All hail Kayleigh Rose Amstutz, AKA Chappell Roan

she's currently on tour promoting her first album. i saw her for the first time at Heaven in London tonite - holy fuck.

started off with an incredible drag performance by inga rock and someone else whose name i didn't catch. chappell apparently always chooses local drag acts for her openers, which is very cool.

her set got off to kind of a rough start (no fault of hers) - for the first couple songs her vocals were mixed really low. also his girl next to me was singing every single lyric, very shrill and out of tune, directly into my ear

then they turned her vocal up and oh my god. she's everything. she's an absolute superstar and i'm so grateful i got to see her before she really takes off. she's an INCREDIBLE singer and has such a fantastic, warm, confident stage presence. she just seemed to be having so much fun and she had incredible chemistry with her band (aubrey on bass and lucy on drums - both were fantastic)

please do yourselves a favour and listen to this piece of pure american pop magic

https://www.youtube.com/watch?v=ePsqyPMIg6I

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Didnt mean for that to look sarcastic I’m just emphatically agreeing .

<3

i’m gonna keep on dancing at the pink pony club

https://www.youtube.com/watch?v=w4WiXKGCJhg

really incredible tiny desk

That was very nice indeed!

"Casual" and "Coffee" are the ones I keep sending to friends. I've heard this in a few other places, but she seems like a great example of someone who grew up with Max Martin 2000s songs and fully leans into that as well ("H.O.T.T.O.G.O." etc)

Got around to the Tiny Desk this morning, sounds great live without all the layers of the studio versions.

knee deep in the passenger seat and you're eating me ouuuuuut

https://www.youtube.com/watch?v=1RKqOmSkGgM

pink pony club is an earworm

Coachella set happening at the moment, the audience is crazy and knows every word:

https://www.youtube.com/watch?v=13QtsdFLVG4

Really a fantastic set, and I think it wasn’t a mixing/editing thing but the audience really was so intensely connected to the music. She did great.

I saw her live this past Monday in KC, and the entire audience was exactly like that, intensely singing every word, even for the new song that came out just a few days before. Plus they were dressed in some variation of pink cowboy gear (like, 90% of the crowd was in pink cowboy gear, we didn't get the memo). It sold out one venue, got moved to a larger venue, and sold it out. If that's happening across the country - which I imagine is the case - she's truly on the rise. And deservedly so...

Seems like she just keeps building momentum, just based on from friends and others discovering her in the past months + hearing her in coffee shops all the time.

Thinking how part of the fun of this phenomenon is that the album has been out a long time, so individual songs don't feel like singles but instead have equal presence out there.

She's good but I gotta say, I started listening to this, listened to it a lot for two weeks, then ran out of interest in it and haven't listened to it since. But it's good! Just... not with staying power for me.

Went to see Katie Pruitt last week and she did an acoustic cover of "Casual" that successfully lodged that tune in my head for three days straight.

similar to when this was happening with “espresso,” i think when a song/artist experiences a lot of growth in a short amount of time, spotify is set up to assume this will be of interest to most of their users and therefore it gets recommended liberally https://t.co/76GxtcpWo0 pic.twitter.com/qyRApPrukf

— jaime brooks ☭ (@elite_gz) June 7, 2024

lots of requests for chappell roan at the gay bar lately so i hear

people who use spotify live inside a little spotify created bubble that the rest of us exist outside of, and it distorts their understanding of the world around them. imo

i for one am shocked that spotify is recommending sabrina carpenter and chappell roan to listeners who enjoy pop music

xpost 100%. for an increasing number of people, there is basically no music outside Spotify, imo.

which sucks real bad.

"good luck, babe" is the first thing from her that isn't really annoying

I think people habitually underestimate the power of social media when discussing these phenomena. If you move in any kind of sub-50-yr-old queer-ish circles online it is basically impossible to avoid suffocation under an avalanche of Chappell Roan references. This seemed to start about a month ago.

