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Tag: barbie the album

  • Charli XCX’s “Speed Drive” Is Her Most Anti-Environmental Music Video Yet

    Charli XCX’s “Speed Drive” Is Her Most Anti-Environmental Music Video Yet

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    Becoming something of a “soundtrack queen” (to rival Lana Del Rey), the chart success of “Speed Drive” from Barbie: The Album has prompted Charli XCX to make a music video for it. And, although Charli has had her fair share of anti-environmental music videos (see also: “2099”), “Speed Drive” might be her most no-fucks-given-about-Gaia one yet. Particularly at a time when any signs of flagrant abuse of Mother Earth have become more political than ever before. Nonetheless, what can anybody really expect from a song that, like Olivia Rodrigo’s “bad idea right?,” favors a bratty 00s-era feel to it? The 00s being one of the best times to exist for anyone who loved a gas-guzzling vehicle (whether Hummers or Bentleys).

    And, talking of the 00s, no one was queen of the “sweet ride” like Regina George (Rachel McAdams) in Mean Girls. With her 2002 Lexus SC 430, Regina couldn’t have given less of a fuck about emitting fossil fuels (ergo, popular girls should be deemed losers for promoting rampant fossil fuel usage). Same as Barbie wouldn’t (and doesn’t) in her pink Corvette. The very one we see being driven by Devon Lee Carlson (who also gets name-checked in the song) as the video, co-directed by XCX and Ramez Silyan, opens on her and Charli speeding down the backroads overlooked by Los Angeles’ Fourth Street Bridge. 

    If the overall aesthetic seems familiar, complete with “industrial L.A. backdrop,” it’s because Charli has managed to continue her Crash era from early 2022 into the present. After all, as she’s admitted herself, “I’ve always really liked singing about cars. For me, there is this intrinsic link between driving and music and feeling like you’re a star when you’re in a car.” But, for as “brightly burning” as one might feel in that “star-y” moment they get from what Missy Elliott would describe as, “Top down, loud sound/See my peeps,” it’s not going to be even half as brightly burning as this Earth amid going up into flames thanks to unremitting CO2 emissions. Which makes one not merely “wonder” (so much as despise) why Charli (and many pop stars/other types of famous people) are so content to keep plugging the notion of how driving is “freedom” when, in fact, it will be the death of everyone. And while, sure, some say death is the ultimate liberation, there are others still who would prefer to last as long as possible without the effects of air pollution/climate change taking years off their lives. This being precisely what continued car usage (and the glamorization of car usage) will do. 

    XCX might have talked about the “intrinsic link” between driving and music, but she glossed right past the intrinsic link between driving and capitalism. As Metric says in the chorus of “Handshakes,” “Buy this car to drive to work/Drive to work to pay for this car.” The vicious cycle that arises when a shoddy economic system creates a need that isn’t actually a need, but a frivolous, detrimental want caused by a made-up life purpose (i.e., working a job you hate [or at least resent] so as to be paid). And yet, because of the expert conditioning we’re all given from day one thanks to advertising and, correlatively, the celebrity-industrial complex, we tell ourselves that selfish desires are needs. Including the desire to superfluously drive around in our cars doing donuts and slamming the brakes arbitrarily after stepping on the gas and letting out another massive, senseless CO2 fart into the world. Which is what both Carlson and Charli seem to enjoy doing with their status as: rich and influential. 

    Before we can get the full, uninterrupted effect of Charli letting her gasses loose, she steps out of the front seat in a white onesie (that seems the best word for it) complemented by a pink and white feather boa. As she starts to get into her “I’m a hot girl, pop girl, rich girl/I’m a bitch girl” type of dance, the world of the music video is shattered by the meta sound of her “Vroom Vroom” ringtone. Indeed, this entire portion is supposed to be meta, what with Sam Smith also being present on Barbie: The Album. Answering her oh so specifically zoomed in on Samsung Galaxy Z Flip5, the screen is opened to reveal Smith demanding, “Did you have a chance to listen to the new mix, babe? What’d you think?” She tells Smith, “I’m actually on the set of a music video right now.” Smith replies, “Okay, okay, sorry. I just, we gotta submit it so we can get it out.” Promising to call them afterward, she snaps the phone closed and cuts right back to the gear shift of the pink Corvette as Carlson hits the gas, showing us the “thrill” of the needle on the odometer rising while she does donuts around a dancing Charli. This in between close-ups on the car’s version of fuzzy dice hanging on the rearview mirror: an Android mini collectible. Because what is this video if not an aggrandizement of capitalistic synergy (mostly pertaining to Samsung)?

