#you know the drill. I saw a swiftie version of this and was like ‘I know what I’m gonna do’

[chosetherose]

Two Graves One Gun

So Long London continues the saga of celebrity versus soul. The only way to cure Taylor’s sadness is for her to bid farewell to bearding, and perhaps the closet.

If you can look past the red herrings in this song, you will find a deeply layered masterpiece that illuminates Taylor's battle with herself; how past plans made to maintain her celebrity have marred her soul. She doesn't want to live life like this anymore and is willing to burn her brand down to the ground to free her soul.

As always, the analysis I've written here is only one interpretation of this song. I'm not claiming it is "correct" but I encourage you to plow through (this is a very long post) and consider what I've laid out.

For context, I believe London is a metaphor for bearding. Here is some background for the new folks:

For most of her career, Taylor’s beards have been from the UK. Specifically, from 2012-2023 her beards were Harry Styles then Calvin Harris then Tom Hiddleston then Joe Alwyn.

The beginning of this stage was right around the time she started crossing over into pop music. Red is her first real leap into pop music and to do this successfully she needs to expand both domestically (to pop audiences that don't listen to country music) and internationally (her first opportunity for this since the rest of the world doesn't listen to much country music).

She started bearding with Harry Styles in late 2012, within weeks of Red's release then milks that short lived stunt for 1989 as well. What a way to capture a new pop audience made up of fans abroad and at home. Rinse and repeat until her priority changes to long-term privacy and she finds that aided by an unknown actor named Toe. Even though Taylor's current beard is American, suffice to say one can look at London as a metaphor for bearding given history.

[Intro]

So (So) long (Long), London (London) [repeated]

Pay attention to how she sings this...She breaks "London" into "Lon" and "Don".

So SO / Long LONG / Lon LON / Don DON

This is a sneakily beautiful way to emphasize: So! Long! Don(e)! ...Like "I've been bearding for so long and I'm done with it" or "So long, bearding! I'm done!" Yes, this is a reach but read the rest of this post and circle back. As this intro closes the final "Don(e)!" fades into the upticked beat.

[Verse 1]

I saw in my mind fairy lights through the mist

I kept calm and carried the weight of the rift

Pulled him in tighter each time he was drifting away

My spine split from carrying us up the hill

Wet through my clothes, weary bones caught the chill

I stopped trying to make him laugh, stopped trying to drill the safe

Taylor seeing fairy lights through the mist sounds like she sees daylight at the end of a tunnel opaque from lavender haze. She keeps focused on this goal, carrying on with all these beards over the years. Although she's able to appear calm during these stunts, living life like this has forged a rift within herself. She beards because it's advantageous for her brand but her soul despises the ruse.

Side note: “Keep Calm and Carry On was a motivational poster produced by the Government of the United Kingdom in 1939 in preparation for World War II.” -Wikipedia. A bit of history that I think furthers the idea that Taylor was battling to keep going.

Tayor has to balance these aspects of herself continually - Too much stunting? Her soul needs a break. Had a good break from stunting? She needs to feed the grocery line Swifties to keep them at bay. It's an idea that got me thinking about yin and yang, "an opposite but interconnected, self-perpetuating cycle." (Wiki). I am not an expert on this concept but I know I've noticed it has come up throughout conversations about TTPD. If yin and yang is relevant for this album, as I believe it is in multiple songs, in the context of this verse it feels related to Taylor's constant need to find balance between the celebrity version of herself we see on our screens and the true version of herself only she can see in the mirror.

This cycle wears on Taylor so much that her spine splits from the weight. She has been slogging through stunts, dreaming of freedom, for years. It's been storming so long her clothes are soaked and she feels the chill down in her bones.

Because of the pain she decides to change strategy. Theres no more attempts to make her situation lighter or find ways to deal with it. And think about this - if you're trying to drill the safe open it means either A) you feel like you've tried all the codes and are resorting to brute force, and/or B) you're running out of time and growing desperate. Taylor is past even those points and is giving up entirely.

[Chorus]

Thinking how much sad did you think I had

Did you think I had in me?

Oh, the tragedy

So long, London

You’ll find someone

The chorus reminds me of talking to a past version of yourself that made plans for a future you. We know Taylor must plan her life years in advance so perhaps she is asking her past self something like, “Why did you think I could handle continued bearding? Did you really think I could handle all the sadness I'm feeling today?”

Then I think the second half of this chorus is saying goodbye to bearding, symbolized by London, because she can’t bear the sadness anymore. Maybe the "you'll find someone" line is aimed at the fans a la "you should find another guiding light" like you guys will find someone else to fawn over in the tabloids.

Side note: I love the double entendre here. Because so long means goodbye but it has also been so long that she’s been bearding (largely with British men).

