One of the Girls Lyrics: Complete Guide to The Weeknd, JENNIE & Lily-Rose Depp’s Hit Song

I remember the first time I heard “One of the Girls” – honestly, it was one of those moments where you just stop whatever you’re doing and listen. The haunting melody, JENNIE’s opening lines, and then The Weekend’s signature dark style all coming together. Perhaps what struck me most was how different it felt from anything else released that summer of 2023.

This track isn’t your typical radio-friendly collaboration, and I think that’s exactly why it resonated with so many people. Released as part of HBO’s controversial series The Idol, the song became something much bigger than just soundtrack filler. It became a cultural moment, sparking conversations about art, relationships, and the dark side of fame.

In this guide, I’m breaking down the complete one of the girls lyrics, exploring what makes this collaboration between The Weeknd, JENNIE from BLACKPINK, and actress Lily-Rose Depp so captivating. We’ll look at every verse, every haunting line, and dive into the production choices that made this track stand out. If you’re curious about the complete Idol soundtrack collection, there’s a lot more to discover beyond this single track.

Whether you’re a die-hard Weeknd fan, part of the BLINK community supporting JENNIE, or just someone who appreciates well-crafted dark R&B, this breakdown will give you everything you need to know about these lyrics and why they matter.

About “One of the Girls” Song

Released on June 23, 2023, “One of the Girls” arrived during a particularly interesting time in pop culture. The Weeknd had already established himself as the king of dark, atmospheric R&B, but this collaboration brought something unexpected to the table – JENNIE’s first major English-language feature and Lily-Rose Depp’s singing debut.

The song was crafted specifically for The Idol, the HBO series that, let’s be honest, divided audiences pretty dramatically. But regardless of how people felt about the show itself, the music was undeniable. Mike Dean, who’s worked with everyone from Kanye West to Travis Scott, handled production duties alongside The Weeknd himself, creating this slow-burning, synth-heavy soundscape that feels both modern and somehow timeless.

What’s interesting is how the track performed commercially. It peaked at number 10 on the Billboard Global 200 chart and made serious waves on streaming platforms, racking up hundreds of millions of plays. For JENNIE, this marked a significant moment – her crossover into Western music as a featured artist on a major release. The unique collaboration between The Weeknd and JENNIE brought together two massive fanbases that don’t always overlap.

The production credits read like a who’s who of contemporary music: Abel Tesfaye (The Weeknd’s real name), Mike Dean, Sam Levinson (the show’s creator who also contributed to writing), Lily-Rose Depp herself, and producers Rebecca Fischer and Sage Skolfield. Having the show’s creator involved in the songwriting wasn’t just a vanity credit – the lyrics tie directly into the series’ themes of manipulation, power dynamics, and the complicated relationship between the main characters.

Perhaps the most compelling aspect of “One of the Girls” is its unapologetic embrace of mature, complex themes. This isn’t a song about falling in love or summer romance. It’s dark, it’s intense, and it explores territory that mainstream pop music often avoids.

Complete One of the Girls Lyrics Breakdown

Now, let’s dive into the actual one of the girls lyrics. I’m breaking this down section by section because honestly, each part deserves its own attention. The way the song is structured – with different artists taking different sections – creates this almost theatrical quality to the whole thing.

[Intro] – JENNIE

Lock me up and throw away the key
He knows how to get the best out of me
I’m no force for the world to see
Trade my whole life just to be

JENNIE opens the track with these four lines that immediately establish the song’s tone. Her delivery is soft, almost whispered, but there’s this underlying intensity that’s impossible to ignore. The phrase “lock me up and throw away the key” sets up the themes of control and submission that run throughout the entire song.

What I find fascinating about this intro is how it leaves that final line incomplete – “trade my whole life just to be” what, exactly? The ambiguity is intentional, I think, creating this sense of something unfinished or perhaps something too complicated to put into simple words. JENNIE’s background in K-pop, where she’s known for her precise delivery and stage presence, translates differently here. She sounds vulnerable in a way we don’t often hear from her.

[Verse 1] – The Weeknd

Tell nobody I control you
I broke you just to own you
They can’t tell but I love you
‘Cause you’re loyal, baby
I love when you’re submissive
You love it when I break skin
You feel pain without flinching
So say it

The Weeknd takes over with his first verse, and it’s immediately clear this isn’t territory for the faint of heart. His lyrics explore power dynamics in relationships with a directness that some found controversial. Lines like “I broke you just to own you” and “I love when you’re submissive” aren’t sugar-coated or metaphorical – they’re explicit about the dynamic being portrayed.