It's difficult to untangle cause and effect here - did Spotify's algorithmic amplification effect precede or follow the above? Almost certainly they feed on each other. But in an era when traditional music journalism manages less than ever, I think a lot of the void that has left has been filled by people deciding what to check out because of the "conversations" they see happening around them online and a desire to be able to at least understand if not join in.

In this specific case an Australian parody IG page modelled on the Onion published a story a few days ago which both reflects the above and ironically adds to it: "Local Lesbian Has Her Subaru Keys Revoked After Revealing She Doesn't Know Who Chappell Roan Is".

*In an era when traditional music journalism matters less than ever

I would argue that social media and especially vertical content platforms (tiktok, reels) are driving what new acts and artists are breaking now. Spotify is definitely the tail of the dog at this point. Labels compete in digital marketing on those platforms, playlisting is kind of cheugy when you're talking about discovering new acts, lol

In this specific case an Australian parody IG page modelled on the Onion published a story a few days ago which both reflects the above and ironically adds to it: "Local Lesbian Has Her Subaru Keys Revoked After Revealing She Doesn't Know Who Chappell Roan Is".

Meanwhile, Hard Times (the punk-rock Onion) just did "Man To Be Honored at GLAAD Awards for Giving Bisexual Girlfriend a Ride to Chappell Roan Concert."

When Azealia's right...

I dunno, i feel like lots of female artists really wanna do this weird Lolita shit well into their 50/s and she sings like a WOMAN. That’s what i appreciate the most. The truth and reality in her neeeeeed to express. And how cathartic it is.

— Azealia Banks (@CHEAPYXOMIAMI) June 22, 2024

I saw buzz about the album somewhere or other late last year, listened to it and liked it a lot (still do). I was surprised at the time that there wasn't MORE buzz about her, because she seemed pretty buzzable. I think festival season was primed for her, she'd built up a good following and she rocked those shows. Her Bonnaroo set got moved up to the 2nd-biggest stage, probably on the basis of the Coachella buzz plus whatever LiveNation was gleaning from users on the festival app. As with anyone who blows up, I don't think it's any one thing pushing her, it's mostly that she made a good pop album that is in line with the tastes of the moment — smile, Dan Nigro! — and she's spent the last year building audiences on the road. Opening for Olivia Rodrigo no doubt helped.

But yeah, I did just see a Facebook friend in her 40s asking "who the hell is Chappell Roan and am I a bad lesbian for not knowing?"

She's insanely charismatic and her songs are brilliant. Feels like the most deserving Huge Popstar Blowup in a long time.

Her NPR Tiny Desk was my first exposure to her, it’s an incredible performance and I immediately understood why she was a star. Listening to the album after was slightly disappointing - I mean the songs are great, but something about the production didn’t quite click for me. “Good luck, babe!” is excellent though

My wife is a very casual music fan in general, but recently she's been getting kind of obsessed with individual artists, and Chappell Roan is the latest.

(Before that, it was Taylor.)

She talked about this when she was on Fallon, but it's pretty funny that some fan inside Google made it do this in the "Did you mean" line.

https://i.imgur.com/gts393u.png

"some random twink that works at Google" as she put it lol

I haven't paid attention to any pop for the last 20 years, but recently became a taylor swift fan. Then I randomly heard good luck babe and thought it was phenomenal, the album ain't half bad either.

"Good Luck Babe" doesn't have the same kind of charisma as the best tracks on the album in my view

"Good Luck Babe" is quite the earworm, caught me more than "Red Wine Supernova" (which was also good). I should check out the album

maybe 200 20-somethings at the gay bar singing "good luck babe" at the top of their lungs last saturday night.

I'm genuinely surprised y'all embrace her! She's fine. I'm figuring out what about her voice bothers me.

