Psychosexual Reading of “A&W” by Lana Del Rey: Feminism in Music

Abstract

This exploration of Lana Del Rey’s song “A&W” through a feminist lens focuses on themes of bodily autonomy, sexual trauma, societal judgment, and emotional resilience. The song’s opening reflects a poignant loss of innocence and highlights the protagonist’s strained relationship with her mother, emphasizing the critical role of maternal bonds in identity formation as theorized in feminist psychoanalysis. Del Rey’s portrayal of complexity in feminine identity is captured in lyrics that reject reductive labels, embracing the contradictions and multitudes within a woman.

The song also critiques rape culture and victim-blaming, challenging societal narratives that invalidate survivors’ experiences based on appearance or stereotypes. By juxtaposing vulnerability with resilience, Del Rey illuminates the psychological impact of trauma and the protagonist’s journey toward self-reclamation. Furthermore, the title, an abbreviation for “American Whore,” reclaims a derogatory term, transforming it into a symbol of defiance against patriarchal norms.

Del Rey’s use of popular music as a medium bridges personal and collective struggle, demonstrating the power of art to articulate feminist resistance. Positioned within the broader context of fourth-wave feminism, “A&W” becomes a compelling feminist text, offering insights into the intersections of trauma, identity, and cultural critique.

Introduction

Feminism encompasses a diverse range of movements and ideologies aimed at achieving gender equality in political, economic, personal, and social spheres. Over time, feminists have fought for women’s rights, including voting, fair pay, education, property ownership, maternity leave, and protection from violence and discrimination, while championing bodily autonomy and equality in marriage. The feminist movement has evolved over centuries, marked by four distinct waves, each addressing the pressing issues of its time. ¹

The first wave began in 1848 with the Women’s Suffrage Movement, led by Susan B. Anthony and Elizabeth Cady Stanton, focused on securing women’s right to vote. ² The second wave, emerging in the 1960s, expanded its scope to legal and social inequalities, tackling reproductive rights, domestic violence, marital rape, and divorce law. ³ The third wave, starting in the 1990s, introduced themes like sex-positive feminism, intersectionality, transfeminism, and ecofeminism, while questioning traditional narratives about gender and power. ⁴ The fourth wave, which began around 2012, targets issues such as sexual harassment, rape culture, workplace discrimination, body shaming, and online misogyny, with social media playing a key role in amplifying its impact. ²

In the 21st century, liberal feminism has gained mainstream acceptance, emphasizing the economic and sexual empowerment of white, middle-class women. However, this focus often reinforces patriarchal structures, as liberal feminism is rooted in individualistic ideals of ownership extending even to women’s bodies while challenging traditional norms around marriage and rape culture. This dynamic highlights the ongoing complexities within feminist discourse. ⁵ Feminist psychoanalysis has made significant strides through the work of theorists and therapists influenced by feminist movements. Rooted in the belief that “the personal is political,” it explores how gendered subjectivity is shaped by external social structures. Feminists critically engage with psychoanalysis to understand how identity forms and to envision possibilities for change. However, there remains a strong critique, particularly of Freud’s biologically driven theories like “penis envy” and of therapeutic practices that may reinforce patriarchal norms. Thus, feminist psychoanalysis is best understood as a critical approach: it both challenges traditional psychoanalytic ideas and uses them to deepen feminist theories of gender and power. ⁶

Art and culture, particularly popular music, have been vital in articulating feminist themes. As a multimedia form, music transcends boundaries, influencing cultural narratives and fostering dialogue. Lana Del Rey’s 2023 Grammy-nominated song “A&W,” exemplifies this intersection. ⁷ The hauntingly raw track explores themes of sexual trauma, maternal absence, and emotional resilience, presenting a deeply personal yet universally resonant feminist perspective.

Details of the Song

“A&W,” which stands for “American Whore,” is a 7-minute, two-part song from the album Did You Know That There’s a Tunnel Under Ocean Blvd, released on February 14, 2023 (quite ironically). It is co-produced by Lana and Jack Antonoff, with songwriting credits also including Sam Dew. Mirroring the duality in its title, “A&W” is divided into two contrasting musical sections, seamlessly fused together through a transition of distorted bass and layered vocal backtracking. ⁸

Purpose of Analysis

The song is confessional in which Del Rey traces a narrative arc from innocent girlhood to troubled adulthood, culminating in an authentic portrayal of self-identified sex addiction and the fallout of being objectified and consumed by a hypersexualized culture. By engaging with these issues, the song becomes a powerful feminist text, contributing to broader conversations about identity, trauma, and societal judgment within both psychiatry and cultural studies.

