History WhamLine / Music

** In "The Waitress", he tells the story of a bum who constantly visits a cafe to see a woman. She treats him badly when he comes in, but she also notices his absence on the days he doesn't visit. She is the one woman who acknowledges his existence. It seems like he could be in love with the woman since his life seems to revolve around seeing her, then at the very end of the song he says...

%%* The very last lines of "Day Twenty: Confrontation", the last song on Music/{{Ayreon}}'s album ''The Human Equation'': (Administrivia/ZeroContextExample; why are they a WhamLine in the context of the album?)

* "All Your Life", by Music/TheBandPerry. It's a sweet love song to a boyfriend, right up until...

* For the first verse, "Flirted With You All My Life" by Vic Chesnutt sounds like it's about unrequited love, with the narrator possibly being a DoggedNiceGuy: He speaks of flirting with and kissing the subject of the song, becomes envious upon learning that they "touched a friend of mine", but then admits that "Really, I was not ready". Then the chorus changes the context completely:

** "Goodbye Earl", for the first minute and a half, seems like it's going to be about the bonds of friendship between blood sisters Mary Anne and Wanda -- and then it suddenly becomes a gleeful MurderBallad:

** "You Were Mine", about a woman distraught that her husband is leaving her for another woman. The song is mostly about her own despair, but then the bridge comes and hits like a sucker-punch to the gut:

* Music/DreamTheater's "Scene Nine: Finally Free" has "Open your eyes, Nicholas." Right after this, there's "Friday evening, the blood's still on my hands / To think that she would leave me now for that ungrateful man", revealing that Victoria's death wasn't a murder-suicide.

* Everything Else: In "Religion Song (Put Away The Gun)", the middle section sounds like a bigoted rant, claiming that "There's no such thing as a Black Man/Asian/Woman/Christian/etc.", but it is all turned around by the line "Because we're all the same".

%%* From ''Music/TwentyFirstCenturyBreakdown'' by Music/GreenDay comes the song "¿Viva La Gloria? (Little Girl)", in a moment that [[ItMakesSenseInContext makes more sense in the context of the rock opera itself]]: "You are your own worst enemy ... [[IronicEcho Know your enemy.]]" (If ItMakesSenseInContext, please provide that context)

* In Music/TheHandsomeFamily's "Lizard", some young girls in a small town are bitten by a lizard and are subsequently bedridden, so the town calls for the aid of Granny Green, a woman whom they suspect of being a witch. She gives the girls a tonic which causes them to be unable to stop dancing, then this spreads to the whole town. Granny Green laughs to witness them in this state, and the wham line is "'[[PlaceboEffect There's just water', she said, 'in my tonic]]'". Interestingly, this line occurs three quarters into the song, and the villagers disbelieve her and just go even further into hysteria.

* In Music/PattyLoveless's "Here I Am", the narrator spends the first two verses and choruses taunting her ex, insisting that he's only using alcohol and other women in vain attempts to forget her. She seems to relish watching his life fall apart without her. Then, she lets down her own guard and reveals the truth, revealing either massive projection on the narrator's part, or a devastating subversion of all AllLoveIsUnrequited.

* In WebVideo/{{Paint}}'s song "[[https://www.youtube.com/watch?v=diU70KshcjA After Ever After]]", the song soon focuses on what happened to {{WesternAnimation/Pocahontas}} after the ever after. It's pretty much what you'd expect would happen when [[DeconstructedTrope reality ensues]] in a film dealing with the colonization of America. But this line pretty much reveals to us what happened to the heroine herself...

** Another one occurs in "The Sons of Fate", when the [[BystanderSyndrome gathered crowd of humanity]] "reassures" Megaman after he's [[spoiler:forced to kill Protoman]].

* Pusha T's infamous Music/{{Drake}} diss track, "The Story of Adidon", has a line which reveals something unknown to the general public at the time:

** "Richard Cory", based on the poem by E. A. Robinson, is about a man who seems to have it all, and whom the narrator desperately wants to be:

** In "My Father's House", the narrator, after having a nightmare, decides to reconcile with his estranged father. He drives all the way to his father's house, and is there greeted by an unfamiliar woman.

* "What's Your Mama's Name", by Music/TanyaTucker, is about a man (named in the song as Buford Wilson) who was imprisoned after asking a little green-eyed girl what her mother's name was, offering her a piece of candy if she would tell. The people overhearing the conversation misconstrued his interest, and he was sent to prison for a month, suffering emotional ruin and dissolving into alcoholism. After the man died thirty years later, a letter was removed from his ragged jacket, revealing, in the song's final verse, that [[spoiler:the girl was his daughter, Buford having identified her by her eye colour (which was the same as his), and he was trying to confirm it by asking for her mother's name]].

* "[=Sk8r=] Boi" by Music/AvrilLavigne seems to be a 3rd person story and you expect the girl to see the error of her ways and get together with the titular character until the bridge:

** "Goodbye Earl", for the first minute and a half, seems like it's going to be about the bonds of friendship between [[BloodBrothers Blood Sisters]] Mary Anne and Wanda -- and then it suddenly becomes a gleeful MurderBallad:

* Sabrina Carpenter's 'Because I Liked A Boy" is about the hate that she got from Olivia Rodrigo fans for dating Joshua Bassett. The last chorus drops this line.

** "The Man":
--->''I'd be a fearless leader\\
I'd be an alpha type\\
When everyone believes ya\\
What's that like?\\
I'm so sick of running as fast as I can\\
Wondering if I'd get there quicker [[DoubleStandard if I was a man]]''

-->''You limp into the dark woods, blood oozing from your stump leg. You have beaten Shia [=LaBeouf=].''\\

''Wait, he isn't dead! SHIA SURPRISE!''

* From Rob Cantor's "Shia [=LaBouef=]":
-->''You're finally safe from Shia [=LaBouef=]''\\

* This one on Music/DevinTownsend's "Music/{{Deconstrution|2011}}", considering how much she went through just to get it.

* This one on Music/DevinTownsend's "Music/Deconstrution|2011", considering how much she went through just to get it.

* This one on Music/DevinTownsend's "Deconstrution", considering how much she went through just to get it.

-->''Right away, Mary Anne flew in from Atlanta on a red-eyed midnight flight\\

that Earl had to die''
** "You Were Mine," about a woman distraught that her husband is leaving her for another woman. The song is mostly about her own despair, but then the bridge comes and hits like a sucker-punch to the gut:
-->''I can give you two good reasons\\

So how can I tell them you've change your mind?''

[[DisappearedDad So how can I tell them, you've change your mind?]]''

* The Music/DixieChicks' "Goodbye Earl", for the first minute and a half, seems like it's going to be about the bonds of friendship between [[BloodBrothers Blood Sisters]] Mary Anne and Wanda -- and then it suddenly becomes a gleeful MurderBallad: