Chappell Roan opens her debut studio album The Rise and Fall of a Midwest Princess with the line, “Same old story, time again.” The question is: is it possible to create a unique, wholly original work of art in this modern-day climate of oversaturated pop? But, as the orchestra that plays in Verse 1 of the opening track “Femininomenon” slowly quiets down and changes into a beat reminiscent of a club track, her voice cuts through at the end of the Pre-Chorus, screaming, “Can you play a song with a [expletive] beat?” As it barrels headfirst into the chorus, the song is both upbeat and energetic; it is similar to many classic pop songs, but not in a way where it fades into the background or is derivative. In fact, the song proves why Chappell Roan is so talented: she understands the best parts of pop music and why they work, while still making it unique to her. An artist who can both subvert your expectations and get you to enjoy the outcome is truly talented - and that she is.
But besides her mastery of sound - as evidenced in the catchy and easily danceable tracks “After Midnight” and “HOT TO GO!” - Chappell Roan is an exquisite lyricist, whose modern-day-thinking cements her as a truly modern singer and songwriter. Her queer identity also gives her a new and unique perspective, as queer people are so rarely highlighted in the music industry. For instance, in “Pink Pony Club,” she sings about moving to California and dancing at a club, which leads to shame from her mom. Besides being beautiful in a musical sense, the metaphor of finally being free from her family’s judgments and being able to express herself after leaving home adds a depth to the song that makes it a true anthem for self-empowerment; instead of worrying about judgments, she’s euphoric in the experience of long-awaited freedom. In the song “Super Graphic Ultra Modern Girl,” Roan sings about leaving “hyper mega bummer boys” behind and dating a “super graphic ultra modern girl” instead.
The lyrics of not just these songs, but every song on the whole album give a clear view of her mind, her ideas, and her life. From “Naked in Manhattan,” a love song about her first relationship with a woman and how freeing it is, to “My Kink is Karma,” where she sings about how she enjoys watching the suffering of an ex who has wronged her, Roan hides nothing from the listener.
The album, though, is not just full of pop hits or club tracks. Melancholy ballads and slow love songs are sprinkled throughout. However, they never feel abrupt, or as if they are interrupting the flow of the album. “Picture You,” “Kaleidoscope,” “Casual,” “Guilty Pleasure,” and “Red Wine Supernova” are just some of the songs on the album where Roan displays her mastery of music, painting pictures of a friend-turned-lover, an unrequited love, or a hook-up who she wishes would get serious about their relationship. Even in the other songs, such as when she reminisces about an ex in “Coffee,” or longs for her old home in “California,” the tone of the album remains consistent. The album, as a whole, feels like the culmination of the experiences of someone growing up and maturing. The experiences of someone who is finding their place in the world and discovering what it means to be their own person.
While on paper The Rise and Fall of a Midwest Princess may seem disjointed, each song contributes to a beautiful tapestry that Roan has been subtly weaving throughout the album. It is a picture of a 25-year-old queer woman who is messy, kind, lonely, creative, vengeful, liberated, guilt-ridden, happy, and wholly human. Chappell Roan simply could not have had a better introduction into the world of pop culture. One can only hope that she will be as appreciated as many unique artists of the past have, such as Lady Gaga or Madonna. In the bridge of the opening track, she sings “Well, what we really need is a femininomenon!” The Rise and Fall of a Midwest Princess has boldly proven that that femininomenon we so clearly need is Chappell Roan.
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