What makes The Weeknd’s delivery so effective here is his vocal tone. He doesn’t sound aggressive or threatening – instead, there’s this almost seductive quality to how he delivers these lines. It’s unsettling in the best way, perfectly capturing the psychological complexity the song is going for. The final “So say it” works as both a command and a transition into the next section.

[Pre-Chorus] – Lily-Rose Depp

Give me tough love
Leave me with nothin’ when I come down
My kind of love
Force me and choke me ’til I pass out

Lily-Rose Depp’s entrance might be the biggest surprise of the entire track. For someone who was primarily known as an actress (and, let’s be real, as the daughter of Johnny Depp), her vocal performance is unexpectedly strong. She brings this raw quality to the pre-chorus that works perfectly with the song’s themes.

The lyrics here shift perspective, giving voice to the other side of the dynamic established in The Weeknd’s verse. “My kind of love” suggests agency and choice, even within the context of these intense dynamics. It’s complicated, perhaps deliberately so, and that complexity is part of what makes these one of the girls lyrics so compelling to analyze.

[Chorus] – Lily-Rose Depp & The Weeknd

We don’t gotta be in love, no
I don’t gotta be the one, no
I just wanna be one of your girls tonight
We don’t gotta be in love, no
I don’t gotta be the one, no
I just wanna be one of your girls tonight, oh

Here’s where the song’s title comes from, and honestly, this chorus is probably what stuck in most people’s heads. The repetition of “we don’t gotta be in love” establishes a relationship dynamic that’s purely physical, perhaps transactional in nature. The phrase “one of your girls” – not “your girl” but one of them – speaks to a situation where exclusivity isn’t expected or even desired.

What’s interesting is how both artists deliver this chorus at different points in the song. When Lily-Rose sings it first, there’s a certain vulnerability. When The Weeknd joins in later, it takes on a different shade of meaning. The same words, different contexts, different emotional weights.

[Verse 2] – Lily-Rose Depp

Push me down, hold me down
Spit in my mouth while you turn me out
I wanna take your light inside
Tear me down, snuff me out
Hands on my neck while you push it up
And I’m screamin’ now

The second verse escalates the intensity significantly. Lily-Rose delivers what are perhaps the most explicit lyrics in the entire song, describing physical acts with remarkable directness. The imagery is visceral – “spit in my mouth,” “hands on my neck” – and depending on who you ask, either courageously honest or unnecessarily provocative.

I think what makes this verse work, despite (or maybe because of) its explicitness, is that it continues to explore themes of control and surrender. The line “I wanna take your light inside” stands out as more poetic, almost spiritual, creating this interesting contrast with the more physical descriptions surrounding it. It’s messy and complicated, which honestly feels more real than cleaned-up pop lyrics often do.

[Pre-Chorus] – The Weeknd

Give me tough love
Leave me with nothin’ when I come down
My kind of love
Force me and choke me ’til I pass out

The Weeknd takes over the pre-chorus this time, delivering the same lyrics that Lily-Rose sang earlier but with his signature vocal style. His version has this darker, more resigned quality to it. Where Lily-Rose’s delivery felt almost defiant, The Weeknd’s feels like an admission, perhaps an acknowledgment of his own participation in these dynamics.

Having different artists repeat the same lyrics is a clever structural choice. It reinforces the idea that these power dynamics aren’t one-sided – both people are participating, both have their reasons, both are getting something from this arrangement, whatever it might be.

[Chorus] – The Weeknd & Lily-Rose Depp

We don’t gotta be in love, no
I don’t gotta be the one, no
I just wanna be one of your girls tonight (Tonight)
We don’t gotta be in love, no
I don’t gotta be the one, no (Oh)
I just wanna be one of your girls tonight, oh

The chorus returns, but this time both artists are singing together. The harmonies and vocal layering create this fuller sound, and the small variations – that “(Tonight)” and “(Oh)” – add emotional texture. By this point in the song, we’ve heard the chorus enough times that it’s firmly lodged in your brain, which I suppose is the point of a good hook.

There’s something almost hypnotic about the repetition. Each time the chorus comes around, it reinforces the central theme: this isn’t about love, commitment, or being “the one.” It’s about something else entirely, something more immediate and perhaps more honest about what both people actually want from each other.

[Bridge] – JENNIE

Lock me up and throw away the key
He knows how to get the best out of me
I’m no force for the world to see
Trade my whole life just to be
Top of the world, but I’m still not free
This is a secret that I keep
Until it’s gone, I can never find peace
Waste my whole life just to be

JENNIE returns for the bridge, repeating the intro lines but then expanding on them with four additional lines. This is where the one of the girls lyrics take on a more introspective quality. “Top of the world, but I’m still not free” speaks to the paradox of success – having everything externally but feeling trapped internally.

