste the time I don’t have
And don’t try to make me feel bad
I could talk about every time that you showed up on time
But I’d have an empty line ’cause you never did
Never paid any mind to my mother or friends
So I shut ’em all out for you ’cause I was a kid
You ruined everything good
Always said you were misunderstood
Made all my moments your own
Just fuckin’ leave me alone.
Happier than ever Billie Eilish official Lyrics Video.
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Happier than ever album songs ranked.
Every Song Ranked on Billie Eilish’s ‘Happier Than Ever’: Critic’s List.
- Not My Responsibility”
This spoken-word track finds Eilish calmly cataloguing all the ways the public picks her apart, from her body to her clothes to her brazen personality, ultimately concluding that those opinions aren’t her responsibility. It’s a strong message, albeit a little belabored.
“Overheated” serves as the followup to “Not My Responsibility,” with Eilish writing for Spotify that she took the latter’s production and constructed a beat around it to create the former. This song touches on similar themes as its counterpart, namely Eilish wondering about the ridiculous public upset over her body. “And everybody said it was a let down I was only built like everybody else,” she sings over a slightly lackluster beat. “But I didn’t get a surgery to help out.”
- “Lost Cause”
This track, which served as the fourth single for Happier Than Ever, is an easy listen in spite of its frustrating topic. As appealing as its easy-going melody and nonchalant bassline are to the ear, the song is missing the crescendo its lyrics demand.
“NDA” is a fairly unrelatable song about what it takes to have a relationship and personal life when you’re an ultra-famous celebrity — but that doesn’t mean it isn’t a fun listen. The plucky string theme and Eilish’s distorted vocals are engineered to sound intense, an effect the theatrics-loving singer has been playing with since the creepier songs on When We All Fall Asleep, Where Do We Go?.
- “Everybody Dies”
The full album feels very contained to Eilish’s singular frame of view — her love life, growing pains, traumas. On “Everybody Dies,” however, we find the young star toeing the edge of something bigger than just herself: mortality and the meaning of life. This track reflects her first steps into writing about broader, more complex themes, which it would be interesting to hear her expand upon on future projects.
- “Therefore I Am”
This track feels emblematic of Eilish’s new era. It’s confident and self-actualizing, and backed by trademark Finneas production — a simple beat interspersed with a select few eccentric sounds and a groovy bassline.
- “I Didn’t Change My Number”
“I Didn’t Change My Number” is a swaggering assertion of control, marked by heavy-handed production and a quick appearance from what sounds like Eilish’s dog, Shark. The track doubles as a fun slow-jam and an empowering reminder that it’s okay to stop talking to intrusive people.
Last year, Eilish penned the sweeping ballad “No Time to Die” for the yet-to-be-released James Bond film of the same name, and “GOLDWING” feels like its sequel. It begins with a gorgeous choral arrangement that isolates Eilish’s pristine vocals and transitions into an anxious-sounding hook. “Better keep your head down down, da da down down,” she repeats over a heavy beat.
- “Your Power”
Eilish held an image of being a young, fresh new face in music from the time she began her career with her EP Dont Smile at Me and throughout the release of her debut LP, but “Your Power” proves that she’s graduated from that innocence in a devastating way. The song’s heavy lyrics reveal she’s no longer naive to the power imbalances between men and young women present in the industry, thanks in part to her own experiences.
- “Billie Bossa Nova”
This sauntering track illustrates a vivid scene of late night rendezvous and hotel rooms. It’s a cool, sensuous, shoulder-bopping song that thankfully doesn’t have too heavy a hand with its titular musical influences.
“Oxytocin” feels like a rarity from Billie Eilish for two reasons. First, it’s an overtly sexual song — and second, we get to hear the pop star raise her usually low-decibel voice to a feral shout as she belts “You should really run away.” The production intensifies into a hungry, pounding beat in tandem with Eilish’s lyrics, which get progressively more desperate.
- “Getting Older”
“Getting Older” is the perfect setup for an album full of Eilish’s most mature, thoughtful content yet. The bounciness of this opening track’s synthesized beat disguises a little what the lyrics give away: the 19-year-old has dour feelings about her fame, career and personal life. “The things that I enjoyed just keep me employed,” she sings. “Wasn’t my decision to be abused.”