    While XCX happily mugs for the camera, Carlson’s driving skills cause a huge blast of smoke to trail behind her in the Corvette’s wake. This is appropriately timed to coincide with XCX cockily singing, “Got the top down, tires on fire (on fire).” Followed by a classic “I’m an asshole but there’s nothing wrong with that” defense as Charli flexes, “Who are you? I’m livin’ my life/See you lookin’ with that side eye/Wow, you’re so jealous ’cause I’m one of a kind/What you think about me, I don’t care.” Really? Even if one tends to think Charli is a one-woman promotion parade for using and touting all manner of vehicles that contribute to our collective quietus? It seems like something one should care about, reputation-wise. But, as she’s made clear, she’s too “hot, ridin’ through the streets” and “on a different frequency”—at least from the environmentally-minded who would prefer to stop seeing the deification (and sexualization, à la J. G. Ballard’s Crash) of cars. Those metal monsters who will spell human extinction if AI doesn’t first. 

    To add insult to injury, rubber tires are set ablaze for the purpose of the video, emitting more smoke into the air so that the aerosols can contribute to affecting climate change as well. Even before this moment, it was long ago apparent that Charli is strictly among the camp that views environmental-friendliness not only as a hindrance to “economic growth,” but also, evidently, to her “art.” And as the credits to the video show the “tag” of Charli standing in the middle of the road while a freight train slowly crawls past her and a flaming wheel rolls by, to boot, she confirms that no one actually gives a shit about mitigating environmental damage as much as possible, whenever possible. Not when it makes them look so “hot” to do otherwise. Alas, everyone will be Satan-level hot on a more literal level soon enough. 

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    Genna Rivieccio

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  • Lizzo Just Kind of Ruined Barbie

    Lizzo Just Kind of Ruined Barbie

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    As though Barbie: The Album wasn’t already suffering enough, Lizzo had to go and get herself accused of, among other things, sexual harassment, general harassment and creating a hostile work environment. As for this listener, Lizzo’s music was never met with much excitement…particularly that weird Hercules homage that came in the form of “Rumors.” But the “rumors” here smack of having veracity, being that, as soon as the dancers came out with their tale of woe, documentary filmmaker Sophia Nahli Allison also stepped up to validate their experiences by talking about what she experienced while briefly trying to direct a documentary about the singer in 2019. The attempt ended after two weeks, when Allison “witnessed how arrogant, self-centered and unkind she is.” And furthermore, “was not protected and… thrown into a shitty situation with little support.” In the end, she realized, “My spirit said to run as fast as you fucking can and I’m so grateful I trusted my gut.”

    Alas, the dancers on her The Special Tour were not fortunate enough to react as viscerally to their own gut. Guts, apparently that were shamed by none other than Miss Body Positivity herself. And yet, considering how obsessive Lizzo is vis-à-vis talking about bodies, it should come as no surprise to anyone that her approach is actually toxic. For, just as there is toxic positivity, so, too, is there toxic body positivity. Which brings us to the irony of Lizzo’s participation in Barbie. Not just the fact that Barbie has long been an emblem for making women feel bad about their bodies, but also because Lizzo’s song on the soundtrack is the first sonic offering to introduce us to Barbie Land. After all, it’s called “Pink.”

    And it sets the entire tone for how Barbie and her sistren live as Lizzo sings, “When I wake up in my own pink world/I get up outta bed and wave to my homegirls/Hey, Barbie (hey)/She’s so cool/All dolled up, just playin’ chess by the pool/Come on, we got important things to do…/In pink!/Goes with everything/Beautiful from head to toe I’m read’ to go, you know, you know/It’s pink!” The more accurate exclamation, however, is: “It’s body shaming!” This being a common occurrence in Barbie Land as well…if we’re to go by Barbie (Margot Robbie) being horrified to learn what cellulite looks like. 

    Playing “Pink” once was already bad enough, but then, director Greta Gerwig and soundtrack producer Mark Ronson decided to go and let Lizzo make another version of the song for day two of our introduction to Barbie Land. This one speaking to how Barbie has been infected with irrepressible thoughts of death. Complete with the reworked bridge that goes, “P, panic/I, I’m scared/N, nauseous/K, death!” Except that now, when viewers watch this scene as the song plays, the humor is sure to be drained from it as they can’t help but think about Lizzo screaming at her dancers in a similarly deadpan tone. 