Current 20-somethings were pre-teens when Katy Perry's singles were omnipresent. I feel like Roan's big numbers play into that nostalgia while making the lyrics young-and-single-adult. The album deepens from there with "Coffee" and other non-anthems.

oh my god lol. how can i even describe it. i feel like you either hear it or you don't. there's a sour confidence that offsets the purest of feeling. there's a yelpiness and then grade-a organic midwestern honey. her tone when she's at her most direct, yearning and heartfelt just melts my armor away. carly rae jepsen would kill for this kind of voice. that probably does a disservice to crj. i just mean that crj, her thing, it could have been huge if she had this kind of voice.

there's also an incredibly refreshing honesty in the drive of her heart through the lyrics. (is she writing these songs or does she have help, i genuinely don't know?). like, she isn't dumb, but she knows what she wants and it's l o v e. worldliness is a part of that but it isn't all of it. uncompromising. the feeling when all these kids are singing along to it warms my heart. it's a wholesome moment. you either feel it or you're soulless (j/k ;)).

xp as far as i can tell, at least from the 3 big songs, there's something less cookie cutter about her "american girl" persona than perry. she's like "american girl" post billie eilish or something. the american girl persona just feels more natural somehow. i hope she doesn't succumb to being another katy perry, that would suck.

oh, she's more convincing than Perry.

Thanks, map. I'll give the album another try. I do hear the worldliness.

tbh i didn't really get what the fuss was all about until i heard all of those kids singing it.

i feel like there's also a kind of "fartiness" to the production on the songs, like a brown plastic sound (sorry for the gross metaphor), it seems to communicate that she doesn't want to be seen that she takes herself too seriously. i noticed the same style in the sabrina carpenter songs.

I don't know if this holds water, but thinking again of 20-somethings growing up on Kidz Bop versions of pop songs, with their chintzier production, and playing a bit into that nostalgia (unbridled kid-like singalongs, but also as Azaelia said, songs about being a woman, not a girl).

Oh, well if there's a fartiness to this, I guess I'll go check it out.

Chappell Roan is expected to chart five singles on this week’s Billboard Hot 100 (dated July 6th, 2024), all at new peaks:

#11. (+5) Good Luck, Babe!
#38. (+17) Hot To Go!
#46. (+8) Red Wine Supernova
#66. (+24) Pink Pony Club
#83. (NEW) Casual pic.twitter.com/70qmjvBafv

— Talk of the Charts (@talkofthecharts) June 30, 2024

The production is the only weak point to me, tho its datedness makes it feel kind of relatably affordable or something… the Midwest adopting like an old idea of mainstreamed indie, idk. But she’s a huge talent / persona / force of nature, her star& vision makes the production feel like it’s struggling keep up with her like she just wills these aspiring 2008 Robyn sounds into good-enough canvasses …. Imho

feel like there's a broader trend happening towards embracing the artifice of performance again (just last night, doechii, sabrina, chappell). people want to be entertained, not just related to

yeah, Sabrina seemed to be going almost for a 70s variety show vibe, down to drinking out of her golden flask at the table.

I can relate to being entertained.

Sabrina seemed to be going almost for a 70s variety show vibe

I didn't see the Grammys performance, but she did a Christmas special for Netflix that was basically an old-fashioned variety show

she seems to be legit committed to heavily incorporating humor into her work/performances, and she showed it again last night.

just wish she would've tap danced a little longer!

this surge of young female pop stars is really feeling like a golden era. they're all variations of really great, interesting, funny, outspoken, talented, etc., etc., etc. it's awesome.

probably goes without saying, but i'm avoiding work.

I increasingly don't get any complaints about "theater kid" performances, especially if the artist is queer. Performing is what we do -- unless we want an authenticity argument again?

My complaint, which I have made multiple times in multiple ways across multiple threads, is the usage of “theater kid” with white performers tends to be complimentary and the usage of “theater kid” with Black performers tends to to be derogatory.

So, I am consciously and intentionally using “theater kid” in a derogatory sense with Roan until we agree it’s a meaningless critical term and we can get people to flesh out what it is they are reacting against.

theater kid, complimentary: Chappell Roan
theater kid, derogatory: Amanda Palmer

ya i have no stake in this, but good or bad, ap is quintessential "theater kid" energy.