To analyze Lana Del Rey’s “A&W” through the lens of feminism, it explores how the song engages with key feminist themes such as bodily autonomy, sexual trauma, and societal expectations of women. By examining its lyrics, tone, and narrative structure, the aim is to uncover how the song critiques patriarchal norms and reflects the lived experiences of women navigating trauma and identity.

Methods

The song “A&W” was selected for analysis due to its bold thematic content and its relevance to contemporary feminist discourse. The methodological process, spanning from December 2024 to March 2025, involved close lyrical examination and contextual interpretation within a feminist psychoanalytic framework.

The objectives of this review were to explore how the song articulates feminist concerns as well as the emotional developmental trajectory of a woman with conflicting maternal relationships through lyrical and structural choices, and to analyze how it challenges traditional gender narratives in popular music.

As the song is lengthy and structurally complex, a verse-by-verse analysis was not feasible; instead, a portion-based thematic analysis was conducted. No inclusion or exclusion criteria were applied in the selection process.

Key themes of the song:

1. Maternal absence:

   The opening lines of “A&W,” “I haven’t done a cartwheel since I was nine, I haven’t seen my mother in a long, long time” reflect a poignant loss of innocence, setting a tone of apathy and detachment. ⁹ The protagonist’s strained relationship with her mother becomes a central theme, highlighting the impact of maternal absence. While societal narratives often fixate on “daddy issues,” Del Rey shifts the lens to the maternal figure, emphasizing her crucial role in emotional development. This absence leaves the protagonist vulnerable, struggling to form secure attachments and navigate transient relationships. Feminist psychoanalysis, particularly the work of theorists like Nancy Chodorow, stresses the formative importance of maternal bonds in shaping identity. Chodorow reinterpreted the feminine Oedipus complex, emphasizing the mother-daughter bond over the father’s role. She argued that this relationship shapes the feminine relational ego and identity, suggesting that heterosexuality in women emerges within a persistent, foundational attachment to the mother, not through full detachment or exclusive commitment to men. ¹⁰

   Del Rey’s portrayal aligns with these ideas, presenting emotional guardedness as a survival mechanism shaped by the void of maternal care.

   John Bowlby, in his 1951 study for the WHO, highlighted the critical role of a warm and continuous relationship between a child and their mother (or a consistent caregiver) for healthy mental development. He defined maternal deprivation as the absence of this bond, asserting that without the steady care of a primary caregiver, a child’s personality and emotional growth could be severely affected. Partial separation may lead to mild deprivation if the child is cared for by someone familiar, but significant distress can arise if the caregiver is a stranger. Complete deprivation, where no personal caregiver is present, can result in profound impairments in character development and the ability to form relationships, retarding physical, intellectual, and social growth. ¹¹

   Lana Del Rey’s “A&W” mirrors Bowlby’s assertion that a lack of a stable, nurturing caregiver can lead to emotional vulnerability and difficulties in forming secure attachments. Furthermore, Del Rey’s candid exploration of sexual trauma and societal judgment aligns with Bowlby’s concerns about the long-term effects of deprivation on personality and emotional well-being.

2. Multitudes in a woman:

   Lana Del Rey’s lyrics, “I’m a princess, I’m divisive, ask me why, why, why I’m like this,” embody the complexity of feminine identity, rejecting reductive labels and embracing contradiction. By juxtaposing the archetype of a “princess” with the idea of being “divisive,” Del Rey highlights the tension between societal expectations of women as delicate, compliant figures and the reality of their multifaceted, often conflicting experiences. Her use of the word “divisive” acknowledges the way women are often scrutinized or criticized for defying traditional roles, while her bold reclamation of it transforms the term into a symbol of empowerment. This exploration of multitudes within a woman challenges patriarchal narratives, emphasizing that femininity is not monolithic but a dynamic interplay of strength, vulnerability, and individuality.

