Read the lyrics Now Hoe Lyrics – Tedua & Sfera Ebbasta . Is Its Classy Lyrics Are Written By Tedua, Sfera Ebbasta, Charlie Charles, Ghali, Dibla & Shune Is Its Official Music Video Has been Released On June 2, 2023 And Present On The YouTube Channel. And lyrics can be seen above here.
The lyrics portray a narrative centered on substance, detached connections, and tone- confidence within the world of luxury and fame. Tedua and Sfera Ebbasta combine themes of casual hassles, materialism, and inner struggles, offering a regard into their indulgent cultures and incurious stations toward connections, set against a background of glamour and tone- assurance.
Hoe Lyrics – Tedua & Sfera Ebbasta
[Intro]
Yo! Da C-O-G-O
Ciny! Wild Bandana
Billion Headz
(Money Gang)
(Okay, Sfera)
Explanation of intro
In this intro Headz,” conceivably representing groups or markers. The preface sets the stage for their collaboration, stressed by their associations and a shoutout to” plutocrat Gang.”
[chorus]
Non do il mio cuore a una ho, ho (No-no)
Mi chiedi quello che non so
Ultimo posto sui mezzi (Grr-grr)
Sedili in pelle del Bentley (Skrrt)
Sedili in pelle del Porsche, Porsche
No sentimenti nel club, no
La guardo e sono già dentro
Fuori dal suo appartamento
Prima che torni il suo boy
Explanation of chorus
In this chorus, Sfera Ebbasta expresses his disinclination to commit emotionally to a romantic interest(” una ho”). He highlights his lack of knowledge about certain effects she asks, inferring a dissociate. Despite enwrapping the last place on public transport, he contrasts it with the luxury of Bentley and Porsche leather seats. Sfera describes a detached station in clubs, where he is formerly engaged with someone before her swain returns, depicting a casual and indistinctive approach to connections.
[verse 1]
Demoni all’inferno, poggiati sul balcone
Sono deboli all’interno, forgiati dal rancore
Rapper fanno foto con addosso banconote
Ma non hanno mosso un grammo, quindi contano in sei ore
Mi piace quella tipa che muove la colita
Nella sua villa a Ibiza in tre perché ha un’amica
Vuole far la cocorita, con me corre alla corrida
Mi coccola, continua, coccodrillo la mia fibbia
Gang fanno bang, sono back from the dead
Sono qui alle Hawaii ma con David LaChapelle
Sopra Outpump, su GQ, sopra Vogue, sono il GOAT
La mia ex vuole un baby ma da me
Explanation of verse 1
In this verse, Tedua paints a pictorial picture of inner demons, portraying a sense of vulnerability hidden behind a tough surface. He reviews rappers exhibiting plutocrat without factual substance. Tedua admires a girl’s debonair nature in Ibiza, intimating at a sportful relationship. Representing his success in magazines and the cultural world, he contrasts it with hisex-girlfriend’s desire for a baby, indicating a divergence in their precedences.
[chorus]
Non do il mio cuore a una ho, ho (No-no)
Mi chiedi quello che non so
Ultimo posto sui mezzi (Grr-grr)
Sedili in pelle del Bentley (Skrrt)
Sedili in pelle del Porsche, Porsche
No sentimenti nel club, no
La guardo e sono già dentro
Fuori dal suo appartamento
Prima che torni il suo boy
Explanation of chorus
In this chorus, Sfera Ebbasta expresses his disinclination to commit emotionally to a romantic interest(” una ho”). He highlights his lack of knowledge about certain effects she asks, inferring a dissociate. Despite enwrapping the last place on public transport, he contrasts it with the luxury of Bentley and Porsche leather seats. Sfera describes a detached station in clubs, where he is formerly engaged with someone before her swain returns, depicting a casual and indistinctive approach to connections.
[verse 2]
Lei è qui nel mio letto, Chri prendi un etto
G fanno i G, sono qui che lo aspetto
Giù con il branco, giuro soltanto
V come V per vendetta e l’ho fatto
Allo Chateau Marmont cioccolato con i funghi
Vivo troppo rock, muoio come John Belushi
Rappo e vi lascio tutti quanti muti
Le mie barre sono avanti, tu stai dietro come i detenuti
One (One), two, three, prova
Giù con gli squats, si rassoda
Io con le trazioni, pozioni con la soda
Groupie che ci prova, ragiona
Explanation of verse 2
In this verse, Tedua references a casual hassle, conceivably with a girl named Chri, amidst the presence of associates staying for his attention. He mentions being at Chateau Marmont, indulging in psychedelic gests evocative of a rockstar life akin to John Belushi’s. Tedua boasts about his superior lyrical chops, likening others to convicts, while also intimating at particular fitness routines involving syllables and pull- ups. He casually dismisses attempts by groupies, prompting them to suppose effects through before acting.
[chorus]
Non do il mio cuore a una ho, ho (No-no)
Mi chiedi quello che non so
Ultimo posto sui mezzi (Grr-grr)
Sedili in pelle del Bentley (Skrrt)
Sedili in pelle del Porsche, Porsche
No sentimenti nel club, no
La guardo e sono già dentro
Fuori dal suo appartamento
Prima che torni il suo boy
Explanation of chorus
In this chorus, Sfera Ebbasta expresses his disinclination to commit emotionally to a romantic interest(” una ho”). He highlights his lack of knowledge about certain effects she asks, inferring a dissociate. Despite enwrapping the last place on public transport, he contrasts it with the luxury of Bentley and Porsche leather seats. Sfera describes a detached station in clubs, where he is formerly engaged with someone before her swain returns, depicting a casual and indistinctive approach to connections.
[Outro]
(Ahahah)
(Yeah, yeah)
(Uh, uh, uh)
(Squad)
(Anche quest’anno)
(Il rapper dell’anno)
(Tu vuoi un beat di Charlie, ma non lo sai usare)
Explanation of outro
In this outro, Tedua ends the track with horselaugh and declarations, signaling fellowship within his team or platoon. He humorously asserts himself as the rapper of the time and references the desire for a beat by Charlie, teasingly suggesting the listener might not know how to use it.
Overall
The lyrics synopsize themes of sybaritism, detached connections, and tone- assured bravado. Tedua and Sfera Ebbasta paint a picture of a lavish life, representing emotional detachment, casual hassles, and a confident, nearly boastful, station. The verses touch on inner struggles, superficiality, anda sportful casualness for conventional relationship morals, all woven into a background of luxury and tone- sureness.