‘Passenger Seat’ by Justine Beverley review

Justine Beverley is a bilingual singer-songwriter whose music blends American country with Scottish folk and a touch of French pop. Originally from France, she began her musical journey after several years backpacking in Australia, where she immersed herself in the local folk scene.

“Passenger Seat” was released on 25 September 2025 and was formed following a long car journey with a colleague where professional and personal boundaries were blurred.

Justine’s press pack details the song as:

“Passenger Seat” is a bold and defiant anthem born from heartbreak, shifting power dynamics, and the journey toward reclaiming control. The song originated from a long car ride with a colleague, where conversation blurred professional and personal boundaries, sparking a moment of rejection and power imbalance that later inspired the song. Transforming that experience into art, she channeled raw emotions (bitterness, anger, and ultimately strength) into sharp, witty lyrics and a driving, cinematic country-pop sound.“

There are many interpretations of the title, one such being that you’re not in control of your life and you’re watching it go by rather than being proactive, engaged in it and in control. Conversely, a more spiritual mind may argue that we are only in the “Passenger Seat” because we are guided by God.

To those who may feel that being in the “Passenger Seat” means lacking control, you could argue the exact opposite because racing drivers have a navigator and without them would be lost.

“You’re so proud of your German car called Burt

Don’t you see you have holes in your shirt

And I hate those stupid socks that don’t match

You must think that you’re the city’s best catch.”

Straight away the song has a literal reference to cars with reference to appearance and perceived appearance. Whilst we may appear more successful and financially stable (status) with a flash car, at what cost if we’re going round with holes in our clothing? This first verse further emphasises the need for ‘image’ when detailing mismatched socks. Perceived image is something that will always be about, however arguably has been heightened by the introduction of social media and the need for one upping or imitating somebody else’s life.

“You’re so vain

You probably want a girl with straight hair

And an empty brain

I’m too French

Too poor, too roots, too smart for you

I never realised what a fool I turned into.”

The chorus further enhances the theme of our vanity and how we want others to perceive us. It details more physical attributes in a partner over other aspects. Whilst some may have a particular ‘type’ the majority at their core would much favour someone with other key traits which aren’t as obvious to the eye. The last line of the chorus states “I never realised what a fool I turned into”, is perhaps a nod to the fact that often when we’re in love and smitten sometimes our judgement becomes hazy and impaired and we are initially blinded by dazzling looks regardless of what lay beneath the surface.

“Every day you’re rocking up at 6am

Without you the office is mayhem

Do you think you’ll ever find a wife

If work is the only love in your life?”

The second verse draws on the conflict of personal and professional boundaries. Siting how important the colleague is to work otherwise it’d be “mayhem”, and “rocking up at 6am” For some, they find that they become married to their work which ultimately affects their personal lives as their work life consumes them, potentially leading to burnout. It is important therefore that a clear distinction is drawn between both personal and professional life. That being said, there’s nothing wrong with being career focused and committed to the company and brand; we just have to weigh up the consequences of each action or inaction.

The song returns to the chorus, further reminding us not to get distracted by superficial appearances.

“I fell for you in the passenger seat

Your bullshit made my heart skip a beat

I was ready to take your name

But we weren’t playing at the same game.”

The third verse documents how we’re seeing this other life as attractive and enticing. Reference to making “my heart skip a beat” speaks to the personal affection one may experience, conversely, it also acknowledges that it’s also a load of rubbish or bs. Further dedication to them is that you’re prepared to take their name, be that literally through marriage, or professionally where you’re constantly advocating the brand.

Once again the song returns to the chorus, keeping the idea superficial appearances in our mind and not to take a person at face value, as often there’s a lot more to them underneath their facade.

“Well you’ve got such a big mouth

But you’re not using your ears

You like changing your mind

So we all need to switch gears

All you ever cared about

Was your little paycheque

Hey about that meeting

Can we take a raincheck?”

This verse describes a problem that many have in life, not just in relationships, using the mouth and ears in the wrong proportion. It is said that we have two ears and one mouth for a reason, therefore listening is greater than speaking. Once again comparison is drawn to that of a car and “we all need to switch gears” is perhaps referring to how we’re too busy being work focused and not spending enough time appreciating our own first gear, giving time for ourselves to truly appreciate not only our surroundings, but ourselves too. It is an interesting analogy to draw, nonetheless, the last part of the verse could be reference to wanting to be ‘flash’ or ‘thrifty’ by “All you ever cared about was your little paycheck” whilst the “meeting” reference could mean a date. Having perhaps realised that they’re all about appearance or perhaps too keen to splash the cash we equally reapond in a work fashion by asking to “take a rain check”.

The song returns twice more to the chorus to close out the song, repeating the final line three times, perhaps becoming a conscious thought to us all about how we’re perceived, or perceive what others share with us and not to be taken for a fool.

Following the release of “Passenger Seat”, Justine Beverley is set to continue building momentum with her second single, “On n’oublie pas” (translated as “We Don’t Forget”), a country track with French lyrics. Once again produced by Tommy Phillips and featuring Roo Geddes, the single showcases Justine Beverley’s bilingual songwriting and cross-cultural style. “On n’oublie pas” is scheduled for release on Thursday 13 November 2025.

You can find out more about Justine Beverley and her music through her website https://www.justinebeverley.com/ or through her social media. Go check her out!