When Ethel Cain announced Nettles as the lead single from her upcoming album Willoughby Tucker, I’ll Always Love You, fans didn’t just get excited—they spiralled.
After months of cryptic teasers and dormant socials, the June 4 release felt like a spiritual event.
Comments poured in describing it as “already a classic” before it even dropped.
People cleared their schedules. Some even joked about writing their dissertations on it.
The fever pitch wasn’t just about new music; it was about witnessing Cain return to the haunted corners only she can map.
Released on June 4, 2025, Nettles is a slow-burn of memory and mourning that unearths something deeper with every listen.
As Ethel Cain shared on Instagram, “this was the very first song I ever wrote in the Alabama house where I finally finished Preacher’s Daughter. I didn’t even realize what story I was writing yet but I think subconsciously, because I knew how Preacher’s Daughter was going to end, I wanted to go back in time to a moment of sweetness. I hope you enjoy the greenery, I love this song with all my heart.”
Originally uploaded as a rough demo in 2021, the final 8-minute version is Cain at her most distilled: cinematic but unpolished, brutal but reverent.
Let’s walk through the song’s wreckage and ritual, line by line.
“We were in a race to grow up / Yesterday, through today, ’til tomorrow”
The song opens mid-sentence, as if you walked into the middle of a memory. This isn’t nostalgia. It’s a confession.
The phrase “a race to grow up” already smells of regret. Cain sets the tone with a sense of speeding toward an end you didn’t know you agreed to.
“But when the plant blew up / A piece of shrapnel flew and slowed that part of you”
This line is a pivot: the moment when innocence turns to aftermath. The explosion may be metaphorical, but the damage isn’t.
Whether it’s a literal disaster or a trauma tucked in metaphor, something splintered—and it hit someone close.
“The doctors gave you until the end of the night / But not ‘til daylight”
This is where the song collapses into grief. The way the line lingers and repeats itself—“not ’til daylight”—feels like someone replaying the moment over and over, hoping to rewrite the outcome.
“Time passes slower in the flicker of the hospital light / I pray the race is worth the fight”
The setting is sterile, but the emotion is raw. Cain’s voice is hushed here, almost afraid to disrupt the beeping machines and whispered goodbyes.
“Made a fool of myself down on Tennessee Street / It wasn’t pretty like the movies”
She doesn’t romanticise pain. It’s a raw admission of breaking down in public. A reminder that trauma doesn’t give you a perfect frame—it gives you the sidewalk.
“It was ugly, like what they all did to me”
The line cuts deeper with the weight of lived history. She’s not just talking about grief anymore. This is about abuse, about being harmed and then left to explain the damage.
“Tell me all the time not to worry / And think of all the time I’ll have with you”
A moment of hope, or at least someone else’s version of it. But Cain delivers it with the kind of exhausted cadence that tells you she’s not buying it.
“When I won’t wake up on my own / Held close all the time, knowing I’m half of you”
This is the line where the song folds into its most ghostlike state. The speaker is barely alive now, already slipping into the afterlife or a dissociative blur. And yet there’s intimacy—a child-parent thread, a tether not yet cut.
“Lay me down where the trees bend low / Put me down where the greenery stings”
Here comes the title. Nettles: plants that hurt when you touch them. And she’s not avoiding them. She wants to be buried among them. There’s a quiet surrender in that.
“Think of us inside, after the wedding / When we won’t wake up on our own”
This could be read as a fantasy, or an elegy. A shared death? A lifelong marriage? A trauma bond? The ambiguity is part of what makes it hurt.
“‘To love me is to suffer me,’ and I believe it”
She doesn’t flinch here. It’s brutal, but honest. There’s no self-pity in Cain’s delivery. Just the resignation of someone who knows how hard she is to hold.
“When I lay with you in that auld lang room / Wishin’ I was the way you say that you are”
She wants to meet someone’s love but knows she can’t. She can’t become the thing they see in her. So she watches from inside herself, displaced.
“You’ll go fight a war / I’ll go missing”
A chilling line. As if they’re both doomed, just in different ways. One to action, one to erasure.
“That picture on the wall you’re scared of looks just like you”
The past keeps bleeding into the present. Possibly family trauma or the cyclical nature of abuse.
“I wanna bleed, I wanna hurt the way that boys do”
Masculinity as a metaphor for permission. Pain as something she wants to control, perform, understand.
“Maybe you’re right and we should stop watchin’ the news / ‘Cause, baby, I’ve never seen brown eyes look so blue”
A flash of poetic tenderness. The outside world falls away. For a second, it’s just two people and all their unspoken sorrow.
“This was all for you”
A parting gift. Or a curse. Or maybe both.
Musically, Nettles unfolds like an abandoned chapel—wood creaking, air thick with absence.
Cain’s voice is more exposed here than on Preacher’s Daughter, the effects pared down to make room for grief.
The ambient flourishes feel less like decoration and more like aftershocks.
There’s banjo, pedal steel, and a ghost-trail of organ that drifts in and out like memory.
It feels rooted in southern Gothic storytelling but avoids pastiche. This isn’t porch-swing Americana. It’s the crawlspace underneath.
Nettles doesn’t aim to be neat. It leaves bruises that bloom slow. As one listener put it: This song doesn’t try to haunt you. It already lives in the walls.
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Ethel Cain Nettles Lyrics
Verse 1
We were in a race to grow up
Yesterday, through today, ’til tomorrow
But when the plant blew up
A piece of shrapnel flew and slowed that part of you
The doctors gave you until the end of the night
But not ’til daylight (Not ’til daylight), not ’til daylight (Not ’til daylight)
Time passes slower in the flicker of the hospital light
I pray the race is worth the fight
Made a fool of myself down on Tennessee Street
It wasn’t pretty like the movies
It was ugly, like what they all did to me
And they did to me what I wouldn’t do to anyone
You know that’s for sure
Chorus
Tell me all the time not to worry
And think of all the time I’ll, I’ll have with you
When I won’t wake up on my own (Wake up on my own), wake up on my own
Held close all the time, knowing I’m half of you
Post-Chorus
(Mm-mm-mm, mm-mm-mm)
(Mm-mm-mm, mm-mm-mm)
(Mm-mm, mm-mm, mm-mm-mm)
(Mm-mm-mm, mm-mm-mm)
(Mm-mm-mm, mm-mm-mm)
Verse 2
Lay me down where the trees bend low
Put me down where the greenery stings
I can hear them singin’
“To love me is to suffer me”, and I believe it
When I lay with you in that auld lang room
Wishin’ I was the way you say that you are
You’ll go fight a war, I’ll go missing
I warned you, for me, it’s not that hard
Pre-Chorus
That picture on the wall you’re scared of looks just like you
I wanna bleed, I wanna hurt the way that boys do
Maybe you’re right and we should stop watchin’ the news
‘Cause, baby, I’ve never seen brown eyes look so blue
Chorus
Tell me all the time (Tell me all the time) not to worry (Not to worry)
And think of all the time I’ll, I’ll have with you
When I won’t wake up on my own (Wake up on my own), wake up on my own
Held close all the time, knowin’ I’m half of you
Think of us inside (Think of us inside), after the wedding (After the wedding)
Sufferin’ the while to lie a time or two
When we won’t wake up on our own (Wake up on our own), wake up on our own (Wake up on our own)
Held close all the time, knowin’ (Knowin’)
This was all for you
Post-Chorus
Think of us inside
Gardenias on the tile, where it makes no difference who held back from who
Outro
To love me is to suffer me