    Then there’s the other retroactively cringe lyric that goes, “What you wearin’? Dress or suit?/Either way, that power looks so good on you.” Eh…maybe not. Because, taking into account Lizzo’s grotesque abuse of power over her dancers, this line takes on an entirely different meaning. One that doesn’t feel “empowering,” so much as oppressive. And, here, too, it bears noting that someone who has been oppressed themselves often ends up becoming the worst kind of oppressor. Funneling their desire for retribution into all the wrong people. As for “retribution” in general, there’s no denying the conservative pundits are going to have a field day with these revelations about Lizzo and how they ought to also discredit the core messages in Barbie. 

    Which is unfortunate, since Gerwig and her co-writer, Noah Baumbach, had done such a thorough job of addressing many of the complexities and paradoxes surrounding the doll. One, who, in the end, will still stand out most glaringly in people’s minds for making other women feel insecure about their own bodies. Just as Lizzo, of all people, has. Especially now that everything regarding her “authenticity” is being called into question. Likely from a point of no return. Because when Beyoncé stops saying your name (as she did in a live performance of the Queens Remix of “Break My Soul” at a show in Boston), you know things are dire. That, in short, you’ve left the magic cushion of Barbie Land and entered the Real World.

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    Genna Rivieccio

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  • Barbie: The Album Might Cut It In Barbie Land, But Not in the Real World

    Barbie: The Album Might Cut It In Barbie Land, But Not in the Real World

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    With a movie as instantaneously revered as Barbie, it’s only natural to expect an accompanying soundtrack that might do it justice. And sure, the Barbie Soundtrack, billed as Barbie: The Album, is filled with its share of sonic “moments,” but there’s nothing that ultimately seems to tie it all together for a greater sense of seamless cohesion. What’s more, the three songs that stand out the most, Dua Lipa’s “Dance the Night,” Charli XCX’s “Speed Drive” and Billie Eilish’s “What Was I Made For?,” only make the other songs sound “throwaway” in comparison (granted, “Speed Drive” has gotten plenty of hate from those who don’t see the brilliance of a woman who compares Britney and will.i.am’s work together to Lennon and McCartney’s).

    Even Lizzo, who is, for whatever reason, usually counted on for a “hit,” kicks things off with a less than auspicious offering in the form of “Pink.” A track that works much more effectively when one is hearing it played against the scenes at the beginning of the movie, wherein Lizzo reworks some of the lyrics depending on the altered scenario from the previous day—when it was all staring contentedly into a glassless mirror and pretend-drinking from a cup. Not to mention giant blowout parties with planned choreography and a bespoke song. That latter being Dua Lipa’s “Dance the Night”—the most “Mark Ronson-y” number of the lot. And yes, it bears noting that Ronson, who collaborated with Andrew Wyatt, lived “in Barbie Land for over a year,” as he metaphorically phrases it. Trying to ingratiate himself in “the sugar high of Barbie, but also the crash.” This being part of the missive from screenwriters Greta Gerwig and Noah Baumbach that appears alongside Ronson’s in the soundtrack’s liner notes. But when you learn that the “Adam and Eve” songs of the record (a.k.a. the ones that Ronson initially made for it) were “Dance the Night” and “I’m Just Ken,” it tracks that such a divergent jumping-off point would lead to some major sonic schizophrenia.

    The hodgepodge vibe makes all the more sense when Ronson goes on in his note to freely admit of the process, “…my main job here was to sit with Greta, brainstorm our dream list of artists and hone it down to what scene we wanted it for.” In other words, they would take whoever accepted from their “dream list” without any thought about whether that would ultimately make for a “meshing” soundtrack. But, as Mattel has shown with its marketing blitzkrieg to synergize with the movie, it’s not about what necessarily “works,” so much as appealing to as many “Barbies” as possible. The more variation there is on the soundtrack, the more potential for its songs to climb different charts. It’s all in the name of bad, dirty capitalism. But at least Barbie the movie plays with that a little more knowingly than its soundtrack, so blatantly designed to be everything to everyone (kind of like a woman).

