When Charli XCX released her album “Brat”, everyone knew it would definitely start a social trend. The extent to which surprised us all: becoming a lifestyle, a political movement and a widespread symbol.
“Brat” and Brat Summer were all about bringing back the unrestrained, slightly messy but unapologetic party girl. Yet, when Charli tweeted that Vice President Kamala Harris was brat, it became a rallying cry for progressive feminism. To all the naysayers, it was Fox commentator Jessica Tarlov who said it best: “You don’t understand the essence of brat summer”.
Charli’s album is fun and effective, but her role as a trendsetter has been much more impactful. It is filled with hyperpop synthetic sounds ranging from purely club music to confessionals. Charli does not lie, and everything she says on the album is true. She is the icon and trendsetter that has long been desired, the promised messiah to save a long-degrading pop genre.
“360” is her first track and it serves as a thesis to what the album is trying to do. Apparently, it is that the “city sewer slut’s the vibe.” Yet, despite the almost grunge label of brat summer, “360” is still very much club pop. Charli references herself and all of her cool girlfriends, establishing themselves as edgy but still admirable “it” girls. Trendsetters that come before the mainstream has had time to catch up. Charli is labeling herself as an icon through the most recognizable “I’m everywhere, I’m so Julia.” Perhaps it is slightly overworked and literal but overall, it is a memorable and fun pop anthem.
Charli also attempts to bring back the fading art of club culture with all things brat. “Club Classics” is a synth song that can only be played in some sticky, acerbic-smelling club where the music is way too loud and men are way too forward. The song is less about lyrics or a novel melody, and more about ambiance. It’s not meant to be listened to in a room or alone. Rather, it’s almost a song to disassociate to as you focus on the feeling of the atmosphere. Charli doesn’t care about the “sweat marks all on [her] clothes,” she just wants to “be blinded by the lights.” In the era of technology and constant surveillance, Charli wants her listeners to ignore social constraints and the fear of something being recorded.
Yet, for all of Charli’s posturing about being an icon (which she has undoubtedly become), she is still deeply aware of her own insecurities, especially as she becomes more visible in the public eye. “I might say something stupid” is a stripped-back confessional regarding this “disguise” of the cool girl. Charli is not entirely comfortable with this label: “Guess I’m a mess and I play the role.” In many ways, becoming an icon is like becoming an object, a symbol beyond personhood. Charli is not quite at the point of worldwide stardom, admitting “I’m famous but not quite” and that “I don’t know if I belong here anymore.” Despite her openness, even Charli’s voice is stylized through synthesizers. Her metamorphosis has already begun, and she cannot go back to the life she had before.
Sadly, I wanted to like “Von dutch” a lot more than I did. I found the beat to be overly competitive and downright annoying at times. The lyrics aren’t anything special either, especially for a diss track. Charli sings to her adversary that “I get money, you get mad because the bank’s shut” and that “it’s so obvious that I’m your number one.” Charli could’ve done so much more with the iconic branding of Von Dutch, but this song felt very forgettable.
However, my favorite song of all was the “Girl, so confusing” remix with Lorde. It is a song about girlhood and the societal pressures to enter into misogynistic competition. Lorde and Charli settle their feud on the remix, each taking turns on where things went wrong and the miscommunication along the way. Charli asks Lorde, “How do you feel about being a girl?” as if she doesn’t know how to make sense of it all. Insecurity abounds and “it’s just self-defense until you’re building a weapon.” Yet, Charli and Lorde are able to come to an understanding of one another. While they may not “have much in common” they appreciate each other’s craft.
Overall, Charli XCX has revitalized the genre and the role of pop stars in a refreshing album. It is not entirely novel, but it is something that pop listeners have been waiting for for a long time. Charli delivers on all of her objectives and promises. It is not just music, but a movement that even bolstered a US. presidential campaign.
4.5/5