Anne Hathaway is the main figure I've heard tagged with this label.

Nearly every actor was a theater kid. Some just hide it better.

So, I am consciously and intentionally using “theater kid” in a derogatory sense with Roan until we agree it’s a meaningless critical term and we can get people to flesh out what it is they are reacting against.

― my favorite herbs are fennel and Drake (DJP)

I agree with you.

Loved Roan's speech last night, good for her. I figured she had to win that category, it's been a while since there was a breakout star like that.

Also agree about Carpenter's humor, she's funny! You can hear that just in the songs, but her whole stage persona is pretty charming. She reminded me of Goldie Hawn, and then I read that part of her performance was a Goldie Hawn tribute: https://www.instagram.com/p/DFnjC_-pwMj/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==

Pfft. This…is something else.

https://www.hollywoodreporter.com/news/music-news/chappell-roan-grammys-speech-misguided-1236128051/

The author’s career won’t surprise you!

https://en.wikipedia.org/wiki/Jeff_Rabhan

Should Chris Blackwell put a mint on her pillow and tuck her in at night, too?

Wow. What a dick.

not important in context, but chris blackwell hasn't been the island records ceo in years, if not a decade

lol, some chappell fans have had fun editing his wikipedia recently

Following Chappell Roan’s searing indictment of the music industry during her acceptance speech at the 67th Annual Grammy Awards on February 2, 2025, music executive Jeff Rabhan rushed to the defense of record labels with a tone-deaf and widely condemned op-ed in The Hollywood Reporter. In a desperate attempt to justify the exploitative business model that has drained artists of their earnings for decades, Rabhan shamelessly dismissed Roan’s concerns about fair wages and healthcare, insisting that labels have “no obligation” to ensure the financial well-being of the artists they profit from.

Rabhan, a relic of an industry built on taking advantage of young talent, peddled the tired narrative that artists should simply be grateful for any opportunity to work under a system that routinely underpays and discards them. His remarks were met with immediate outrage, as musicians and industry professionals called out his blatant disregard for the well-being of those who actually create the music that fuels his paycheck. Critics were quick to highlight Rabhan’s own cushy career—one built on exploiting artists—making his defense of corporate greed all the more revolting.

The response to Rabhan’s op-ed was swift and unforgiving. Artists, fans, and industry insiders tore apart his argument, labeling him as nothing more than a mouthpiece for record executives desperate to maintain their stranglehold on the industry. His name trended for all the wrong reasons, as many called for a complete overhaul of the label system he so fervently defends.

Roan, though she didn’t address Rabhan directly, didn’t need to—her speech had already ignited a larger conversation, one that made it clear that the days of unchecked label exploitation are numbered. Rabhan’s feeble attempt to silence that conversation only confirmed what many have long suspected: the industry’s gatekeepers are more terrified than ever of artists demanding what they deserve.

superb

her speech was... um... fanciful on merit but you have to be a massive dickhead to condemn her for that instead of seeing it as the public surfacing of a conversation that needs to be had at a much more visible level

his argument that artists should pool their advance money to support each other is so evil, what a poisonous person

lots of social media backlash because apparently her team asked a nail tech to do stuff for free with 'exposure' being her payment and she accused CR of hypocrisy. I do have to agree there that it's a bad look, as much as I like CR.

For real, pay your people for god's sake. Her nails are a big part of her public presentation, she oughta be paying top dollar for them.

Hypocrisy is my kink

obviously the federal government should be providing health care not employers

she said "emerging" artists on the grammys, right? maybe i'm wrong. that's what i remember. she didn't say that everybody signed to a label should get healthcare. though that would be nice. she was obviously thinking of those long ago days at the donut shop. anyway, that seems to have been lost on the doofus who wrote for the throbbing industry organ of journalistic excellence that is the hollywood reporter. when i was watching CR on the grammys it did make me feel like labels are stupid to not have more short-term deals with artists that were actually, you know, more attractive to artists/writers and their more immediate needs? not some horrific development deal where they own your soul and the future souls of your future family, but, hey, a salary and benefits for a year or two might look pretty good to a struggling artist and then if the label likes what you are doing you can take it from there and sign your soul away properly for big bucks. i dunno. there must be some labels that aren't evil. maybe. but i also think there should be some 21st century version of United Artists online where artists don't even have to deal with these outdated skeevy music biz jackalopes. something more than bandcamp. though if an artist can do it on their own that is always the best way.

