Few things age as unpredictably as language. Words evolve, meanings shift, and cultural norms transform with every generation. What once sounded harmless can later feel offensive, while slang once considered bizarre eventually becomes mainstream. That cultural drift is inevitable—and music often becomes the battlefield where those shifts play out most publicly.
Sometimes, listeners revisit old songs and discover uncomfortable themes hidden beneath catchy melodies. Other times, modern criticism collides with the original intent of the art itself. That’s exactly what happened when electronic musician Moby publicly criticized The Kinks classic 1970 hit Lola for what he considered “transphobic” lyrics.
Instead of sparking a cultural reckoning, however, Moby’s comments triggered something very different: widespread disagreement—including from members of the LGBTQ+ community themselves.
The Legacy of “Lola”
Released during the fading glow of the Swinging Sixties, “Lola” became one of The Kinks’ defining songs. Written by Ray Davies, the track told the story of a young man who meets the mysterious and charismatic Lola in a Soho club. Over jangly guitars and an irresistibly catchy chorus, the narrator slowly realizes Lola may not conform to traditional gender expectations.
At the time, the song was bold, playful, and surprisingly empathetic for mainstream rock music. It climbed charts across the world, reaching No. 2 in the UK and cracking the Top 10 in the United States. More importantly, it endured for decades as a cultural touchstone.
Part of that longevity comes from the song’s ambiguity. “Lola” never treats its central character as a joke or a villain. If anything, the narrator remains fascinated and emotionally drawn to her, even after his confusion sets in. Lyrics like:
“Girls will be boys and boys will be girls / It’s a mixed up, muddled up, shook up world…”
suggest not condemnation, but observation—a recognition that identity and attraction are more complicated than rigid social categories allow.
Moby’s Criticism—and the Unexpected Response
More than forty years after the song’s release, Moby publicly described “Lola” as “transphobic,” “gross,” and “unevolved.” His criticism reflected a broader modern tendency to reevaluate older art through contemporary social standards.
But the backlash to Moby’s comments was immediate—and notably nuanced.
Many listeners, including transgender fans, argued that “Lola” was actually progressive for its era. Rather than mocking gender nonconformity, they viewed the song as depicting attraction without moral panic. The narrator doesn’t flee from Lola. He doesn’t condemn her. He simply continues dancing.
For many defenders of the song, that distinction mattered enormously.
Critics of Moby’s stance also pointed out the challenge of judging a 1970 song entirely through a 21st-century lens. Context matters in art, especially when discussing works created during periods with dramatically different social awareness and public discourse.
The Davies Brothers Respond
The criticism eventually reached Dave Davies and Ray Davies themselves. Their reaction was less outrage and more bewilderment.
According to later interviews, the brothers maintained that “Lola” was always intended as a celebration of individuality and gender expression—not an attack on it. Dave Davies reportedly admitted the accusations were upsetting, particularly because he feared people would misunderstand the song’s intent decades after its release.
His broader concern reflected a growing cultural tension: the fear that art can sometimes be reduced to isolated phrases without considering historical context, nuance, or authorial perspective.
For The Kinks, “Lola” was never about ridicule. It was about fascination, attraction, and the messy complexity of human identity.
Can Old Art Survive New Standards?
The controversy surrounding “Lola” raises a larger question that extends far beyond one song: how should modern audiences engage with older art that doesn’t perfectly align with today’s values?
There’s no universal answer.
Some works genuinely deserve criticism or reevaluation. Others reveal surprising layers of progressiveness once viewed in historical context. And occasionally, attempts to condemn older art overlook the fact that marginalized communities themselves may interpret that art very differently.
That’s what made the reaction to Moby’s criticism so interesting. The debate wasn’t simply “old rock fans versus modern activism.” It was far more complicated than that.
In the end, “Lola” survived the controversy largely because listeners continued hearing humanity in it. The song’s enduring popularity suggests many people see it not as a hateful relic, but as an imperfect yet empathetic snapshot of a changing world.
And perhaps that’s why the song still resonates today.
After all, as Ray Davies sang more than fifty years ago, it remains a “mixed up, muddled up, shook up world.”