White Lies, Red Ties
Some lies don’t shout. They smile. Some lies don’t come wrapped in darkness. They come dressed in white - and signed off in red.
White Lies, Red Ties was written as an observation - calm on the surface, uncomfortable underneath. It looks at the kind of dishonesty that hides behind politeness, power, and appearances. The lies that are socially acceptable. The ones that come dressed as good intentions, professionalism, or “just the way things work.”
Together, they reveal a system where truth is softened, bent, or postponed - not by accident, but by design.
Lies That Wear Suits
This song is not about obvious deception. It’s about the lies that circulate in boardrooms, institutions, and public narratives - the ones that sound reasonable, responsible, and reassuring, while quietly causing damage.
And nothing really changes.
White Lies, Red Ties questions how often comfort is chosen over honesty, and how easily moral responsibility disappears behind titles, procedures, and polished language.
Two Versions, Same Truth
The song exists in two versions.
The original version of White Lies, Red Ties stands on its own - restrained, observational, and deliberate.
The duet version, “Lies Are Lies,” strips away even more distance. Two voices expose the same mechanism from different angles, making it harder to look away and harder to pretend neutrality.
Part of a Larger Conversation
White Lies, Red Ties belongs to a body of work that examines hypocrisy, power, and accountability - alongside songs like Red Carpet and Welcome to the Catch 22.
Sometimes the most dangerous lies are the ones that sound polite.
And sometimes, telling the truth starts by refusing to accept them.


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