3. Sexual trauma and societal judgment:

   Del Rey’s lyric, “If I told you that I was raped, do you really think that anybody would think I didn’t ask for it?” confronts the pervasive victim-blaming culture surrounding sexual assault. By candidly addressing this reality, the song challenges the societal inclination to dismiss survivors based on stereotypes of promiscuity or appearance. Her provocative interjection, “Look at my hair, look at the length of it and the shape of my body,” critiques these reductive narratives, emphasizing that no one’s appearance or demeanor justifies victimization. This commentary aligns with intersectional feminist critiques of rape culture, exposing how patriarchal structures invalidate and silence survivors’ experiences.

4. Sexual intimacy and emotional resilience:

   The lyric “It’s not about having someone to love me anymore. This is the experience of being an American Whore” can be read as the expression of a psychological defense shaped by early emotional neglect. Emotional detachment during childhood, such as a lack of secure attachment, validation, or consistent caregiving, can lead individuals to dissociate love from emotional safety. In this context, the speaker appears to abandon the pursuit of genuine affection, instead adopting a hypersexualized identity as a means of control or self-protection. By framing herself as an “American whore,” she internalizes and reclaims the objectifying labels society imposes, using them to mask vulnerability. This stance reflects how unresolved attachment wounds can manifest in adulthood as emotional numbness, sexual disillusionment, and a detachment from intimacy, conveyed through her recounting of fleeting encounters. Her casual tone set against the weight of her experiences, suggesting both a coping mechanism and a protective shield against vulnerability. This portrayal reflects the intersection of feminism and psychiatry, illuminating the nuanced ways trauma shapes relationships and emotional expression. Del Rey shifts the focus in the genre-bending second half of the song, where the line, “I already lost my mind,” signals a reclamation of agency, a turning point where resilience and self-determination take precedence over despair. Here, Del Rey crafts a narrative of survival, emphasizing the protagonist’s capacity to endure and adapt.

5. Cultural commentary:

   Beyond personal narrative, “A&W” engages with broader cultural critiques, challenging the stigmatization of women who deviate from societal norms. The song’s title itself, an abbreviation for “American Whore,” reclaims a disparaging label, transforming it into a symbol of defiance and self-assertion. Del Rey’s ability to weave personal and collective struggles into her lyrics demonstrates the power of art as a feminist tool for resistance and reflection. ¹²

Comparison with Real-world Situation

In the context of rising misogynist radicalization and the influence of online “manfluencers” like Andrew Tate, who promote regressive, harmful views on women, ¹³ Lana Del Rey’s decision to title her song “American Whore” is a bold act of defiance. While women are often shamed for their choices and labelled derogatorily, Del Rey reclaims the term not as a symbol of shame, but as one of agency and resistance. In doing so, she challenges the toxic narratives targeting women’s autonomy, offering a powerful counter-narrative that embraces complexity rather than submission to societal judgment.

Musical Element Analysis

“A&W” opens with soft, haunting melodies that evolve into an experimental second half, marked by a stark shift in tone and rhythm. Jack Antonoff’s production highlights contrasts, using minimal instrumentation to spotlight Lana Del Rey’s vocals. ¹⁴ The track features a blend of arpeggiated and real piano, finger-picked acoustic guitar, and various synthesizers, including Moog bass and synth pads. Additional textures come from Mellotron strings, portamento synth bass, 808 claps, and filter sweeps. Del Rey herself contributes glockenspiel, adding a delicate percussive layer, while Antonoff also plays piano, synths, and drums, enriching the track’s atmospheric complexity and emotional depth.

Conclusion

Lana Del Rey’s “A&W” is more than a song; it is a feminist manifesto that interrogates societal perceptions of trauma, intimacy, and identity. Through its moving lyrics and evocative narrative, it challenges entrenched systems of discrimination and amplifies the voices of those marginalized by patriarchal structures. This analysis invites a deeper engagement with Del Rey’s work as a site of feminist inquiry, highlighting its relevance to discussions of intersectionality, psychoanalysis, and cultural critique.

Limitations

Song analysis, while convenient due to the accessibility of lyrics, audio, and artist commentary, can oversimplify the layered complexity found in other art forms like film or literature, which offer extended narratives and visual cues. Additionally, this analysis is interpretive and subjective, reflecting the author’s own feminist-psychoanalytic perspective, which may introduce bias. A potential critique lies in the song’s division into two contrasting parts; however, Lana Del Rey herself defends this shift, stating she ultimately preferred the transition because it lifted the song from a dark place into a more hopeful one, even if it risked diluting its central message. ¹⁵