After the huge phenomenon that was the Brat era, Charli XCX broke away from the expectations of an audience that expected her to repeat the same formula on her new album. Instead, she moved away from the dance-pop sound that defined much of her previous work, opting for a record marked by guitars, rock influences, and more minimal production, while exploring themes such as fame, consumerism, and the creative process itself.
The album’s concept begins with its cover, which brings together three major names from pop culture to represent each of the pillars in the project’s title: musician John Cale, fashion designer Marc Jacobs, and filmmaker Martin Scorsese. The choice establishes the visual concept and identity of the new era. Throughout the album, Charli explores themes such as consumerism, cancel culture, and the standardization of personalities, always accompanied by the sense of irony that has become one of her defining characteristics.
ROCK MUSIC
“Rock Music” was chosen by the artist to open the album and immediately presents a provocation against the industry’s expectations and the labels imposed on the figure of the “rockstar.” In the lyrics, Charli mocks her own change in sound and declares that the dance floor is dead. Through its aggressive production and sharp meta-commentary, the track establishes a concept that extends throughout the entire project, balancing the artist’s vulnerability with her signature sharp humor.
SS26
In “SS26“, Charli explores the world of fast fashion and consumerism through the relationship between fashion, trends, and identity. The track questions the constant need to keep up with new trends and how consumption can influence the way people construct and express their identities. This idea is reinforced by the imagery of a “runway that goes straight to hell,” suggesting a critical view of the fashion industry and its endless cycle of consumption.
CARD DECLINED
In “Card Declined“, Charli xcx criticizes consumerism and the artificial construction of identity by literally listing abstract traits alongside luxury items. The lyrics explicitly state the desire to buy “a smile,” “a personality,” and “a whole backstory” on a credit card, using this satire to highlight how people try to purchase self-worth and social validation through material goods.
CAMERA
In “Camera“, the discussion shifts toward exposure and the way a public image can interfere with the construction of one’s identity. Throughout the song,the listener is taken into Charli’s inner thoughts and the way she sees herself in the face of constant exposure, exploring the relationship between her public image and her personal perception of herself.
2007
In “2007“, Charli moves toward a more nostalgic perspective, looking back on a time before fame and imagining the transformation of youthful dreams into reality. The lyrics evoke the image of a young “pop star” performing in her bedroom, while references to pictures on the sofa becoming pictures on the screen suggest a transition from private dreams to public success. These intimate images reflect the simplicity and closeness of life before fame, creating a contrast with the larger-than-life reality of her career later on.
I’M AFRAID
“I’m Afraid” presents a darker atmosphere, with clear criticism of the way suffering can be transformed into content and used as a means of gaining attention and fame. The track also addresses the weight of “cancel” culture on public figures and the constant pressure caused by exposure. This can be seen in the line “I’m a wife, I’m a kid, I’m destroyed, I’m a bitch,” where Charli presents different and conflicting versions of herself, highlighting the pressure of being constantly judged and exposed. The line “I’m too drunk, I can’t sleep, I can’t feel, I’m afraid” reinforces this sense of vulnerability and emotional exhaustion.
YEAH
In “Yeah”, Charli embraces an art-punk sound and uses repetition as one of the song’s main elements. The repeated phrase “I don’t wanna” appears several times, creating an insistent and almost obsessive effect. Combined with the irony present in the composition, this repetition contributes to the track’s provocative and experimental character, reinforcing the creative freedom that runs throughout the album.
WINK WINK
“Wink Wink” is a pop-rock track that critiques performative innocence and the pressure artists face to curate a “clean,” socially acceptable public persona. The song lampoons the urge to constantly reassure the public of one’s goodness: lines like “I’m not a bad girl anymore” are delivered with a literal and figurative “wink wink,” exposing the dishonesty inherent in staged moral reform.
PERSONA
In “Persona“, Charli focuses on the falseness and lack of genuine companionship present in some relationships within the artistic world. The track explores the construction of personas and how, in environments shaped by fame and exposure, relationships can be influenced by interests and appearances.
MAGIC METAL MONTANA
In “Magic Metal Montana“, Charli embraces a shoegaze sound, combining layers of distortion and vocal effects. The track also serves as a tribute to her longtime friend and collaborator, British producer A. G. Cook, highlighting the importance of their partnership throughout Charli’s artistic career.
NO ONE LAST FOREVER
“No One Last Forever” closes the album with a melancholic and intimate atmosphere. The track features filmmaker David Cronenberg, who delivers a monologue throughout the song about the fetishisation of mortality and the idea that nothing lasts forever.
The composition also works as a reflection on Charli’s musical journey, revisiting different moments of her career and establishing a connection with her debut album, True Romance. The phrase “no one lives forever,” first heard in “Grins,” returns in “Nuclear Seasons,” which opens True Romance with a sample of the song.
FINAL THOUGHTS
In the end, Charli is the kind of artist who understands that it is not always necessary to create a grand and explosive album to convey an idea. In some cases, a simpler and more direct project can work even better. “Music, Fashion, Film” presents a well-developed concept, well-crafted lyrics, and a clear artistic identity. By bringing together music, fashion, and film, Charli creates a cohesive project that explores different aspects of fame, identity, and creativity, showing that a well-executed artistic vision can be just as impactful as a production on a much larger scale.
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The article above was edited by Giovanna Rodrigues.
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