The bridge adds context that’s been missing from the rest of the song. Those lines about secrets and peace suggest there’s more going on beneath the surface. It ties directly into The Idol‘s themes about fame, public personas, and private struggles. For JENNIE, a member of one of the world’s biggest K-pop groups, these lines probably carry personal resonance beyond the character she’s portraying.

That repeated phrase “just to be” remains incomplete both times, creating this lingering question: just to be what? Loved? Seen? Understood? Free? The ambiguity is the point, I think. Sometimes the things we want most are the hardest to put into words.

What Makes These Lyrics Stand Out

Looking at the complete one of the girls lyrics, there are several elements that make this song distinctive in today’s music landscape. First, there’s the unapologetic exploration of mature themes. While plenty of songs reference sex and relationships, this track dives into power dynamics, control, and submission with unusual frankness.

The lyrics don’t judge the relationship being portrayed. There’s no moral framing, no narrative arc where someone learns a lesson or grows. It simply presents this dynamic as it exists, leaving interpretation to the listener. That’s actually pretty rare in mainstream music, where songs usually come with clearer emotional signposting.

Another standout element is the theatrical quality of the writing. Having different artists take different perspectives creates a dialogue, almost like a scene from a play. The Weeknd’s verses establish dominance, Lily-Rose’s sections express surrender mixed with desire, and JENNIE’s bookending intro and bridge add introspection and context. Each artist brings their unique vocal style, creating distinct characters within the same narrative.

If you want to understand the deeper implications of what’s being expressed here, I’d recommend checking out what the lyrics really mean, because honestly, there are layers to unpack that go beyond just the surface-level reading. The song works as both a straightforward description of a physical relationship and as a metaphor for fame, control, and the sacrifices people make for success.

The use of repetition is particularly effective. Key phrases like “lock me up,” “give me tough love,” and the entire chorus create a hypnotic effect. Repetition in lyrics can be lazy songwriting, but here it serves the themes – the circular nature of the lyrics mirrors the cyclical nature of the relationship being described.

Artist Contributions to “One of the Girls”

The Weeknd’s Signature Style

Abel Tesfaye, known professionally as The Weeknd, has built his entire career on dark, atmospheric R&B that explores the seedier side of fame, relationships, and excess. “One of the Girls” fits perfectly into his artistic catalogue, even as a collaboration. His vocal delivery here is controlled and almost detached, which creates this interesting tension with the intense content of the lyrics.

What The Weeknd brings to the track is credibility and context. He’s been making music about complicated relationships and power dynamics since his House of Balloons mixtape days. Having him anchor this track signals to listeners that yes, this song is going to go to dark places, and that’s intentional. His production sensibilities also shine through – the sparse, synth-heavy instrumentation is very much in line with his recent work.

The Weeknd’s verses establish the dominant perspective in the relationship being portrayed. His lyrics are direct, almost confrontational, but delivered with this smooth, seductive tone that creates cognitive dissonance in the best possible way. It’s uncomfortable and captivating at the same time.

JENNIE’s Impact

For JENNIE, this collaboration represented a significant career moment. As a member of BLACKPINK, she’s one of the most recognizable faces in K-pop, but this was her first major feature on a Western production of this scale. Her involvement brought instant attention from the massive BLACKPINK fanbase, many of whom might not have otherwise engaged with The Idol or its soundtrack.

What’s impressive about JENNIE’s performance is how she adapts her style to fit the song’s aesthetic while still maintaining her artistic identity. K-pop vocals often emphasize precision and power, but here she opts for something more vulnerable and intimate. Her opening and closing sections frame the entire song, giving it structure and emotional weight.

The fact that she sings entirely in English, delivering complex emotional content, shouldn’t be overlooked. While JENNIE has sung in English before, this level of intimacy and intensity in a second language demonstrates her range as an artist. Her sections provide the emotional core that makes the track more than just a provocative collaboration.

Lily-Rose Depp’s Debut

Perhaps the biggest wild card in this collaboration was Lily-Rose Depp. Known primarily as an actress and model, her singing debut on such a high-profile track was unexpected. And honestly? She holds her own remarkably well. Her voice has this breathy, almost fragile quality that works perfectly for the material.

Lily-Rose carries most of the song’s weight, taking both the pre-chorus and sharing the chorus duties with The Weeknd. Her verse two contains the song’s most explicit content, and she delivers it without flinching, which shows a lot of commitment to the character and the material. There’s a rawness to her vocal performance that feels authentic – you get the sense these aren’t just words she’s singing, but emotions she’s channeling.

