Lindsay Zoladz

I think a lot of it had to do with... Charlie being really savvy about the sort of extra-musical aspects of pop stardom these days that had this really bold, eye-grabbing cover with this very distinct slime green that really jumped out at you in this low-res font that just said brat, and that was endlessly memed, you know, seemed like it was made to be memed, and just sort of set the tone for...

I think a lot of it had to do with... Charlie being really savvy about the sort of extra-musical aspects of pop stardom these days that had this really bold, eye-grabbing cover with this very distinct slime green that really jumped out at you in this low-res font that just said brat, and that was endlessly memed, you know, seemed like it was made to be memed, and just sort of set the tone for...

this essentially marketing campaign that I think really tapped into something effective about the way pop music is consumed in 2024. So I'm also a fan of the record. It was, I think, my number three album of the year. I, like Don, I really...

this essentially marketing campaign that I think really tapped into something effective about the way pop music is consumed in 2024. So I'm also a fan of the record. It was, I think, my number three album of the year. I, like Don, I really...

think it's a strong collection of tunes, but that there's something else, sort of the meta-commentary and also the meta-commentary about sort of the album rollout, the packaging, the marketing strategy of the album that arguably became bigger than the music itself to talk about the brat phenomenon were, for better or worse, not just talking about the music.

think it's a strong collection of tunes, but that there's something else, sort of the meta-commentary and also the meta-commentary about sort of the album rollout, the packaging, the marketing strategy of the album that arguably became bigger than the music itself to talk about the brat phenomenon were, for better or worse, not just talking about the music.

How long do we have here? No, I just wanted one point that I wanted to respond to what John said. I think Charlie's someone, again, like not what we think of as a traditional powerhouse pop vocalist in the way that is, you know, getting to the echelon of fame that she, that Brat has taken her to.

How long do we have here? No, I just wanted one point that I wanted to respond to what John said. I think Charlie's someone, again, like not what we think of as a traditional powerhouse pop vocalist in the way that is, you know, getting to the echelon of fame that she, that Brat has taken her to.

Charlie's a vocalist who uses auto-tune and other filters and vocal manipulations in a way that is artful and interesting, I think, but not, you know, the way that we're used to hearing in a top 40 hit necessarily, or not a pop hit. Like, I think in a lot of ways, she manipulates her voice more like a lot of rappers do these days.

Charlie's a vocalist who uses auto-tune and other filters and vocal manipulations in a way that is artful and interesting, I think, but not, you know, the way that we're used to hearing in a top 40 hit necessarily, or not a pop hit. Like, I think in a lot of ways, she manipulates her voice more like a lot of rappers do these days.

Yeah, I think something uniting the breakthroughs of both Chappell and Charlie XCX this year are just this craving for something slightly different from the way that pop has been going, but not so different that it's not still pop and that it can't still be incredibly popular and this sort of mass medium for communication. I think the alternative that

Yeah, I think something uniting the breakthroughs of both Chappell and Charlie XCX this year are just this craving for something slightly different from the way that pop has been going, but not so different that it's not still pop and that it can't still be incredibly popular and this sort of mass medium for communication. I think the alternative that

Chapel offers is something more sonic than anything. She's a very strong vocalist. She can belt.

Chapel offers is something more sonic than anything. She's a very strong vocalist. She can belt.

And if you think about a lot of the way, you know, the sort of post-Taylor Swift wave of pop music, that there's this sort of whispery, you know, not a lot of variation in the melody, just almost the more, like, diaristic, confessional lyric that Taylor Swift has kind of—and the people in her wake have— have really tapped into, I think Chapel offers a sonic alternative to that.

And if you think about a lot of the way, you know, the sort of post-Taylor Swift wave of pop music, that there's this sort of whispery, you know, not a lot of variation in the melody, just almost the more, like, diaristic, confessional lyric that Taylor Swift has kind of—and the people in her wake have— have really tapped into, I think Chapel offers a sonic alternative to that.

These are big, almost, you know, Broadway big melodies. Like, these are songs that can be belted on a stage and with big, cathartic emotion.

These are big, almost, you know, Broadway big melodies. Like, these are songs that can be belted on a stage and with big, cathartic emotion.

I think something that was really cool about what Sabrina Carpenter pulled off this year was, you know, she has this defining summer hit in Espresso and it's out of nowhere. It's kind of quirky and funny and in some ways has the markings of like a potential one hit wonder song. You know, who is this woman? Fun summer hit. And then she pretty much immediately on the tail of Espresso puts out...

I think something that was really cool about what Sabrina Carpenter pulled off this year was, you know, she has this defining summer hit in Espresso and it's out of nowhere. It's kind of quirky and funny and in some ways has the markings of like a potential one hit wonder song. You know, who is this woman? Fun summer hit. And then she pretty much immediately on the tail of Espresso puts out...