- “Male Fantasy”
Though it’s just slightly alarming to hear a song by someone who famously hit it big as a young teenager start with thoughts on pornography, the record’s closing track delivers a poignant snapshot of Eilish’s mindset once you get past that first mild jolt of shock factor. Simple guitar backs her up while she ponders the abstract, transitional space between past versus present love. “This is exactly how I wanted the album to end,” she wrote for Spotify. “Nothing should end on an angry note.”
- “My Future”
Finneas’ production keeps this song moving as Eilish once again claims her life for her own. The best part of this song is that it doesn’t feel cheesy — it wasn’t forced into being an over-the-top pop ballad, which is often the sound assigned to songs with deliberately empowering self-love lyrics.
- “Halley’s Comet”
“Halley’s Comet” is a song that sounds like a classic from the instant those first piano notes tinkle. Eilish’s famous breathy vocals are put to good use on what’s easily the most lighthearted track on the album, with the singer hesitantly confessing that although she “comes around” even less than the aforementioned galactic phenomenon, she still finds herself believing she’s in love.
- “Happier Than Ever”
Be sure not to form a take on this album’s title track until you’ve listened to it the full way through. In simpler terms, “Happier Than Ever” wouldn’t have made it to the No. 1 spot on this list without its back half — a characteristically soft-voiced Eilish goes full punk rock mode in the final two minutes, complete with delicious electric guitar and super cathartic lyrics like “you made me hate this city!” screamed at the top of her lungs.
Billie Eilish’s Second Album Has Strong Words for Her Critics
When you’re 19, two years can feel like an eternity. Later, it can go by in a flash. Which is why, under more regular circumstances, many listeners might have been startled by Billie Eilish’s new album Happier Than Ever, which feels like a transformation compared to the jumpy and slinky playfulness of her massively successful, full-length debut, 2019’s When We All Fall Asleep, Where Do We Go? But in the interim, humanity’s collective rhythm fell into a Covid-19-shaped wormhole, and two years ago now seems impossibly distant to even people decades Eilish’s senior. Many of us are feeling more subdued, shaken, and shorter on swagger, and with notable exceptions, that is how Eilish sounds here.
The title of Happier Than Ever is double-edged: If anyone was expecting a more upbeat, carefree record from the 21st-century pop goth known for her nightmare-channeling lyrics, this ain’t it. The vibe is slower and more somber than her defining hits. But the album does find a maturing artist working through her obstacles to find contentment, asserting her right to self-possession, in ways that make happiness more viable in the long run.
Where much of her debut saw Eilish knifing the nasties under the bed in the dark, as stand-ins for more substantial psychological demons, on her sophomore release, her main foils aren’t the Babadook—they’re stalkers, internet haters, lousy boyfriends, body shamers, power abusers, and other real-world bad guys. It’s hard not to long for the fanciful horror-movie world-building of the younger Eilish at first, which in 2019—supported by her sibling co-writer and producer Finneas’s way with eccentric sonic effects—felt like such an unpredictable, liberating new presence in mainstream pop. Paired with Lil Nas X’s “Old Town Road” breakthrough the same year, Eilish seemed to be a harbinger of a further-out, cliché-crushing pop-generational turn.
But early celebrity is a powerful force, especially under the surveillance of social media. Eilish and Nas X (whose own debut full-length Montero is expected to appear anytime now) perhaps inevitably have now harnessed much of their energy to defending their psychic and personal integrity against the intense scrutiny they’ve experienced, which few people can even imagine.
Eilish has pointed out in interviews that the flattery can often be as confusing and damaging as the criticism. Consider the way her penchant for baggy, form-camouflaging clothing was counterposed with the supposed sexual excesses of other female pop stars: It not only made her an unwilling party to slut-shaming, but implied she would be making a mistake if she ever dressed more revealingly.
That’s part of why, in the runup to this release, Eilish swapped her trademark dyed-green hairstyle—which had become its own kind of identify-confining trap—for bombshell-blond, and had herself photographed in voluptuous lingerie for the cover of Vogue. Which, of course, brought another backlash.