    Needless to say, there are better ways to embody a sugar high/crash trajectory that doesn’t include 1) Sam Smith spitting misogynistic lyrics as “a character” (though, per Ronson, a discussion of The Feminine Mystique with Gerwig inspired the chorus) and 2) the non sequitur appearance of Karol G’s “WATATI,” which, although the beat slaps, features lyrics that don’t really sync with the message of the movie. For Barbie, in this context, hardly gives off the signal that says, “Papi, let’s go to the club to have a good time/A lot of smoke, Aguardiente to get dizzy.” No, instead, every Barbie—Stereotypical or not—is more concerned with other, more meaningful endeavors in Barbie Land, none of which pertain to seeking out Ken for a good time, so much as having him around as an accessory.

    And perhaps that’s what’s most surprising of all about Barbie: The Album—how little it lyrically ties into a film about smashing the patriarchy. Which infects Barbie Land after Tame Impala’s “Journey to the Real World” takes them through multiple landscapes until finally reaching Venice Beach. On her first pink convertible leg of the journey, however, Barbie opts for singing along to Indigo Girls’ “Closer to Fine.” This making the cut for the Best Weekend Ever edition of the soundtrack…except it’s performed by Brandi and Catherine Carlile.

    Following Tame Impala on the “normal” edition though is the generic sound of Dominic Fike’s “Hey Blondie.” A “number” that comes across as though either Ronson was listening to too many Starbucks-sold compilation albums or Gerwig’s mumblecore Sacramento influence infected the mood for this particular track. Either way, the muted tones of Fike only end up making the listener wish Blondie was singing instead of this dude singing something called “Hey Blondie.” Again trying to “tap in” to the Ken persona, chauvinism rears its plastic head as Fike drones, “Hey, blondie, there’s a million eyes on you/Do you ever get curious?/Hey, blondie, there’s a million minds on you/Do you ever get furious?…/Hey, blondie, oh, hey, blondie/Hey, blondie, could you maybe just slide towards me?/Don’t want anything serious.” It might actually be the least listenable offering of Barbie: The Album. Maybe that’s why they up the “star quotient” again by placing HAIM’s song, “Home,” after it.

    Considering how much of an influence The Wizard of Oz was on Barbie (along with many other classic films Gerwig has been happy to advise people on), HAIM’s “Home” instantly connects to the old chestnut, “There’s no place like home.” Something Barbie realizes rather quickly out there in the “Kendom” known as Real World’s system of patriarchy. Even though “Home” is another one of the more standout tracks on the record, it barely registers when actually viewing Barbie. Instead overpowered by the pop-y, synthetic glitz of “ditties” like Nicki Minaj and Ice Spice’s “Barbie World” (a.k.a. the ripoff of Aqua’s “Barbie Girl” that proves: ain’t nothin’ like the real thing). Produced by Rostam and Danielle Haim, the song is tinged with electro beats that immediately draw comparisons to the 2012-era vibe Taylor Swift was pulling with Midnights. And when the HAIM sisters croon in unison, “I’m going home/Take me home, just take me home/Take me home,” one can really feel Barbie’s pain in not quite knowing where that is anymore after her foray into the Real World.

    As though to drive that looming sadness, um, home, Ronson places the gloomy, existential “What Was I Made For?” in the wake of HAIM. A shining diamond among most of the other froth, it does serve a useful enough purpose in sonically revealing the cracks in Barbie’s veneer (that crash after the sugar rush assignment at work again). Unfortunately, the mood is totally killed/shifted abruptly again by the next song, brought to you by The Kid LAROI, himself known for an undercuttingly misogynistic song called “Without You.” Which is certainly the polar opposite of his sentiments on “Forever & Again.” And yet, rather than “serving devotion and romance,” it’s giving creepy stalker who wants to keep “his girl’s” blood in a vial necklace (no Billy Bob shade intended). This being manifest in lyrics like, “When it all falls down, and no one is around/‘Til my breath runs out, six feet underground/I’ma be there, this will never end/I’ll always be there, forever and again” and “‘Til my blood runs cold, I won’t let you go.” Except that all Barbie wants is to be let the fuck go.

    The devoted male tone persists on Khalid’s (who has also joined Eilish on a project before in the form of 2018’s “lovely”) “Silver Platter.” A song that wants to be in the spirit of late 90s “You know I love you girl” artists like Brian McKnight…by way of Ken. Because, yes, unfortunately the rule on this record seems to be that any male artist with a song on it has to be speaking from the perspective of Ken. Case in point, Khalid begging, “Oh, oh/Give me a chance/To prove that I can/Give you the world/If I was your man, yeah.” Its unrequited love aura is in keeping with the spirit of Ryan Gosling’s “I’m Just Ken” (which could still never hold a candle to Gosling singing “You Always Hurt the Ones You Love” in Blue Valentine). And yes, Gosling clearly wants to remind people about the triple threat status that got him the gig on The All-New Mickey Mouse Club in the first place, showcasing his acting, dancing and singing talents once again for the role of Ken.

