MENU
ADDISON BY ADDISON RAE
STORY_BY: LILA DIAMOND
The first released single from the album, “Diet Pepsi,” set the tone for not just an artistic makeover, but a pivotal attention to detail. While Rae had released a trail of singles in the past, nothing struck quite like “Diet Pepsi.” The song itself is a hyper-sexualized ode to steamy car hookups; it’s as chic as it is scandalous. The satisfying synth anthem is layered with Rae’s warm vocals and feels on par with the cinematic frivolousness of a 2015 Lana Del Rey. “Summer love, sexy/sitting on his lap sipping Diet Pepsi,” she sings, just before diving into a low-key change. The video is just as impressive. From the mastermind Mel Ottenberg, a doe-eyed Rae dances sporting a cone bra in a car, praising an Americana twist on Hollywood glamour. It’s stylized and artful, like a period piece with ice cream and an American flag.
Throughout the album, she explores a druggy darkness of club culture and materialism, singing of it-girl escapades like a young Britney Spears or Madonna. “I don’t need your drugs, I wanna get high fashion” she sings on her song “High Fashion” over muddied minor chord synths. There’s magic in its suffocation, the kind you can only feel when you find yourself staying out a little too late. “When it comes to shoes I’ll be your slut,” she chirps with campy perfection.
On “Fame is a Gun,” she continues her ode to Madonna with a song about the deceptive beautification of the pop star lifestyle. “I got a taste of the glamorous life,” she sings over nostalgic 80s-style synths, another nod to the first material girl to ever do it. Rather than hiding her inspirations, she invites them to party. On “Money is Everything” Rae sings “Please, DJ, play Madonna / Wanna roll one with Lana, get high with Gaga,” paying homage to the women who have raised us all. “Diamonds are my best friend like I’m Norma Jean” she sings, once again referencing a golden Hollywood heyday over yelling, laughing and gang vocals. “I’m the richest girl in the world” she shrieks gleefully in the outro.
Throughout Addison, Rae redefines the things she loves. On the album’s opening track, “New York,” a buzzy, sweaty club hit, she sings about her newfound freedom of expression and declares “It’s my religion.” There is something so sweet and adolescent about it. She gets what she wants and it’s all hers, shamelessly.
All of the songs on the album demonstrate her mastery of melody and mood. “Summer Forever” is a woozy celebration of a drunken summer love. “Headphones on” praises the power in dancing away your sorrows. “Aquamarine” is a four on the floor siren song that sounds like a manifestation: “The world is my oyster and I’m the only girl.” You can sing back every song after one listen.
It’s important to note that the album was entirely written and produced by women. Along with Rae, Addison was created by writers and producers Luka Kloser and Elvira Anderfjärd. Both women have a lengthy pop discography, Anderfjärd being signed to Max Martin’s MXM Publishing, and Kloser working with artists like Ed Sheeran and Ariana Grande. While yes, it’s exciting because female produced projects are scarce, it also demonstrates Rae’s whole point: there are only it girls.
If Rae’s debut proves one thing, it’s her high attention to detail and artistic integrity. Unlike her other pop counterparts, Rae is world building. As a result, her gravity on contemporary pop culture is immense. Compared to the TikTok star she was introduced as, she is now the centerfold of cool. None of it was by chance. Rae did her homework, embodying and studying the Madonnas, Britneys, and Lanas. Her Instagram bio rings true, “effort is ritual.” Rae worked for where she is, no longer confined to short-lived, short-form media. Addison is a fitting title, she places herself among the great monomyms. She doesn’t need anyone’s approval.