Taylor Swift Wood Lyrics
Laden with innuendos and sexual humor, “Wood” has Taylor Swift singing cheekily about the confidence and joy that she feels in her relationship with Travis Kelce.
The lyrics may reference numerous different superstitions, but Swift will assuredly not be knocking on wood as she feels that all the bad luck is now behind her. Now, she’s feeling confident with her partner.
Daisy's bare naked, I was distraught
He loves me not
He loves me not
Penny's unlucky, I took him back
And then stepped on a crack
And the black cat laughed
[Pre-Chorus]
And, baby, I'll admit I've been a little superstitious (Superstitious)
Fingers crossed until you put your hand on mine (Ah)
Seems to be that you and me, we make our own luck
A bad sign is all good, I ain't gotta knock on wood
[Chorus]
(Ah) All of that bitching, wishing on a falling star
Never did me any good, I ain't got to knock on wood
(Ah) It's you and me forever dancing in the dark
All over me, it's understood, I ain't got to knock on wood
[Post-Chorus]
Forgive me, it sounds cocky
He ah-matized me and opened my еyes
Redwood tree, it ain't hard to see
His love was thе key that opened my thighs
The song ‘Wood’ is about, it’s a love story about, you know, kind of using as a plot device superstitions, popular superstitions, good luck charms, bad luck charms, all these different ways that we have decided things are good luck or bad luck, like knocking on wood and seeing a black cat. And that is kind of the way that I’ve decided to explore this very, very sentimental love song.
The meaning of “Wood” by Taylor Swift is about how Taylor, who used to rely on luck and superstition in love now feels confident and joyful because of a passionate relationship. She no longer needs signs as the love given by her husband supports her needs, including emotional and physical, making her feel lucky and free.
Hello, prepare yourself because "Wood" makes "Dress" seem completely PG-13. Taylor Swift's 9th track on The Life of a Showgirl starts off as cute and romantic with lyrics like "seems to be that you and me we make our own luck" and "it's you and me forever dancing in the dark," and quickly descends into NSFW territory.
I mean..."Redwood tree, it ain't hard to see / His lovе was the key that opened my thighs."
Oh, and then there's this: "Girls, I don't need to catch the bouquet, mm / To know a hard rock is on the way / And baby, I'll admit I've been a little superstitious / The curse on me was broken by your magic wand."
Daisy's bare naked, I was distraught
He loves me not, he loves me not
Penny's unlucky, I took him back
And then stepped on a crack
And the black cat laughed
And baby, I'll admit I've been a little superstitious (Superstitious)
Fingers crossed until you put your hand on mine (Hand on mine)
Seems to be that you and me, we make our own luck
A bad sign is all good
I ain't got to knock on wood
All of that bitchin', wishing on a falling star
Never did me any good
I ain't got to knock on wood
It's you and me forever dancing in the dark (Ah)
All over me, it's understood
I ain't got to knock on wood
Forgive me, it sounds cocky
He ah-matized me and openеd my eyes
Redwood tree, it ain't hard to see
His lovе was the key that opened my thighs
Girls, I don't need to catch the bouquet, mm
To know a hard rock is on the way
And baby, I'll admit I've been a little superstitious (Superstitious)
The curse on me was broken by your magic wand (Ah)
Seems to be that you and me, we make our own luck
New Heights (New Heights) of manhood (Manhood)
I ain't got to knock on wood
(Ah) All of that bitchin', wishing on a falling star
Never did me any good
I ain't got to knock on wood
(Ah) It's you and me forever dancing in the dark (Ah)
All over me, it's understood
I ain't got to knock on wood
Forgive me, it sounds cocky
He ah-matized me and opened my eyes
Redwood tree, it ain't hard to see
His love was the key that opened my thighs
Forgive me, it sounds cocky
He ah-matized me and opened my eyes
Redwood tree, it ain't hard to see
His love was the key that opened my thighs
Taylor Swift’s New Song “Wood” Is Her Raunchiest Yet Taylor Swift’s “Wood” Lyrics About Travis Kelce Are Her Most NSFW Ever, Taylor Swift’s song “Wood” off The Life of a Showgirl is one of the many songs dedicated to Travis Kelce on the album. This one, however, is a rather explicit homage to the NFL tight end’s assets.