[Verse 2]

I didn't opt in to be your odd man out

I founded the club she's heard great things about

I left all I knew, you left me at the house by the Heath

I stopped CPR, after all, it's no use

The spirit was gone, we would never come to

And I'm pissed off you let me give you all that youth for free

I don't have a strong opinion on the first two lines of this version. What comes to mind is she didn't opt in to be an openly LGBTQIA+ artist, she chose to closet and beard. Then other younger closeted celebrities have looked to her as a blueprint.

In the process of bearding for stardom, her soul abandoned all she knew. I think there is a red herring here as Heath could reference Hampstead Heath (which has connections to Toe) but it’s also continuing on the house theme that Taylor sings about. Here, it doesn’t sound like this house is a home. She’s not singing about chandeliers flickering inside, it’s “the” house by a heath -- “Heathland is characterized by plants such as heather, bilberry, gorse and bracken, which occur on infertile and well-drained soils. Open heaths have been highly modified by humans for centuries and are maintained by grazing or cutting.” She’s stuck somewhere that’s by drained her via death by a thousand cuts lol.

Again, it's weighed on her. So she's decided to stop trying to revive the disconnect between her soul and her celebrity, it’s no use trying anymore. She’s realized they could never fully come together.

And she’s pissed off she let her celebrity rob her of an open, free, youth where she could live truthfully. Recall that in Peace she sings, “a coming of age has come and gone” which to me means she feels she can’t explain a coming out via a youthful awakening angle. She’s at the age where people will understand she’s known this for years but hasn’t shared with the world. This will raise questions she won’t be able to answer because it’s all too tangled (NDAs, outing beards, etc.).

[Chorus]

For so long, London/ Stitches undone

Two graves, one gun

I'll find someone

For so long, she’s been bearding, stunting, hiding her true self to reach and/or maintain celebrity. It’s caused her stitches to come undone. This wording is interesting because it implies she had a wound from living this life hiding her truth, they tried to fix her up as her celebrity status soared, but it didn’t work because the sadness was too great.

Perhaps there's two graves and one gun because on the path to daylight she will kill both her celebrity and the sadness of her closeted self. Not how she switches from "you" will find someone to "I" will find someone. This is because she will destroy every version of herself that she's ever known if she comes out one day. She will rise like a Phoenix through the ashes to discover a new version of herself in the daylight.

Note that the Spotify clip for this song, from the Fortnight video, feels significant. First, Taylor looks up toward the daylight. Then, with heavy breaths and a concerned face, she rifles through her art (words written out on a typewriter). We know in the rest of this scene she is lighting her art on fire. Two graves one gun on a path to daylight.

[Bridge Part 1]

And you say I abandoned the ship

But I was going down with it

My white-knuckle dying grip

Holding tight to your quiet resentment

I imagine these first lines of the bridge to be aimed toward those in her life, on her team, etc. that steered her toward closeting to gain/keep fame. Maybe she has plans and they are saying by coming out she is abandoning the ship (her celebrity) they've all worked hard to build. In Miss Americana we heard her team tell her that coming out as a Democrat would halve the numbers of her next tour. Can you imagine what would be said about a coming out?

But what they don’t understand is that living this life is killing her. She’s been holding on to all the subtle ways they’ve told her over the years that her career will sink if she comes out of the closet.

[Bridge Part 2]

And my friends said it isn't right to be scared

Every day of a love affair

Every breath feels like rarest air

When you're not sure if he wants to be there

When she confides with her friends about it all they tell her she shouldn’t be afraid to take steps toward the daylight because look where she is now. She’s been stunting for years (love affairs in the tabloids) and it's awful for her. So terrible that she's grasping for breaths, unsure if she can still survive in this atmosphere (thin/rare air means its not a hospitable environment for Taylor).

[Chorus]

So how much sad did you think I had

Did you think I had in me?

How much tragedy?

Just how low did you think I'd go

Before I'd self-implode?

Before I'd have to go be free?

Again, I think she’s talking to her past self here. “How could I have thought I’d survive sinking this low? How could I not realize I’d reach a point where I’d self-implode?” Which here, self-implosion is telling a similar story as I think the two graves one gun lyrics do — the result of the self implosion is being free. If she blows up her celebrity and she will be free to live her truth, curing the sadness that has been ruling her life for years.

[Verse 3]

You swore that you loved me, but where were the clues?

I died on the altar waiting for the proof

You sacrificed us to the gods of your bluest days

And I'm just getting color back into my face

I'm just mad as hell cause I loved this place

I imagine this verse is aimed at her fans, the grocery line Swifties who believe her beards are real boyfriends. I read “you swore that you loved me but where were the clues?” as a sarcastic jab because she’s been screaming 🌈 for whoever is willing to listen. The fans claim to love Taylor but they aren’t willing to really listen to her.