Huh, just catching up on this.

Step one regarding “holding labels accountable” is complete divestment from Spotify; it’s the labels that have allowed Ek to create this hellscape. If labels aren’t willing to do this, they collectively remain a parasitic force on the creative community; not sure why anyone would expect health and dental from them

otm

Was thinking of this chart from last year and how it'll need a new point as very-late adapters adapt after this weekend's combo of Elton & Chappell duet-ing last night and Rick Astley covering the song on TikTok and (for the late-late adapters) Facebook.

similar to when this was happening with “espresso,” i think when a song/artist experiences a lot of growth in a short amount of time, spotify is set up to assume this will be of interest to most of their users and therefore it gets recommended liberally https://t.co/76GxtcpWo0 pic.twitter.com/qyRApPrukf

— jaime brooks ☭ (@elite_gz) June 7, 2024

snl shania song is finally out and is called “the giver”
https://www.youtube.com/watch?v=EbHFi68E78k

disappointingly it doesn't include the spoken word "only a woman knows how to treat a woman right" bit

I went to school in podunk East Texas when Shania Twain and Billy Ray were hitting it big. It was the worst thing to my ears. "The Chattahoochee." I have no affection for this sound at all but Chappell does a good job of it, turning it into Shania drag. An album where she tries on different styles could be fun, but I would be skeptical of a full-on country thing.

I love Beyonce but still haven't heard much of Cowboy Carter. Garth Brooks makes me want to chew rocks, I just can't do it.

On first listen, something about the layers of vocals in the chorus keep it from having quite the same singalong/belting quality of her other big songs.

when i was watching CR on the grammys it did make me feel like labels are stupid to not have more short-term deals with artists that were actually, you know, more attractive to artists/writers and their more immediate needs? not some horrific development deal where they own your soul and the future souls of your future family, but, hey, a salary and benefits for a year or two might look pretty good to a struggling artist and then if the label likes what you are doing you can take it from there and sign your soul away properly for big bucks. i dunno.

co-signing this excellent scott seward post a month later. do it, music industry!

https://www.youtube.com/watch?v=6ARhsXF9eWQ

I thought this was a new song but it has actually been floating around for a bit. The news is it will get a video tomorrow.

it's a new song but she's been playing it live for a while

Start of it reminds me of Somewhere Only We Know by Keane. But luckily that doesn't continue.

It has a late period Cocteau Twins feel (circa FCC). Not the monster hit that « GL,B! » was but I like it

yeah lovely fake cocteaus song

This is such a big improvement over The Giver. It wouldn't be out of place on the first Hatchie album.

Beautiful song, thanks for the info ufo. Here is that video:
https://www.youtube.com/watch?v=woLfAvD5iXI

I feel like this belongs firmly in that Cocteaus-meets-Smiths gauzy jangle-pop lineage of The Sundays (esp. the “Wild Horses” cover), parts of the first Cranberries album, “Kiss Me”, Natalie Imbruglia’s “Wrong Impression” and Taylor’s “August” (and yes Hatchie but only specific moments).

I love that lineage so this works for me

Yup, very good stuff in that vein.

i love this song. she's been playing it for a year? i had an early live version for a chappell party last summer. it blew me away but i'm not sure anyone really recognized it haha. that outro is gorgeous - abba baby. the polished up version isn't that much different thankfully. video looks like a marvel movie or something, all that drama works well for her of course.

fuck this city, i'm moving to saskatchewan 🤠

she's been playing it for a year?

almost two years i think!

not to be that guy or anything. i just remember enthusing about it to crickets lol.