Soundcheck with Ethan

By: Ethan Barrocas

Charli xcx’s new album trades the dance floor for an oblivious and earnest sense of freedom. Music, Fashion, Film is as fast-paced as it is daring in the life of a superstar after her commercial peak. 

If I had a nickel for every time I’ve written about Charli xcx on this blog, I’d have three nickels. It isn’t a lot, but it definitely speaks to how much I admire her. Anyways, 2026 has been a massive change for her and what her artistry looks like. She started the year with a companion soundtrack for the film “Wuthering Heights” early this February, experimenting with baroque pop, something that was the complete opposite of the previous album that captured the cultural zeitgeist. But if Wuthering Heights was the first glimpse of this transition, Music, Fashion, Film fully commits to it. 

Music, Fashion, Film sees Charli refuse to remake BRAT; instead of returning to what was familiar, she turns to indie sleaze, further emphasizing her growth as an artist and her desire to create. The opening track, “Rock Music,” is the album’s thesis: “I think the dancefloor is dead/so now we’re making rock music.” She officially breaks away from her previous era, the song working as a sort of de-BRAT-ification. It’s an adamant cry to get over this nervous feeling of failing and just keep creating. It’s what the whole record is about: this messy and exhilarating process of what creating art looks like and the impacts that it has when everyone has their eyes on you. 

11. “Wink Wink”

With an earworm of a chorus, “Wink Wink” is one of the most playful songs on Music, Fashion, Film. I can’t get behind the verses, though; Charli gives cheeky ideas, but the delivery falls flat, not exciting me enough as the other songs on the album do. The length is also too short for its own good; I personally feel that if another verse were added, it would’ve gained more flavor. However, the chorus is absolutely delicious; everything complements each other from the delivery to the guitars to the synths. It’s an embodiment of what the song could’ve been.

10. “I’m Afraid”

I always appreciate Charli being vulnerable, but I felt conflicted with “I’m Afraid.” It sounds like a Wuthering Heights deep cut rather than something tailored for Music, Fashion, Film. But its themes fit perfectly in, a mindfuck on Charli’s insecurities in the face of her new marriage. Discord hovers over the track, with siren-like instrumentation on the chorus, as Charli spirals through her insecurities that accompany her marriage. Rather than celebrating newfound stability, she gets caught up in her own anxiety and how it could break apart their relationship that they’ve worked so hard on. 

9. “Yeah”

While the songwriting is uncomplicated, the song’s idea is very profound, especially in the way it explores how a fanbase influences an idol’s decisions. Alternating between “I/You don’t wanna” and “Now I wanna feel it.”  It relies on the music and sounds to drive the song’s narrative, using guitars and synth hooks to create a grungy atmosphere that highlights her defiance and submission. Many other music review sites have said as much, and I definitely have to agree that this track will be a fan-favorite moment on tour. 

8. “Rock Music”

Standing as the album’s thesis, “Rock Music” is so much more than its short runtime looks to be. Reminiscent of an early-2000s teen rock band, it conveys themes of freedom and expression through sharp, jagged synths. My favorite part is the glitchy effects on the chorus that elongate her voice, “Rockkkkkkkkkkkkkkkk music.” She effortlessly serves satirical rockstar energy, laced with the truth of her metamorphosis and her desire not to do the same thing twice.

7. “Magic Metal Montana”

Sung to longtime friend and collaborator, A.G. Cook, “Magic Metal Montana” is a heartfelt tribute to their relationship and what they’ve been through together. The lyrics are sung in an almost teasing tone, but still don’t take away the impact of the words being sung. The guitars and the other instrumentation reinforce the warmth and sincerity of their friendship. She emphasizes how music has brought them together, “You’re my best friend, but we don’t talk/We make music, we talk that way.” Music is their shared language, and this song proves that their bond is stronger than ever.

6. “2007”

Many of Charli’s songs that rely on repetitive hooks typically become favorites for me; “2007” is a great example. It’s a nostalgic anthem that explores the Myspace era and its impact on the eventual start of her career. In the verses, she draws a connection between Myspace and TikTok, emphasizing that anyone can become a star nowadays from their bedroom. Her voice gives off a pure innocence that’s just ear candy, with glitched effects that entangle themselves with the beat; it’s very vibey and one of the more easy-listening songs on the record. 

5. “Card Declined”

What started as one of my least favorites somehow quickly climbed the ranks and sits comfortably at number five. On “Card Declined,” we find Charli fantasizing about buying luxury items, a new personality, a new backstory, only for the card to keep declining, ultimately explaining how money can’t purchase satisfaction. The production is grunge as hell, eventually swapping to something more ethereal where she sings a portion of her B-side “I Keep Thinking Bout You Every Single Day And Night.” The shift in production and lyricism reveals how consumerism is used to distract from heartbreak and how materialism has fully consumed her. 

4. “SS26”

Using the Spring/Summer 2026 fashion season as a metaphor for the world’s instability is something only Charli could do. She highlights that music, fashion, or film won’t save anyone, and they’ll continue as usual despite all the unrest in the world. Charli herself even admits she’s a part of it, saying she’d “rather take the easy road” and “I’ll think I’ll be alright if I look good in the clothes.” The melancholic production is very reminiscent of The 1975, creating a backdrop that contrasts perfectly with Charli’s satirical views on the state of the world. 

3. “Persona”

My dumbass thought this song was about Taylor Swift on first listen; now I know it’s obviously not. Charli seems actually to be grappling with her own persona–at least that’s how I interpret it–exploring themes of jealousy, admiration, and competition. It’s like she is confronting her BRAT persona and, in adamant defiance, saying, “This is me now.” Also, I truly feel like this track is a love child of “Girl, so confusing,” and “Sympathy is a knife.”

2. “No One Lasts Forever featuring David Cronenberg”

“Oblivion is Freedom,” something that film director David Cronenberg says on the two-and-a-half-minute spoken outro of “No One Lasts Forever.” Those three words are the key focus of this track. Over a glitchy guitar breakbeat, Charli sings to live in the here and now because nothing lasts forever. It’s nothing short of cathartic as Charli finds comfort in life’s impermanence. It’s beautiful because she transforms her anxiety into a liberating kind of freedom.

1. Camera

Camera is addictive; it latched onto me from the start with its compelling pre-chorus and glittering, edgy synths. Charli sings about the struggles and the allure of being in the spotlight, and her worries of transitioning from a singer to an actress. It’s a moment of confidence and vulnerability as Charli fully surrenders to this unknown excitement and doesn’t care if she sucks; she just does it because it brings her joy.

OVERALL SCORE:
7.8/10