    Nonetheless, PinkPantheress gives Ken the shaft by mentioning some guy named Johnny on “Angel” (as in “Johnny Angel”). And it’s Johnny she’s yearning for when she laments, “Johnny, my baby, did it always have to end this way?/‘Cause one day/One day, my baby just went away/My angel (my angel)/You’re what haunts me now that you’re away.” The song itself seems as though it wants to represent the overall wide-ranging gamut of genres on the album by sounding like an A. G. Cook-produced, Irish strings-heavy wet dream (side note: it’s actually produced by BloodPop®, Count Baldor and PinkPantheress). Its sweet trilling vocals then lead jarringly into GAYLE’s “butterflies,” a “punk-y” cover of Crazy Town’s “Butterfly”—the song no one wanted to be revived. And save for the fleeting lines, “People feel better when they put you in a box/But the plastic’s gonna melt if you’re the one to make it hot,” it’s difficult to understand how this song fits in at all with the rest. Which brings us to Corporate Success 101: Appeal to Everyone.

    Tellingly, there are few songs on the soundtrack that make it past three minutes, with each one perfectly packaged for easy-to-consume TikTok glory. As for the “eclecticism,” its aforementioned purposes are to tick as many “chart-topping” boxes as possible. With Ava Max’s “Choose Your Fighter,” the soundtrack achieves that potential anew as pop reenters the chat with upbeat rhythms produced by Cirkut. Max then gets on the inclusivity horn with lyrics that include, “I know this world can be a little confusing/ No walk in the park/But I can help you solve the riddle/You’re perfect as you are.” This, by the way, is something Barbie realizes when she sees an old woman sitting at a bus stop (who was rumored to be none other that the real Barbie, Barbara Handler…until fans were somewhat disappointed to learn it’s actually costume designer Ann Roth). Max continues, “If you wanna break out of the box [more tired Barbie innuendos]/Wanna call all of the shots/If you wanna be sweet or be soft/Then, go off/If you wanna go six inch or flat [a reference to the blue pill, red pill choice Barbie gets from Weird Barbie [Kate McKinnon])/Wanna wear hot pink or black/Don’t let nobody tell you you can’t/‘Cause you can.” Unless you live in one of the many nations where women are daily oppressed.

    She then bursts into the chorus, “You can bе a lover or a fighter, whatevеr you desire/Life is like a runway and you’re the designer/Wings of a butterfly [nice nod to GAYLE], eyes of a tiger/Whatever you want, baby, choose your fighter.” So we’re mixing video game metaphors in with doll ones now, too? Yes. Because it’s all about synergy. Which translates to sales—for all things Mattel.

    After a very odd sonic safari, we finally reach the end of the rainbow (because The Wizard of Oz and also rainbows are eclectic, get it?). And it concludes with the ultra chirpy “Barbie Dreams,” which might rival “It’s A Small World” for its relentlessly annoying cheer. Sung by FIFTY FIFTY and Kaliii, it doesn’t feel like the greatest choice to close out the album. Indeed, “What Was I Made For?” would have been the correct decision for the denouement. But, if you’ve been listening to the album this long, you’re probably already well-aware that the “best decisions” weren’t always a factor in terms of “placements.” Yet it’s a challenge to have good placements when most of the songs don’t really fit together to begin with.

    As for those wondering why Matchbox 20’s “Push” isn’t on the soundtrack, one will just have to settle for Ryan Gosling covering it on the Best Weekend Ever edition. Because it would be far too big of a lie to call it the Best Soundtrack Ever edition. In truth, Birds of Prey, another movie in which Margot Robbie plays an iconic character, does a superior job of effortlessly melding all the tones and themes of the movie into the soundtrack. From “Boss Bitch” to “Sway With Me,” Birds of Prey hits all the right notes on cohesive soundtracking.

