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Katie Lott

by Katie Lott

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1.
Ballerinas 04:07
ballerinas in my bed / pirouette inside my head / and spin me sleepless at night / i’m invited to their dance / a dark, dark, dissonance / some kind of twisted lullaby / ballerinas in my eyes / glances I don’t recognize / it’s nice to meet you, mirror-me / you're a mess of carelessness / and crooked arabesques / my alternate identity / there’s an asylum in my brain / a ballroom for the insane / where there’s no choreography / it’s a waltz of wild unrest / it’s their party, i’m the guest / i’m at the mercy of the beat / ballerinas in my glass / white wine with a touch of jazz / rhythm never tasted so sweet / i sip on their salsa dance / drunk on that spicy romance / i take their hands, they take the lead.
2.
Criminal 03:09
i’ve got the deadbolt on the door / no you’re not coming back / i’m bulletproof don’t start a war / i’m braced for your attack / i hear you comin for me, so come on now / pull the trigger and watch me / you’re a fire, you’re a liar, you’re a criminal / oh no pickin’ locks won’t help you when there’s nobody home / you think that doin’ time and payin’ fines will give you a restart / no you can’t buy me over with your counterfeit heart / you should be locked away somewhere / orange looks great on you / at least you couldn’t find me there / and I wouldn’t be your fool / you can’t half-ass your way back into my life / your ass ain’t worth half of my selling price / you’re a fire, you’re a liar, you’re a criminal / oh no pickin’ locks won’t help you when there’s nobody home / you think that doin’ time and payin’ fines will give you a restart / no you can’t buy me over with your counterfeit heart / you’re a fire, you’re a liar, you’re a criminal / oh no pickin’ locks won’t help you when there’s nobody home / you think that doin’ time and payin’ fines will give you a restart / but you can’t buy me over with your counterfeit heart / oh your getaway car’s movin babe / you’re driving it right at me, hey / but spinnin tires and headlights / won’t bring me home.
3.
Floodlights 05:54
five minutes thirty two seconds of time / all that you’ll give me for three months of mine / yeah that seems fair / hoping you won’t discover my biggest secret / of my twenty-one years of faking it / i’m fucking scared / so many layers of disguise / unravel before your judgmental eyes / and I’ve got no metaphors and rhymes to hide behind / you don’t know what it’s like to be exposed / and I dare you to take off all your clothes / til you’re stripped down to your skin and bones / and that’s when you’ll know / but until you decide to let go, / you can run from the glare, no one's making you stare, / you don't have to like what you see / let the floodlights uncover me / you dress me up in a whole lot of pretend / so you can show off to all of your friends / your perfect little clone / you give me that line that you love me you just don't approve of the shit that i do / well that shit is me / didn’t you know / but you're too preoccupied with your version of the truth / your façade of innocence / you would rather be blind cause the light’s never shined on you / you don’t know what it’s like to be exposed / and I dare you to take off all your clothes / til you’re stripped down to your skin and bones / and that’s when you’ll know / but until you decide to let go / you can run from the glare / no one's making you stare / you don't have to like what you see / let the floodlights uncover me / maybe it’s not dressed in white / maybe it’s not so polite / but maybe that isn’t your problem / it’s not your design / honey it’s mine / you can run from the glare, no one's making you stare, / you don't have to like what you see / let the floodlights uncover me.

credits

released June 28, 2015

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Katie Lott Birmingham, Alabama

Katie Lott has a way of crafting songs that stay with you long after the music ends. Her music is immediately charming, achingly heartfelt, strikingly dynamic and subtly mysterious. While sometimes a distant relative to other talent-driven singer/songwriters (Regina Spektor, Ben Folds), Katie's classically-tinged melody-centric writing truly fits no mold. ... more

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