PARTYNEXTDOOR & Drake – MOTH BALLS. Lyrics Meaning: The Lingering Scent of Yesterday’s Heartbreak

Ever caught a whiff of a particular perfume, or maybe the faint scent of old paper from a forgotten book, and suddenly, you’re thrown back in time? One second you’re fine, and the next, you’re drowning in a memory of someone you tried so hard to forget. It’s a feeling that clings to you, a ghost you can’t quite shake, no matter how fast you run or how far you go.

It’s like that feeling is a stubborn stain, a scent you just can’t wash out. Well, PARTYNEXTDOOR and Drake just gave that exact feeling a name, and it’s a weirdly perfect one: mothballs. And trust me, diving into this track is like unlocking a diary filled with old ghosts, new vices, and the dizzying confusion of trying to move forward when your past refuses to let go.

Unpacking the Scent: PARTYNEXTDOOR’s “MOTH BALLS” Metaphor

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• PARTYNEXTDOOR & Drake – GLORIOUS : A Lavish Escape from a Mundane Reality
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• PARTYNEXTDOOR & Drake – GREEDY : A Confession of Insatiable Desire
• Drake – RAINING IN HOUSTON : A Plea for Peace in a Stormy Relationship
• PARTYNEXTDOOR & Drake – MOTH BALLS : The Lingering Scent of Yesterday’s Heartbreak
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• PARTYNEXTDOOR & Drake – OMW : A Modern Anthem for a Partnership of Equals
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Right from the jump, PARTYNEXTDOOR sets a scene that’s heavy with nostalgia and regret. He isn’t just singing about a smell; he’s talking about an emotional residue that has seeped into the very fabric of his life. Think about it. Mothballs are used to preserve things, to keep them from decaying. But they leave behind an unmistakable, pungent odor that gets into everything. That’s exactly what this old love feels like. He sings:

Mothballs, I can’t get the smell out my clothes

YYZ, racing ’cause the gate ’bout to close

New York is callin’ up on me and the bros

You can almost picture it, right? He’s rushing through Toronto’s airport (YYZ), moving towards a new life, a new opportunity in New York. On the surface, he’s winning. He’s on the move. But that “mothball” scent of his past is still with him, packed right into his luggage. He’s trying to outrun a memory, but it’s a part of him now. Then, he drops the source of the pain with heartbreaking clarity:

I left Candice, now my heart might explode

Three months it’s been since we even said hello

She wasn’t good to me anyway and I know

This isn’t just a simple breakup song. It’s a messy, complicated confession. He knows the relationship was toxic (“She wasn’t good to me anyway”), but that rational thought doesn’t stop the pain. He’s caught in that awful place between knowing something is bad for you and still feeling the ache of its absence. He’s hustling hard, not just for fame, but to provide a better life (“This has to work so I get Neeks off that stove”), yet the emotional weight is almost too much to bear.

Drake’s Turn: The Lonely View From the Top

Then, Drake slides in, and the vibe shifts from heartbroken nostalgia to the chaotic, self-destructive side of success. If PND is haunted by the past, Drake is trying to drown it in the present. His verse is a whirlwind of excess, a defense mechanism against a deeper loneliness. He’s honest about his struggles, laying it all bare.

I been peakin’ off that Addy every day

It’s been hard for me to put that shit away

Drinkin’ four or five bottles of the wine

Got a glass in my hand every time

This isn’t a brag; it feels more like a cry for help disguised in a smooth flow. He’s built this larger-than-life persona, surrounded by women and wealth (“I been seen with all the baddest hoes around”), but it’s all a facade. The real question that cuts through the noise is a quiet, vulnerable plea: “are you still around?” It’s a moment of profound loneliness, the realization that all the fame and money can’t fill the void of a genuine connection.

From Aubrey Graham to ‘Drake’

He even touches on his own transformation, the journey from a kid stressed about money to a global superstar. It’s a classic rags-to-riches story, but he delivers it with a hint of weariness.

I remember stressin’ over bills like a Buffalo fan, uh

Now shorties call me Drake, not Aubrey Graham, damn

The switch from “Aubrey Graham” to “Drake” is more than just a name change; it’s a symbol of the identity he’s adopted. But even as “Drake,” he still craves the understanding that “Aubrey” probably had. When he tells a woman, “I’m the only one that understand,” he’s not just flexing—he’s also projecting his own deep-seated need to be understood.

A Momentary Escape

So, with all this emotional baggage from both artists, where’s the relief? It comes in the chorus, which feels like a hazy, intimate snapshot. It’s a complete pivot from the verses’ pain and anxiety.

You’re doing that thing, you’re doing that thing

You’re doing that thing, you’re doing that thing again

Moving that tongue with that ring again

Treat that star, mention Michelin

This part of the song is pure, in-the-moment sensuality. It’s a distraction. It’s the physical connection that temporarily silences the loud thoughts of past heartbreaks and present pressures. It’s the “cleanest water” that washes away the bitter taste of reality, if only for a little while. This chorus is the escape they’re both desperately seeking, a brief moment of pleasure to forget the “mothball” scent that lingers.

Ultimately, “MOTH BALLS” gives us a powerful message: you can’t run from your past. No amount of success, money, or new experiences can completely erase the emotional imprints left behind by people and places. The key isn’t to pretend the scent isn’t there, but to acknowledge it, understand why it’s lingering, and learn to live with it without letting it define your future. It’s a reminder that vulnerability and honesty, even about our darkest habits, are the first steps toward true healing.

But that’s just my take on it. The beauty of a track this layered is that it can mean something different to everyone. What does the “mothball” smell represent to you? Is the song more about heartbreak or the pressures of fame? Let’s discuss it—I’d love to hear your perspective.