The song Valentine by 5 Seconds of Summer is a dark, moody, and powerful ode to an unconventional, “twisted” love. Stripping away all the clichés of the holiday, the song’s meaning is a celebration of a deep, all-consuming partnership that thrives on its own unique, “combative” energy. It is about a couple that is so secure in their bond that they reject superficial symbols of romance, choosing instead to love every part of each other, especially the “dark in your heart.”
From their 2018 album Youngblood, Valentine is the anti-love song. It is not about chocolates or teddy bears; it is about a love that is timeless, rare, and a little bit dangerous. It’s a macabre, gothic, and deeply romantic track that redefines what a love song can be.
A Twisted Love: What the Band Says
The band members have been clear that Valentine is not your typical upbeat pop song. Lead singer Luke Hemmings has described it as a “gothic, dark, rock” track. He explained that the song is about loving every single piece of a person, even the parts that are not pretty or perfect.
The song explores a “f—ed-up relationship” that is not necessarily toxic, but rather complex and passionate. It is about a dynamic that the outside world might not understand, but that works perfectly for the two people in it. The band wanted to capture the feeling of a love that is so intense it’s almost a little “twisted,” and they succeeded.
The Gothic Music Video
The song’s meaning is reinforced by its famous music video. The entire video is a work of gothic, macabre art. It shows the band members as disembodied heads singing the song, and later as skeletons. This imagery is a direct rejection of the “live-action”, fleshy, superficial nature of a typical Valentine’s romance.
By showing themselves as skeletons, they are making a powerful statement. Their love is not about physical appearances; it is a “til death do us part” bond that goes down to the very bones. It is a love that is eternal and unconcerned with the superficial. The dark, opulent visuals perfectly match the song’s theme of a love that is like “Egyptian gold”—ancient, mysterious, and precious.
Verse 1: The Thesis of Unconditional Love
The song opens with one of the most important lines, which sets the theme for the entire track. The protagonist states that he loves the “light” in his partner’s eyes and the “dark” in her heart. This is the central thesis. He is not just in love with her good side, her happy moments, or her beauty. He is equally in love with her flaws, her sadness, her anger, and her complex, hidden self. He does not just tolerate her darkness; he actively loves it.
This love is a two-way street. He then explains what she loves about their dynamic. She loves their “permanent chase.” This is not a boring, settled, comfortable relationship. It is one that is always exciting, always moving, and always a bit of a game. They are constantly pursuing each other, which keeps the passion alive.
She also loves the “bite of our bark.” This confirms the “combative” nature mentioned later. When they argue or disagree, it is not just empty noise. Their words have a “bite.” They are passionate, and their relationship has teeth. But this is a dynamic they both enjoy. It is part of their “chase.”
The verse concludes with a powerful, confident statement. They know they are “classic together,” like “Egyptian gold.” This is a brilliant metaphor. They are not like a new, shiny, modern piece of jewelry. Their love is like an ancient, priceless artifact. It is rare, timeless, and carries a sense of history and mystery.
This leads to the simple, all-encompassing conclusion: “We love us.” It is not just “I love you” or “You love me.” It is a declaration that they are in love with the unit they have created, with their entire unique, dark, and complex world.
Pre-Chorus: Accepting Every Version
The pre-chorus is a direct message from the protagonist to his partner. He tells her that it does not matter if she is “combative” or if she is “sweet cherry pie.” These two extremes represent the full spectrum of her personality. She can be difficult, argumentative, and fiery, or she can be sweet, loving, and gentle.
His point is that he does not have a preference. He is not trying to “fix” her or change her. He is not waiting for her to be in a “good mood.” He wants her exactly as she is, in whatever form she takes. This is the definition of true, unconditional acceptance.
The line that follows adds a layer of raw, physical desire to this emotional acceptance. He says it does not matter how she acts, “just as long as I get all you tonight.” He wants her presence. He wants all of her—the combative side, the sweet side, the light, and the dark—to be with him. It is a craving for her complete and total self, both emotionally and physically.
Chorus: Rejecting the Clichés
The chorus is a defiant, triumphant rejection of all the things Valentine’s Day is supposed to be about. The protagonist offers two options: he can “take you out,” or they can “kill some time, stay home.” This shows that their love is not dependent on grand gestures or expensive dates. Their bond is just as strong in a quiet room as it is in a crowded restaurant.
