Sugar Rush Ride
- beomiebear

- Jul 31, 2024
- 4 min read
Updated: Oct 28
Title Track
⋆ Genre: Alternative Pop Dance
⋆ Producing Credits: Slow Rabbit
⋆ Writing/Composing Credits: Slow Rabbit, Sofia Key, Supreme Boi, Moa "Cazzi Opeia" Carlebecker, "hitman" bang, Salem Ilese, Krysta Youngs, Myah Marie Langston, OLLIPOP
ABOUT/MEANING: 'Sugar Rush Ride' reflects the euphoric highs of Neverland, likening the intoxicating allure of this fantasy world to a sugar rush that offers a fleeting, temporary sense of happiness and freedom. The lyrics capture the thrill of surrendering to temptation, where the boys* indulge in the rush of youthful freedom, yet also highlight the emptiness that follows these brief joys. The track reveals the internal conflict between the awareness of the harm such escapism brings and the irresistible pull to remain in this idealized state. In doing so, it mirrors the dangerous allure of avoiding reality, illustrating the tension between momentary pleasure and the inevitable need to confront life's challenges.
*For further context on the song check out 'The Name Chapter: TEMPTATION' album summary
LYRICS - ENGLISH TRANSLATION
Yeah, ah-ah-ah-ah
(Ayy) let's go
The thoughts soon stopped breathing, when you get back
My determination instantly unravels before you
"Come a little closer", you whisper
"Swallow the sugar rush"
A feast in the night sky, sweet desire
Taking me into a dream, the liar on the bedside
I can feel it, I can't resist it
That sweet devilish smile
You skillfully opened my locked door
What do I do? I see that star
The devil said
Gimme gimme more
Gimme gimme more
Come here (more)
Let's play together (more)
Sugar rush-ush
Sugar rush-ush
Sugar rush-ush
Sugar rush-ush-uh
Gimme gimme more
Gimme gimme more
Sugar rush-ush
Sugar rush-ush
Sugar rush-ush
Sugar rush-ush-uh
Come here, let's play (more)
Let me give you a piggyback ride (more)
CONTEXT/EXPLANATION: The line “Let me give you a piggyback ride” (이리 와서 더, 업고 놀자 더) is sampled from the traditional Korean pansori Chunhyangga. Pansori is a genre of Korean musical storytelling performed by a vocalist and a drummer, and Chunhyangga is one of the five surviving stories in this tradition.
In the original tale, Chunhyang is a woman of lower social status who falls in love with Mongryong, the son of a nobleman. When they are separated, a corrupt official tries to force Chunhyang into becoming his concubine. Despite imprisonment and torture, she remains loyal to Mongryong, refusing to give in to power or temptation - themes and tensions that are also present in Sugar Rush Ride, though approached from a different emotional and moral angle.
In Chunhyangga, the piggyback ride scene is interpreted as a symbol of emotional closeness between Chunhyang and Mongryong; however, in Sugar Rush Ride, that symbolic act is turned on its head. The piggyback ride is no longer about protection or pure affection; instead, it becomes part of a seductive, almost dangerous invitation. Rather than protecting or upholding values like Mongryong, the devil lures the boys closer, much like how the corrupt official in Chunhyangga tempts Chunhyang toward something morally compromising. Where Chunhyang resists temptation to uphold her values, the boys willingly give in. The shift from virtue to temptation transforms the piggyback ride from a symbol of innocence to one of desire and indulgence.
You're so addictive, my veins full of sweets
The forbidden lines slowly blur and disappear
This anemia-like daze, strangely, I like it
Under my skin, every cell becomes more sensitive
"Come a little closer", you whisper
"Swallow the sugar rush"
A feast in the night sky, sweet desire
Taking me into a dream, the liar on the bedside
SELF REFERENCE: The "liar on the bedside" represents the Peter Pan-like figure in Devil by the Window, who, much like Peter Pan tempting the Darling children, appears by the window at night, luring the boys into a seductive fantasy world. Both figures symbolize the allure of Neverland, where the promise of eternal youth and freedom masks the dangers of escaping reality.
I can feel it, I can't resist it
That sweet devilish smile
You skillfully opened my locked door
What do I do? I see that star
The devil said
Gimme gimme more
Gimme gimme more
Come here (more)
Let's play together (more)
Sugar rush-ush
Sugar rush-ush
Sugar rush-ush
Sugar rush-ush-uh
Come here, let's play (more)
Let me give you a piggyback ride (more)
You're bad, you liar
What have you done to me, sugar?
Gimme gimme more
Gimme gimme more
It's me who's bad
I know this bad desire sugar
Gimme gimme more
Gimme gimme more
You're bad, you liar
What have you done to me, sugar?
Helpful Context (Album Summary): 'The Name Chapter: Temptation' draws inspiration from Peter Pan, exploring the seductive allure of Neverland: a dreamlike realm of eternal youth and carefree freedom. After the chaos and heartbreak of earlier chapters, the boys* stand at a crossroads, torn between the fantasy of staying in this idealized world and the call to grow up. The pull of Neverland is strong, but temptation cannot last forever; even the sweetest dream fades when reality calls. The album’s songs trace their internal conflict, reflecting the universal fear of change and the comfort of avoidance. Ultimately, they realize that to discover who they truly are, they must leave Neverland behind. Trading illusion for growth and fantasy for the future, the boys take their first steps toward self-defined identity and the challenges that come with it.
Helpful Context (Album Series Summary): The Name Chapters explore the journey of discovering and defining one’s true self amid internal doubt and societal pressure. Building on the emotional aftermath of The Chaos Chapters and Thursday’s Child, these albums follow the boys as they transform pain into personal growth. Focused on self-acceptance and authenticity, the series marks a pivotal step in the transition from adolescence to adulthood: the search for who they are, and who they aspire to become.
*In the context of TXT’s discography, the term ‘boy’/‘boys’ are used to represent both the members themselves as well as serve as generalized protagonists embodying the universal experiences of youth.
Comments