    But maybe what could have tied Barbie: The Album together is what’s really missing from the soundtrack: the pure bubblegum-ness of Kesha, Britney Spears and Paris Hilton. The latter two (along with Charli XCX) actually appeared in some form or other on the Promising Young Woman Soundtrack. Itself a sort of Real World Barbie homage. Though Emerald Fennell didn’t know it at the time. Nor could she have known that she would also play the discontinued pregnant Midge doll in the film. Which probably made her too busy to weigh in (no pun intended) on the soundtrack’s direction. Though it might have helped in hindsight… For while Barbie might have revived cinema (at least for the summer), it hasn’t quite delivered on a resuscitation of the soundtrack.

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    Genna Rivieccio

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  • Your Weekend Playlist: New Music Releases Today

    Your Weekend Playlist: New Music Releases Today

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    I write this fresh out of the Barben-heimer challenge, where I spent 5 hours in a movie theater. It must be a world record sitting through that 3 hour Oppenheimer, and the first thing I do when I get home is rush to my computer. I exited the theater on Friday morning just after midnight, so I had a whole world of new music waiting for me.

    We have former One Direction member turned R&B crooner ZAYN making his return to music for the first time since his Icarus Falls album in 2018. Five years later, he’s here with his first single, “Love Like This”, an R&B/pop fusion song that is perfect for summer. This big chapter was opened with an interview on Alex Cooper’s Call Her Daddy podcast, where fans welcomed back a normally reserved ZAYN who was ready to open up.

    Not only do we have ZAYN, but the Barbie soundtrack is officially released to our ears…and after seeing the movie, it’s lived up to the hype. This summer has been filled with great music from artists we know and love, and some new ones as well. Here are my favorite new songs released Friday, July 21!

    Various Artists – Barbie The Album  

    If it’s produced by Mark Ronson, then it’s a guaranteed smash hit. Which is why we knew the Barbie soundtrack was going to be chart-topping in its own right…and with a lineup that makes Coachella salivate, it’s a no skip album. Dua Lipa, who is also Mermaid Barbie, has the main single with “Dance The Night”, as well as tracks from industry titans like Billie Eilish, Lizzo, The Kid LAROI, Dominic Like, Ava Max, Khalid, and Tame Impala.

    It has everything – music ranging from disco, to squeaky clean pop, and inspiration drawn from all of Barbie’s iconic eras. It’ll make you want to laugh, cry, jump, and sing, just like the movie.

    ZAYN – “Love Like This” 


    ZAYN found his sound early on with the release of his debut solo album, Mind of Mine. It was everything that he couldn’t do in his One Direction days. After a few years of in-between, including a quietly released Icarus Falls, he’s back. “Love Like This” is perfect for this time of year – punchy in the right places, smooth enough to put us at ease in this sticky heat, and a good beat to get you out your chair.

    It’s a delicious taste of what’s to come from the soulful singer who has a vocal range that even the best singer’s envy, and I personally can’t wait for more.

    Tanner Adell – BUCKLE BUNNY

    Tanner Adell is rapidly rising in the country music scene because she’s unique, she’s edgy, and she can make a killer track. Taking the world by storm with previous hit singles like “Buckle Bunny” and “Trailer Park Bunny”, Tanner Adell has fans buzzing with her recent mixtape, BUCKLE BUNNY.

    In the midst of a country music festival circuit including venues like CMA Fest, Adell is on the brink of combining rap and country in a refreshing way that makes people replay her songs over and over.

    Grace VanderWaal – “Boyfriends”

    Grace VanderWaal can do it all – a singer, songwriter, multi-instrumentalist – she’s one of the most impressive young talents we have. Her newest single, “Boyfriends”, is about lacking those intimate friendships you see projected in movies or in books. It’s about feeling like you’re more of a boyfriend to anyone than a close friend, the frustrating in-between feeling in friendships where you aren’t sure of their loyalties.

    VanderWaal, known for her ukulele talents, is the queen of raw honesty embedded within her lyrics. Her unique melodies, catchy bridges, and emotional choruses can make anyone a fan. “Boyfriends” is the perfect example of Grace’s magic.

    Big Boss Vette – RESILIENCE

    Fans have been waiting years for Big Boss Vette’s debut album. The St. Louis rapper has been making hits forever, but this is her first larger body of work and it does not disappoint. There was a lot of pressure for Vette, who had fans with big expectations, but RESILIENCE is one of those albums you’ll want to have on loop this summer.

    It’s high-energy, with a fitting feature from Gloss Up on “Fly Shhh”. These seven brand new songs have star-quality melodies and hooks that will be stuck in your head forever. It’s the perfect debut album for Big Boss Vette.

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    Jai Phillips

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