Denise Welch jokes about not becoming Taylor Swift’s mother‑in‑law—and says the whole episode was “tricky”

July 25, 2025: In a moment that shocked live TV audiences, British actress Denise Welch, mother of The 1975 frontman Matty Healy, took a pointed swipe at Taylor Swift during an appearance on Watch What Happens Live with Andy Cohen. When asked about Swift’s album The Tortured Poets Department—believed to contain multiple songs about Healy—Welch quipped that she was “glad” not to have become Swift’s mother‑in‑law.

On-Air Shade and Subtle Clarification

Welch prefaced her remark with a warning: “Obviously, on pain of death can I talk about that episode,” before delivering the line that drew gasps: she was relieved not to have taken on the role of Taylor’s mother‑in‑law. She quickly added she had “nothing against her at all,” describing the situation as “tricky” and commenting on the irony of Swift writing a full album about the relationship after others were “not allowed to say anything.”

From Relationship Rumors to an Album Backlash

Swift and Healy’s brief romance in mid‑2023 made headlines immediately after her split from Joe Alwyn. Swift then released TTPD in 2024, with many fans convinced tracks like “The Smallest Man Who Ever Lived” and “I Can Fix Him (No Really I Can)” were lyrical reflections of the fallout.

Moving On: New Love for Healy

Welch emphasized that Matty has since “taken it all in completely good grace” and praised his fiancée, model and singer Gabbriette “Gabbriette” Bechtel, calling her “amazing” and “gorgeous.” Healy popped the question in mid‑2024, and Welch stressed that the family has fully moved on.

Fan Reaction Divided

The comment ignited sharp divisions online. Some hailed it as a refreshing, blunt admission from a parent tired of tabloids. Others saw it as unnecessarily petty and fueled by bitterness over the attention Mick’s ex garnered through her music.

Why This Resonates

Welch’s shade underscores ongoing tension between personal privacy and lyrical art—especially when public figures are involved.

The dynamic speaks to broader questions around ownership of narrative: who gets to speak and who must endure.

It also highlights how while Swift found creative catharsis, others felt sidelined in public discussion—and then publicly criticized.

Final Take

Denise Welch’s remark may have been delivered with comedic timing, but it revealed deeper discomfort with how her son’s relationship—and heartbreak—were consumed and televised. In her view, being Taylor Swift’s would‑be mother‑in‑law was a role she’s relieved never played—a remark both humorous and pointed in a world obsessed with songwriting as gossip.