There are lines peppered throughout Happier Than Ever that side-eye the internet peanut gallery’s presumption to know what’s actually going on in a life they only intuit through rumors, speculation, and ancient online breadcrumbs. But the focus on her body has clearly hit Eilish hardest. The album hinges around a mid-album, spoken-word monologue, “Not My Responsibility,” which she premiered during her short-lived world tour in 2020, with a short film of Eilish slowly removing clothing and then sinking into a pool of tar. “You have opinions about my opinions, about my music, about my clothes, about my body,” she intones.
“But I feel you watching always.” That piece informs everything before and after it, such as “Halley’s Comet,” perhaps the album’s only real love song, a pretty piece about being tempted by passion but held back by risk, and “OverHeated,” a less musically interesting statement in defiance of a traumatic paparazzi incident.
Eilish so far hasn’t gone through what someone like Britney Spears did, thanks to a trustworthy circle of family and well-vetted business associates, but even then she can come shockingly close.
A second album about the pressures of fame is an industry staple, and very often it marks the point when an artist loses the thread that bound them to an audience in the first place, only seeing the world through a scrim of travel and publicists.
In the album’s charming opening salvo, “Getting Older,” I began to worry about that as Eilish sang in the chorus, “Things I once enjoyed/ Just keep me employed now.”
I was reminded of the moment in The World’s a Little Blurry, the documentary from early this year, where Eilish told her family she never wanted to make another record. Still, at the end of this first song, she sets out another reason to carry on: “I’ve had some trauma, did things I didn’t wanna/ Was too afraid to tell ya, but now, I think it’s time.”
And that is, in its best moments, what lifts Happier Than Ever beyond the second-album curse: It is grounded in a determination to testify that would have been beyond the Eilish of 2019, while still preserving enough privacy to demand her autonomy. It swirls together the fame album, a post-#MeToo feminist-protest album, the breakup album (the songs return enough to overlapping complaints about a relationship situation to recall her peer Olivia Rodrigo’s more single-minded debut Sour, from May), and just enough familiar Billie-and-Finneas sardonicism not to be an endless bummer.
It could have been shorter—a song like “Billie’s Bossa Nova,” about a fantasy clandestine hotel rendezvous, feels like a Finneas-led musical exercise, and “Everybody Dies” is a reach for a bigger idea, a return to some When We All Fall Asleep preoccupations, that is a welcome change of pace yet whose poignancy falls short of profundity. But the way that Eilish mixes themes from song to song and within songs manages to connect relative mundanity with her unusual life experiences as a very-young-adult celebrity: the public component of growing up today regardless of fame, when an Instagram post or an out-of-date tweet can rattle any young person’s reputation or become bullying bait. They may not have to cope with articles and interviews, which she mentions in several songs as things she both dislikes and wants her intimates to take note of, but ordinary people can feel similar things about their online interactions.
That complexity is combined with the musical switch she and Finneas have made. They do less of the second-hand, homespun-trap that distinguished When We All Fall Asleep and draw upon more jazzy torch-song textures that Eilish has credited to the influence of the 1950s-’60s singer Julie London. Often, as on the strummy title track or the floatingly ambient “My Future,” the songs begin with retro mellow and then switch to beats halfway through. In the case of “Happier Than Ever,” that escalates to the point of Eilish ultimately shouting, “Just fucking leave me alone”—which may be the unspoken subtext of every torch song ever.
So could the flipped version that emerges at the end of the closing track, “Male Fantasy,” when Eilish sings, “I know I should, but I could never hate you.” That song starts daringly with Eilish distracting herself in a down moment by watching porn and pondering how the male gaze shapes unrealistic portrayals of women’s satisfaction with sex—but by its conclusion, it’s about an equally distracting fantasy about a male, and how he might have been better to her.
The album’s most thematically encompassing and memorable track is probably the single “Your Power,” on which Finneas uses 1970s acoustic-singer-songwriter textures to couch gently some of Eilish’s most confrontational lyrics about male power abuse, touching briefly upon personal experience while weaving in stories she’s heard from or about others, to make a more universal point. Lyrics like “She was sleepin’ in your clothes/ But now she’s got to go to class” and “You swear you didn’t know/ You thought she was your age,” as well as the musical arrangement, are reminiscent of the impact of Phoebe Bridgers’ song about her brief relationship with Ryan Adams: “You said when you met me you were bored/ And you were in a band when I was born.”