Taylor Swift is no longer barking up the wrong trees.
After all, she’s found her forever with fiancé Travis Kelce. And in “Wood,” one of the 12 tracks off her new album The Life of a Showgirl, Taylor celebrates all elements of their romance—and we mean all.
The song begins innocently enough, with the Grammy winner recounting her streak of romantic bad luck—unlucky pennies, sidewalk cracks, black cats—before meeting Travis, a love she sings doesn’t require her to “knock on wood.”
But wood, of course, is a double entendre. And after the chorus, the lyrics take a turn.
“Forgive me, it sounds cocky / He ah-matized me and opened my eyes,” Taylor sings. “Redwood tree, it ain't hard to see / His love was the key that opened my thighs.”
And yes, Redwood tree likely means exactly what you think it does.
After all, just a few lines later Taylor notes, “The curse on me was broken by your magic wand,” adding in a reference to Travis and Jason Kelce’s podcast, “New Heights of manhood.”
Much of The Life of a Showgirl is an homage to her love with the Kansas City Chiefs tight end, starting with the opening track “The Fate of Ophelia.”
“You dug me out of my grave and / Saved my heart from the fate of Ophelia,” Taylor sings, essentially saying Travis saved her from the fate of Hamlet’s tragic heroine. “Keep it one hundred on the land, the sea, the sky / Pledge allegiance to your hands, your team, your vibes / Don't care where the hell you've been 'cause now you're mine.”
And on “Honey,” she details Travis’ adorable nickname for her in as well as her hopes for a quiet, family-filled future with him in “Wi$h Li$t.”
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Naturally, in true Taylor fashion, The Life of a Showgirl is sprinkled with Easter eggs throughout. For a complete round up, read on.
The opening song on Taylor Swift's The Life of a Showgirl references the character Ophelia from William Shakespeare's Hamlet, who faces a tragic fate.
According to the song's lyrics, Taylor "might've drowned in the melancholy" if she hadn't been saved by her true love.
"I heard you calling / On the megaphone," Taylor sings. "You wanna see me all alone."
The lyrics appear to be a nod to Travis Kelce calling Taylor out on his New Heights podcast for not meeting him at her Eras Tour, which is how their romance began.
"I swore loyalty to me, myself and I," the lyrics continue. "Right before you lit my sky up."
Before meeting Travis, Taylor was fresh off a breakup from Matty Healy, having declared herself one of the "independent girlies" in July 2023.
But after Travis went to her concert in Kansas City that same month, sparks began to fly.
Now, Taylor's fiancé is even in on her Easter egg game, teasing "The Fate of Ophelia" lyrics on Instagram back in July. (Had some adventures this offseason," he captioned pics with Taylor, adding, "Kept it [100].")
How does that connect to Taylor's song? Well, as the lyrics go, "You dug me out of my grave and saved my heart from the fate of Ophelia / Keep it one hundred."
Taylor Swift’s new album, The Life of a Showgirl, is here. Whatever else it might be, it’s an ode to the—ahem—romantic life she shares with recent fiancé Travis Kelce. The song “Wood” may just be the raunchiest Swift’s ever released, and while the lyric, “Redwood tree, it ain't hard to see / His lovе was the key that opened my thighs,” stands out at first for obvious reasons, when considered more carefully the “redwood tree” suggests something more profound and long-lasting than a steamy affair. Swift’s repeated point that she no longer has to “knock on wood” likewise stands out: When she once relied on luck for love, she’s built something stronger and long-lasting. It’s also a summation of her long and winding relationship with the wood she often lyrically employs for its superstitious, durable, and calming qualities. From “Out of the Woods” to the Long Pond Studio Sessions, the cover of her tenth album Midnights, and even the Eras Tour, Taylor Swift has lyrically returned to wood (the substance made of trees) for more than a decade.
