“Blame Brett” by The Beaches explores the well-known narrative of a person who has been hurt in the past, and is now adopting a defensive and non-committal attitude towards future relationships. This is a classic theme, often featured in teen and young adult-oriented pop, which is all the more relatable as it delves into the complexities of emotional healing and self-preservation after a difficult breakup.

The lyrics build a narrative of emotional self-defense and detachment. The speaker is upfront about their intentions, acknowledging that they may not be capable of forming a meaningful, committed relationship. The overall tone is unapologetic, suggesting a sense of resignation and a readiness to take responsibility for their actions.

By warning her present lover – or the man she’s currently involved with – that he risks being hurt if they move on with their affair, the speaker implicitly outlines the kind of behaviour she has had to put up with in her previous romance.

Indeed, in lines like “I’ll become an asshole, Disguised as a bad girl” and “I’m sorry in advance, I’m only gonna treat you bad”, or even “I’m probably gonna sleep around”), the speaker builds a protective facade modelled after her ex’s personality and behaviour, in a reversal that brings to mind a kind of revenge. The speaker is clearly laying the blame for their actions onto “Brett”- their ex-partner – who is the cause of their current emotional state and approach to relationships. It appears that “Brett” is actually an ex-lover of the lead singer, and plays in a rock band. The speaker announces that she’ll only be dating actors and athletes, perhaps because she feels that musicians are too emotionally unstable or unreliable. Or perhaps because she wants to fully embrace a life of superifical, casual relationships, without the least amount of emotional implication, and “consume” supposedly handsome men without any strings attached.

Finally, the song follows a standard verse-chorus structure, which is familiar and accessible to most listeners. The high-energy instrumental carries the whole forward, and what could have been a sad, self-indulgent song of heartbreak rings instead like a defiant statement of freedom and fearlessness.

It is, however, underscored by a palpable sorrow at the fact that emotional scarring has left the speaker incapable of enjoying a relationship based on true intimacy and mutual trust.

Songs that adopt the pattern of “Blame Brett” can serve as cathartic outlets for listeners who might have found themselves in a similar situation. Not everybody would react like the speaker claims she intends to, but listening – and singing along – to such a song might provide a form of imaginary retaliation, and therefore a way to “move on”. It is also, perhaps more indirectly, an affirmation of women’s right to explore less traditional sexual and romantic life paths, a right that male rock n’roll musicians have always taken for granted, and often celebrated in their songs.