There are a few tracks here that aim a bit more at being bops. Last summer’s sarcastic-yet-Socratic single “Therefore I Am,” the one with the great pandemic-minded video of Eilish scarfing snacks in an empty food court, is represented. So is the recent “NDA,” which winkingly hints at off-the-radar romances who have to sign non-disclosure agreements and recaps a bunch of the album’s other songs in its second verse. “I Didn’t Change My Number” is an anthem for fully-justified-ghosters everywhere, with some classic Finneas-and-Billie musical humor in the loops of menacing dog barks. And “Oxytocin” is “Bad Guy”-esque in its keyboard and vocal stylizations, but with a much more grown-up, eroticized groove and lyrics; Eilish presents herself simultaneously as the pursuer and the pursued in a fully consenting-aged pleasure pretzel, with a sensuality that is newer to her.
Happier Than Ever needs those sparkly moments to sustain fans through the balladry and hush, but it parses them out sparingly. And then there is the beginning of “Goldwing,” preluded by layered Eilish voices performing a verse from early-20th-century English composer Gustav Holst’s orchestral transliteration of the Hindu Rig Veda, and ascending to a whole other Kate Bush-fusion-hemispheric level of transcendence—something I would never in a century have guessed she would include. It reminds me that as much as Billie Eilish’s second album matters— as a cultural phenomenon, a statement of Gen-Z womanhood, an intervention in pop music’s possible direction—both Billie and Finneas are artists who, as far as anyone can guess, could do practically anything in the future, compared to the short history we already know. Provided the future will let them.
Happier than ever Review: Billie Eilish remains brilliant with sophomore album
Billie Eilish seems to be in a good place on her sophomore album. “I’m happier than ever,” she sings on the first song. But there’s a tear running down her cheek on the cover. And before the collection is done, she returns to the phrase “I’m happier than ever” but qualifies it with “When I’m away from you.” So it’s complicated.
Few people do complicated like Eilish and “Happier Than Ever” is a fascinating look at a messy, famous pop star’s life, as diaristic as Taylor Swift but more self-critical and emotionally candid. It’s a superb album, ambitious and mature — a young woman pulling the fire alarm while we all stare at the flames.
The 16-track album that clocks in at just under an hour kicks off with “Getting Older” and a 19-year-old prodigy’s cutting, clear-eyed observation that “Things I once enjoyed/Just keep me employed now.”
Using that as a launching pad, Eilish goes on to explore fame and it’s dark sides. On “NDA,” she acknowledges a real-life stalker (“Had to save my money for security”) and on “OverHeated,” an encounter with paparazzi leads to an examination of surgery and “plastic” bodies.
Eilish also reaches up to expose unequal power structures, often returning to the theme of innocence polluted. On the hypnotic “GOLDWING” — which starts as a hymn based on a Hindu verse — she warns a novice: “You’re sacred and they’re starved/And their art is gettin’ dark/And there you are to tear apart.”
Those same evil forces are at play on the album’s triumph — the acoustic guitar-driven “Your Power,” pleading with a mentor abusing his power over someone in his thrall. “Will you only feel bad if it turns out/That they kill your contract?” she taunts.
So much for living happily ever after. Seven Grammy Awards haven’t changed her or her co-writer and producer, Finneas. If 2019’s “When We All Fall Asleep, Where Do We Go?” was sarcastic, quirky, internal and angsty, “Happier Than Ever” is fuller and grander, the songs stronger in their construction, crisper.
The brother and sister have an ability to take a spare noodle of a sound and build a sturdy song around it, with Eilish wrapping her expressive and whispery-lush vocals.
Her spoken word “Not My Responsibility” is important and powerful. “Would you like me to be quiet?” she asks and the answer is always no, no, no. She even targets mortality itself in “Everybody Dies.”
The new album isn’t all serious. There are terrific kiss-off songs (“I Didn’t Change My Number,” “Therefore I Am,” “Lost Cause” and the slow-building “Happier Than Ever”) and one where she’s hopelessly in love (“Haley’s Comet”). Eilish and Finneas even play with bossa nova in one terrific slinky tune.
But Eilish is best in the shadows, exploring our messiest impulses. “Oxytocin” starts off as sexy come-on, appropriate for a song named after a hormone that controls reproduction. But it brilliantly shifts halfway through, turning lust into something darker: “‘Cause as long as you’re still breathing/Don’t you even think of leaving.” Hey, its complicated.