Here, an obsessive look at one of Swift’s most referenced materials.
The obsession probably began in Utah, where Taylor Swift and her then-boyfriend Harry Styles were on a snowmobile. Suddenly, there was a crash and, “Twenty stitches in a hospital room.” A couple of years later, the song “Out of the Woods” appeared on 1989. It was a medical drama of sorts, one that served as a metaphor for Swift wondering if she might just find peace in her seemingly doomed relationship. Spoiler alert: she didn’t. But as the song’s opening echoes reveal, Swift is attracted to the unique qualities of trees for sonic and aesthetic reasons alike.
Then came the pandemic. In upstate New York—at Long Pond Studios near Hudson—Swift hunkered down with her then-partner, actor Joe Alwyn. Lover Fest, the global tour meant to celebrate her seventh studio album Lover, had been abruptly canceled, and instead of chasing arenas, she returned to a quiet studio designed by Erlend Neumann, a local architect known for spare, Scandinavian-inspired, light-wood spaces that seemed built for reflection.
Long Pond wasn’t new to her; six years earlier she’d sketched parts of 1989 there. But this time, the high-octane pop of that era was nowhere in sight. Gone were the pastel ’80s anthems and neon hooks. In their place came hushed, folk-inflected storytelling: songs about her grandmother (“Marjorie”), about celebrities, even about the woman who once owned her Rhode Island home (“The Last Great American Dynasty”).
Out of that unexpected isolation emerged two records, folklore and evermore, released just five months apart. They marked a turn inward and outward at once—away from chart-engineered pop and into imagined worlds that felt rooted, weathered, and wooded. On the cover art for both albums, Swift stands small against a towering forest, as if she’d found a kind of shelter among the trees.
Then came Midnights, Swift’s pop-noir tenth album, released in the fall of 2022. The visuals nodded toward wood once again, with cover art staged in what looked like a lived-in mid-century modern interior—a space with the clean lines of the Eames House, but filtered through a 1970s haze. Like the record itself, the design felt sleek, stylized, and faintly nostalgic.
Wood has always bent to Swift’s will, or maybe she’s simply chosen the right wood for the right era. In ELLE Decor, Camille Okhio described a mid-century Los Angeles home where wooden furniture carried a paradoxical energy: modern yet vintage, inventive yet grounded. Swift thrives on that same tension. This is, after all, the artist who once cast herself as both homecoming queen and head cheerleader in the video for “You Belong With Me.” Like wood, she’s drawn to contradiction, and contradiction has become her material.
A Wooden Eras Tour Cottage
On the Eras Tour, wood took on a more fantastical dimension. No longer just the contemplative forests of folklore and evermore, it became architecture: a wooden cottage that materialized onstage like a portal to another time. Designed by production visionary Ethan Tobman, the “Folklore Cottage” came with exposed beams and a thatched roof—light enough to haul around the globe, yet uncanny in its suggestion of something ancient. In the middle of a stadium of 70,000, it conjured silence.
Wood returned at the show’s finale in subtler, more symbolic forms. Swift sat at what appeared to be two pianos: an elaborate grand wrapped in tree motifs for the folklore and evermore chapters, and a flower-strewn upright for the rotating surprise songs. They looked like solid wood, but both were really electric keyboards—illusions of organic permanence in a high-tech spectacle. The gesture recalled the stripped-down grounding of her pandemic years. But it also reached further: wood carries with it the suggestion of community. It’s abundant, modest, and—unlike the steel-and-glass skyline of the elite—still belongs to the many.
More than that, Swift is obsessed with music, the way it works physically, so of course she’s obsessed with wood. As flexible as it is in the hands of a genius Scandinavian furniture designer like Alvar Aalto, it comes alive when attached to strings. Wood is Taylor Swift’s ultimate instrument, and she plays it masterfully.
Posted on 2025/10/04 08:56 AM