Charli xcx: Music, Fashion, Film review – slippery search into selfhood that hits just as hard as Brat

(Atlantic)
How do you follow up the album that made you a star – and a caricature? In classic Charli style: with a pivot to guitar and a meta masterpiece about the instability of identity

After a decade spent trailblazing a unique kind of pop freedom from the genre’s fringes, A-list success seemed like the thing that might finally trap Charli xcx. Her 2024 club-rat opus Brat spawned memes, embarrassing political bandwagoning, Collins’ word of the year and possibly terminal damage to the bra industry. Its ludicrous cultural impact looked set to pickle her as a caricature of a Parliament-toting bad girl; the question of whether “Brat summer” could last – whether Charli could sustain the interest – was so rife she turned it into a mockumentary, The Moment. It made success look miserable: your creation turned cringe by execs wanting to milk their prize cow dry of every last acid-green drop.

Even for a pop star renowned for reinvention, it put a higher price on her next move. Pivot and risk losing new fans and looking wilfully contrarian. When Charli released the sub-two-minute single Rock Music, many heard it as a middle finger. “I think the dancefloor is dead,” she drawls over guitars that buzzed like speakers weathering interference from a Nokia 5110, “so now we’re making rock music.” There were boring thinkpieces about the dancefloor being very much alive, actually (as if Charli had ever ridden culture for clout then binned it off), and about whether she was trying to eject fair-weather new fans. But the key to this cheeky song is surprisingly earnest: “Jump off the stage / I hope they catch you today / But if they don’t it’s OK,” she sings naively, an affirmation to take creative leaps, and to come with Charli – or not, as you like – as she takes this one.
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