Having her as part of this collaboration makes sense given her role in The Idol as Jocelyn, the pop star protagonist. The song functions as an extension of her character, blurring the lines between the actress and the role in a way that serves both the show and the music.

Song Structure and Musical Elements

From a production standpoint, “One of the Girls” is deceptively complex. On the surface, it seems relatively simple – slow tempo, sparse instrumentation, repetitive structure. But there’s a lot happening in the arrangement that creates the song’s hypnotic atmosphere.

The tempo sits around 100-110 BPM, which is slower than most contemporary pop but not quite a ballad. This mid-tempo zone creates a sensual, almost trance-like feel. The beat is trap-influenced, with those signature hi-hat rolls and 808 bass hits, but pulled back and subdued rather than aggressive. It’s club music for 3 AM when the club is mostly empty and everyone still there is lost in their own thoughts.

Mike Dean’s production fingerprints are all over this track. Known for his work with Kanye West, Travis Scott, and yes, The Weeknd, Dean specializes in atmospheric, synth-heavy productions that prioritize mood over melodic complexity. The synths here are dark and brooding, creating this wash of sound that the vocals sit on top of rather than cutting through. There are subtle production touches throughout – reverb tails, pitched vocal snippets, textural elements that you might not consciously notice but that contribute to the overall vibe.

The song structure is fairly traditional despite its experimental vibe: intro, verse, pre-chorus, chorus, verse, pre-chorus, chorus, bridge, outro. What makes it work is how the different artists take turns with these sections, creating variety within a familiar framework. The repetition of the chorus becomes almost mantra-like by the end.

Genre-wise, this sits firmly in the alternative R&B or dark pop category. It shares DNA with The Weeknd’s entire discography, artists like FKA twigs and Banks, and the moodier side of contemporary pop music. It’s definitely not radio-friendly in the traditional sense, but it found its audience through streaming platforms and social media, which is perhaps more relevant in 2023 and beyond anyway.

“One of the Girls” Cultural Impact

Beyond the chart performance and streaming numbers, “One of the Girls” became a cultural talking point in ways that extended beyond just the music. The song sparked conversations about artistic expression, the portrayal of complex relationships in mainstream music, and the role of provocative content in art.

On TikTok, the song exploded with users creating everything from lip-sync videos to interpretive visual content. The intro and chorus became particularly popular audio clips, used in contexts ranging from the serious to the ironic. That’s the thing about songs that explore darker themes – they resonate differently with different people. Some engage with the material straight, others use it ironically, and both approaches are valid.

The collaboration also sparked interesting discussions about genre boundaries and artistic crossovers. Having JENNIE, a K-pop idol, collaborating with The Weeknd on such mature, Western-style R&B challenged assumptions about what K-pop artists “should” do. Similarly, Lily-Rose’s transition from actress to recording artist (even in this limited capacity) demonstrated the increasingly fluid boundaries between different entertainment mediums.

From a feminist perspective, the song generated divided reactions. Some viewed it as empowering in its honest depiction of female desire and agency within complex dynamics. Others criticized it for potentially glorifying unhealthy relationship patterns. These debates, while sometimes contentious, at least indicated that people were engaging with the art on a deeper level than just passive consumption.

The song’s connection to The Idol created interesting spillover effects. Many people discovered the track without ever watching the show, while others were drawn to the series specifically because of the music. The soundtrack became more universally acclaimed than the show itself, which is somewhat ironic but also demonstrates the power of strong musical content.

Similar Songs You Might Like

If the dark, atmospheric vibe of “One of the Girls” resonates with you, there’s a whole world of similar music to explore. Here are some recommendations that share either thematic or sonic similarities:

• “Earned It” by The Weeknd – Another soundtrack contribution, this one for Fifty Shades of Grey, explores similar themes of desire and power with orchestral production.
• “Wicked Games” by The Weeknd – An early track that established his dark R&B aesthetic and explores vulnerable themes of love and addiction.
• “Call Out My Name” by The Weeknd – Perhaps sensing a pattern here, but this track from My Dear Melancholy has that same haunting quality.
• “Two Weeks” by FKA twigs – Experimental R&B with sensual themes and unique production choices.
• “Beggin for Thread” by Banks – Dark pop with powerful vocals and themes of complicated relationships.
• “Skin” by Rihanna – A deep cut that explores intimacy with Rihanna’s signature edge.
• “Often” by The Weeknd – More explicit content with that signature Weeknd production style.
• “SOLO” by JENNIE – While more pop-oriented, this showcases JENNIE’s solo work and confident delivery.

These tracks create a playlist that captures different aspects of what makes “One of the Girls” compelling – whether it’s the dark production, the mature themes, or the vocal performances that make the material work.