Most people here “altar” and think of a wedding but the definition is much broader, “In religion, a raised structure or place that is used for sacrifice, worship, or prayer” (Wiki). So Taylor was up on the altar, a place of worship, waiting for clues that these fans actually loved her. But what started as worship became sacrifice as these fans never found love for who Taylor really is all the while the bearding and hiding were causing Taylor deep sadness.

Despite all this, she loves her job and her fans. The sadness is too much though. She is about to self implode and feels its time to take steps toward a brighter future. It’s maddening as hell to metaphorically blow up your life just as your fame is escalating to new heights you’ve reached for your whole career.

[Chorus]

For so long, London (So long, London)

Had a good run A moment of warm sun But I'm not the one So long, London Stitches undone Two graves, one gun You'll find someone

For so long, she bearded. She had a good run, getting away with it all, reaching levels of fame she always dreamed of. But she's not the one to keep the charade going (as opposed to her heroes who unfortunately 'died' closeted). Goodbye, bearding. The wound was too big to fix. With one action, I will kill the version of myself you (the fans) know and the version of myself I know. You (the fans) will find someone else to worship.

...

I could keep tweaking this theory for weeks but these are my initial thoughts on this song about two weeks out from TTPD's release. This album is incredible complex but for me the signs we keep getting are all pointing toward significant change. There is a momentum going right now that I haven't felt since the early Lover era. No matter what happens or how long it takes, I hope our fearless Chairman gets the chance to bask in the sun shiniest daylight. She deserves the warmth.

💕 CTR

[thestripiestshirts]

Mine was during All Too Well because it was ten minutes long and I could still hear the song from the bathroom anyway BUT let me just talk about my Eras Tour bathroom break experience for a second. When I got up to use the bathroom, the line was way out the door, as I expected since it was a sold out stadium primarily full of cis women. There has been one other period of my life where I was surrounded by cis women in a somewhat similar capacity: US Army basic combat training.

Fun fact, my basic training battery was majority female (well, it was like 51% female 49% male, which for the military is a very skewed ratio). So we had two female living quarters instead of the usual one, and more importantly, they had to get us extra portapotties for field training exercises-- even after relegating the males to the treeline to go pee-- because the lines to the female portapotties were always so long. It was the same way for breaks to our normal bathrooms, too-- you had to be one of the very first people to run up the stairs from the drill pad to the bay, otherwise there was no guarantee you could get to use the bathroom, because the wait was always so long.

And none of that is even taking into account the consequences of taking too much time in the bathroom. If you took too long (or if others took too long and you were left waiting for them to finish before you could go), your whole platoon or even the whole battery was screamed at and put into front leaning rest indefinitely. A lot of the time they'd take accountability, realize that someone was still up in the bathrooms, and put us all in front leaning rest until that person returned. We all hated that person in the moment, so nobody ever wanted to be that person. We all mastered the art of pooping as quickly as possible to reduce the bathroom waiting time and minimize punishment.

But of course we were still punished all the time, because a) it's basic training, and b) the fact is, even with how rushed we felt and how much we hated the consequences..... we still wasted time in the bathrooms lol. Not THAT much time, but since bathroom breaks were one of the few moments drill sergeants weren't watching us like hawks, we took advantage and talked and goofed off a little. There was allllllways talking in the bathroom, and occasionally it was so loud a drill sergeant would come up to our bay and smoke us all. So yeah, we all knew not to waste time in the bathroom, and we all hated the consequences of wasting time in the bathroom, but even knowing and hating the consequences of wasting time in the bathroom, we still wasted time in the bathroom.

So imagine my shock when I left my seat during All Too Well 10 Minute Version at the Taylor Swift Eras Tour, saw a bathroom line longer than anything I'd witnessed at basic training, and noticed that the line was... moving. Very quickly. Without the threat of drill sergeants to fuel it. I got in the back of the line and within seconds I was in the middle of it. Because the women going to the bathroom were just... going to the bathroom. Not talking, not taking their time in any capacity. Just walking into the stalls, peeing/pooping presumably as fast as they could, flushing, walking out, washing their hands, and rushing back to their seats. It was silent, guys, no one was even making idle conversation with each other like "omg this is so exciting I can't believe we're seeing Taylor Swift live!!" literally nothing. Nothing was heard in that bathroom except flushing, urgent footsteps, and All Too Well in the distance.

It took maybe three minutes for me to get from the very very back of the line to the stall. Basic training bathroom breaks were always ten minutes btw, and on more than one occasion I didn't even get to use the bathroom and had to wait in agony for the next one. But the Eras Tour? None of these Swifties wanted to waste a second in the bathroom. They were in and out like lightning. My drill sergeants would have been proud.

TL;DR Swifties have more dedication than US Army trainees

*could be either during the actual concert or the movie in theaters

Bonus: tell me in the tags what song it is