Between the Lines: A Lyrical Analysis of Larry

Introduction

Dear Readers, 

It should be noted from the very start that I am not currently, nor have I ever regarded myself as a musical theorist. Not even to the slightest degree. I never even took the introductory Music Theory class offered at my high school (despite my all of friends' insistence that it was the easiest class they had ever taken). I am nothing more than a mere college research student with way too much time on their hands (thank you Corona) and an unhealthy obsession with both music composition and the Larry Theory. Thus, although I may present an air of professional insight or understanding in this multi-chaptered analysis of the homoerotic undertones of One Direction songs, you should know that it is all in the name of fun. It is all just my "interpretation." Nothing more and nothing less. 

However, to say that this analysis is "just my interpretation" does not make it inherently any less valid. In fact, according to both Louis Tomlinson and Harry Styles, my "interpretation" of their songs is the most valid form of musical consumption. Throughout the entirety of their songwriting careers (near a decade), both Tomlinson and Styles have advocated for the practice of interpretation in regards to their music. Unless that is when certain women and past relationships (ex. Taylor Swift and "Haylor") have been speculated in analytical interpretations. Styles most namely has been very quick in the past to deny any "incorrect interpretations"  of his music ("NOOO!"). Tomlinson on the other hand, despite a bluntness in interviews and on twitter against personal allegations, has willingly stated that he allows his lyrics to be open to interpretation. If anything, he encourages it. To Tomlinson, the message of his song can always be "read between the lines."

And if there is one thing that can always be "read between the line" of both Styles' and Tomlinson's songs (both in and out of One Direction) it is the latent (and subtextually queer) theme of "forbidden love" and "yearning/longing." Or as many fans would brand it as: Larry-coding. 

Larry-coding, although never officially explicit, has been hinted through allusions (and allegory) for near a decade—even in songs not written by either. However, for purposes of making this analysis relatively short, for the first three chapters, I will only be focusing on songs written (or at least co-written) by Tomlinson or Styles. In the fourth chapter, however, I will analyze a few songs written by Ed Sheeran over the years (written for One Direction and not) because of his close and personal relationship with both men. After all, if anyone in the industry (outside of Modest and the band) was to know of the secret love affair between the two band members, it would for sure be Ed. According to some, Ed himself is the bonafide "Captain" of the Larry ship (although I will not go as far as to label him as such). 

Larry is, after all, at its core, nothing but a theory. A theory that (as outlandish as it may appear) has the power to turn the most trivial boy band pop songs into poetic puzzles, with much deeper meanings between the lines than previously thought. If one only has the eye to see it, Larry can be found (like a video game easter egg) in almost every song written by either Tomlinson or Styles. 

I hope that you, the readers, share this eye of mine. 

— K. V.