Then comes the song’s most famous line. He says they can “throw balloons, teddy bears, and the chocolate eclairs away.” These are the generic, store-bought symbols of a cheap, commercialized version of love. He is actively rejecting them. He is saying their love is too deep and too real to be celebrated with such empty, superficial objects.
By throwing them away, they are cleansing their relationship of all the things the world thinks love should be. Their love does not need balloons or chocolate to be real. It is a powerful, punk-rock statement against the pressures of a commercial holiday.
Instead of these symbols, they have something far more powerful. He states they have “nothin’ but love” for each other. That is all they need. And this love is not static; they “fall more in love every day.” This is the song’s beautiful anchor. Despite their “combative” nature and their dark, “twisted” dynamic, the foundation of their relationship is a love that is pure, stable, and constantly growing.
The chorus ends with him repeating the word “Valentine.” He is not celebrating the holiday; he is celebrating her. He has reclaimed the word. She is his Valentine—the person, not the day.
Verse 2: A Love That Changes You
The second verse, sung by Michael, dives even deeper into the intensity of their connection. He describes their love as being “so deep” that his partner’s “DNA’s being messed with my touch.” This is an incredibly poetic and intense metaphor.
It means their love is not just an emotional or mental thing. It is a physical, biological, and fundamental force. They are changing each other on a cellular level. Their identities are being rewritten by their relationship. This is a love that is so profound it is literally changing who they are as people.
This deep connection makes them an unstoppable unit. They “can’t beat us.” This is a classic 5SOS “Us vs. The World” theme, but it is more mature than in their earlier work. They are not rebels fighting against the world; they are a classic, invincible team that the world simply cannot understand or defeat.
Their love is “so real,” and it is “fueling the fire until we combust.” This is a classic passion metaphor, but the idea of “combustion” again points to that dangerous, all-consuming, and slightly destructive energy they both crave. They are not afraid of burning up in their own passion; they are actively fanning the flames.
This makes them untouchable. No one can get to them, no one can break them, and no one can even comprehend the “Egyptian gold” bond they have.
The Bridge: You Can Have It All
The bridge is the song’s philosophical conclusion. It is a direct refutation of the old saying, “You can’t have your cake and eat it too.” That saying implies that you cannot have two good, conflicting things at once.
The song flips this entirely. The protagonists are telling each other, “Full plate, don’t wait, have your cake and eat it too.” In their relationship, you can have it all. You can have a love that is both a “permanent chase” and a “stay home” comfort. You can have a partner who is both “combative” and a “sweet cherry pie.”
They are encouraging each other to indulge, to not wait, and to embrace the “full plate” of life and love. They are rejecting the idea that you have to choose between passion and stability. Their “twisted” love allows them to have both, and they are reveling in it.
“Valentine” vs. “Youngblood” and “Teeth”
To truly understand “Valentine,” it is essential to compare it to the other dark love songs on the Youngblood album. Songs like “Youngblood” and “Teeth” also describe “push-pull” dynamics. However, those songs are about toxic relationships.
In “Youngblood,” the protagonist is a “dead man crawlin’,” a victim of the game. In “Teeth,” the protagonist is terrified, unsure if his partner loves him or wants him “dead.” He knows he might not “make it out alive.”
“Valentine” is the complete opposite. It is a “twisted” love, not a “toxic” one. The “push-pull” is consensual and enjoyed by both. The “bite of our bark” is part of the “chase.” The protagonist is not a victim; he is an equal, confident partner. He is not afraid of his partner’s “dark” side; he is in love with it. “Valentine” is what a healthy, passionate, and “combative” relationship looks like, whereas “Youngblood” and “Teeth” are about the descent into a co-dependent, abusive one.
Conclusion: The Ultimate Anti-Love Song
“Valentine” by 5 Seconds of Summer is a masterpiece of modern pop-rock. It is a brave and mature song that reclaims the idea of a “love song.” It argues that true love is not found in superficial, store-bought clichés.
The song’s true meaning is that real, timeless love is about embracing the entirety of a person—their light and their dark, their sweet side and their combative side. It is about creating a unique world with your partner that no one else can touch. “Valentine” is a celebration of a “twisted,” gothic, and passionate bond that is far more real and powerful than any teddy bear could ever represent.