Frequently Asked Questions About “One of the Girls” Lyrics

Who wrote “One of the Girls”?

The songwriting credits for “One of the Girls” include Abel Tesfaye (The Weeknd), Mike Dean, Sam Levinson, Lily-Rose Depp, Rebecca Fischer, and Sage Skolfield. Having multiple writers is pretty standard for contemporary pop and R&B tracks, especially when the song is tied to a larger production like a TV series. Sam Levinson’s involvement as the creator of The Idol ensured the lyrics aligned with the show’s narrative and themes.

What is “One of the Girls” about?

On the surface level, the one of the girls lyrics describe a relationship characterized by power dynamics, physical intensity, and emotional complexity. The title phrase – being “one of the girls” rather than “the girl” – suggests a non-exclusive arrangement where commitment and traditional romance aren’t priorities. More broadly, the song explores themes of control, desire, fame, and the sacrifices people make in relationships. Within The Idol‘s context, it reflects the complicated dynamic between Jocelyn and Tedros, the main characters. There are deeper metaphorical readings about fame, artistic control, and the entertainment industry’s power structures as well.

Did JENNIE write her own parts?

JENNIE is not specifically listed in the songwriting credits, which suggests her role was primarily as a performer rather than a writer on this particular track. However, that doesn’t diminish her contribution – her vocal delivery and emotional interpretation are crucial to making the song work. Many featured artists on collaborative tracks don’t receive writing credits even if they contribute to arrangement or delivery choices. Her participation was likely more about bringing the written material to life with her unique vocal style and star power.

Is “One of the Girls” on streaming platforms?

Yes, “One of the Girls” is available on all major streaming platforms including Spotify, Apple Music, YouTube Music, Amazon Music, and others. It’s part of The Idol Episode 4 (Music from the HBO Original Series) soundtrack, though it’s also available as a standalone single. The song has accumulated hundreds of millions of streams across platforms, making it one of the most successful tracks from the series.

How did the collaboration happen?

The collaboration came together through The Idol production. The Weeknd wasn’t just starring in the series but also served as one of the creative forces behind it, including the music. JENNIE was cast in a supporting role as Dyanne, and Lily-Rose Depp played the lead character Jocelyn. Having the actors also perform music made sense for a show centered on the music industry. The combination of The Weeknd’s established music career, JENNIE’s international stardom, and Lily-Rose’s character-specific involvement created a unique collaborative opportunity that served both the show and the artists’ individual careers.

What does the bridge add to the song’s meaning?

JENNIE’s bridge provides crucial context that transforms the entire song. While the verses and chorus focus on the immediate relationship dynamic, the bridge pulls back to reveal the emotional cost. Lines like “Top of the world, but I’m still not free” and “This is a secret that I keep” suggest the public/private divide that comes with fame. The incomplete phrase “waste my whole life just to be” mirrors the intro’s “trade my whole life just to be,” creating a circular structure that implies these patterns repeat without resolution. The bridge adds melancholy and reflection to what could otherwise be purely provocative material.

Final Thoughts on “One of the Girls” Lyrics

Looking at the complete one of the girls lyrics, what emerges is a complex piece of contemporary music that works on multiple levels. It functions as a provocative exploration of relationship dynamics, a character study for The Idol, a showcase for three very different artists, and a statement about the darker aspects of desire and fame.

The song’s success demonstrates that audiences are hungry for music that doesn’t shy away from complexity. Not everything needs to be uplifting or simple. Sometimes the most compelling art explores uncomfortable territory and asks us to sit with contradictions rather than resolving them neatly. “One of the Girls” does exactly that – it presents a dynamic without judging it, explores desire without romanticizing it, and leaves interpretation open to the listener.

For fans wanting to go even deeper into the thematic elements, I’d suggest exploring deeper meaning analysis because honestly, there’s more to unpack than any single article can cover. The beauty of well-crafted lyrics is that they reveal new layers with repeated listening and analysis.

Whether you discovered this song through The Weeknd’s discography, JENNIE’s crossover into Western music, curiosity about The Idol, or just algorithmic recommendations on streaming platforms, “One of the Girls” represents an interesting moment in contemporary pop culture. It’s a reminder that mainstream music can still take risks, explore mature themes, and create something that generates genuine conversation beyond just being background noise.

The collaboration between The Weeknd, JENNIE, and Lily-Rose Depp created something greater than the sum of its parts – a track that works both within its original context and as a standalone piece of art. The one of the girls lyrics will likely continue sparking discussion and interpretation long after The Idol has faded from cultural memory, which is probably the best measure of successful songwriting.