Very few, if any, artists have risen to fame as quickly as "Chappell Roan" stage name, is known for being a lesbian drag queen and pop sensation, and she became one of the biggest names in today's music discourse seemingly overnight. Her debut album, The Rise and Fall of a Midwest Princess, won her multiple Best New Artist awards before her 27th birthday, and Chappell Roan's already gearing up for her next album.
The Rise and Fall of a Midwest Princess has enjoyed a breadth of success since its release in September 2023, with multiple singles making waves on the radio, in nightclubs, and even TV commercials across the globe. The LP is loaded with hits; where many albums have just one or two, maybe even three if they're lucky, many would argue that Chappell Roan's debut album has 14, and they wouldn't really be wrong.
14 "California"
Track 13 - 3:18
Every song on this album is a hit, including "California." However, the intro consists of borderline monotone vocals, with a bit of reverb and the instrumental not kicking in until about the 15-second mark, and even then it's subtle. The song doesn't really actually start until a little over 30 seconds in, and it is still a bit of a slow burn. It's not a bad song per se, it just doesn't really do much for the ear.
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When the chorus hits, Roan sings, "Come get me out of California / No leaves are brown / I miss the seasons in Missouri / My dying town." It's here that we really start to hear the ion in her voice as she sings. As the second to last song on the album, "California" just drags a bit, especially in comparison to what we've already heard.
13 "Guilty Pleasure"
Track 14 - 3:44
It's pretty common for an artist to place a slower, softer ballad at the end of an album, a beautiful lasting impression to leave the listener in awe. That's what "Guilty Pleasure" starts out as, but about a minute in, the tempo picks up and the vibe of the song almost completely shifts to an upbeat, easily remixed techno song. The chorus is certainly catchy, so much so that a remix could possibly do this song some good, but the first minute of the song feels almost like a different song entirely.
The lyrics are a little on the sleazy side, and not in the tasteful way that Chappell Roan has done in some of her other songs. Sex is a big theme in her body of work, but "Guilty Pleasure" just feels like low-hanging fruit in comparison to some of her other sex-centered lyrics.
12 "Super Graphic Ultra Modern Girl"
Track 6 - 3:03
"Super Graphic Ultra Modern Girl" is definitely one of the catchier songs this album has to offer, and arguably the best club song, if not at least in the top three. The techno backing and bass line make it a great tune to dance to, but as far as a Chappell Roan song goes, this one falls a little short. The lyrics, "Uh-huh, I'm through / With all these hyper mega bummer boys like you / Oh, yeah, I need / A super graphic ultra modern girl like me" feel a bit juvenile.
The techno backing and bass line make it a great tune to dance to, but as far as a Chappell Roan song goes, this one falls a little short.
That said, the title of the song fits the song itself to a tee. You see the title "Super Graphic Ultra Modern Girl" - which I suppose is intended to be a bit on the juvenile (non-derogatory) side anyway - and this is exactly the song you expect to hear. So in that sense, Roan definitely delivers.
11 "After Midnight"
Track 3 - 3:24
"After Midnight" is catchy, with a steady drum beat and fun lyrics that show off Chappell Roan's comfortable vocal range without straying too far outside of it. It's another track that just makes you want to dance, and with all the mainstream hits that may overshadow this song on the LP, it's the kind of deep cut that would cause fans to go crazy if they heard it in the club.
The refrain, "'Cause everything good happens / After midnight" makes for an easy sing-along and a truly fantastic karaoke choice. The way she sings it, or rather says it, indicates that may have been what she was going for with this song, too. The sexual undertones in the lyrics of this track are worth noting, and where it may have felt sleazy in "Guilty Pleasure," it feels more refined in "After Midnight."
10 "Picture You"
Track 9 - 3:07
This song's intro is familiar, a slow and deep melody accompanied by Roan's low hum, venturing outside of her comfortable range to show off just how low she can go. As the song pushes on, she takes the vocals higher, reaching that typical range and even dipping into some high-pitched falsetto in the chorus. This song is a gorgeous example of Chappell Roan's broad vocal range, and the emotional vulnerability present in a lot of her music.
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This lustful ballad employs some beautiful lyricism that is almost more reminiscent of a love song than a clear-cut lust song. As she sings, “Do you picture me like I picture you? / Am I in the frame from your point of view?" The cadence of her voice is almost pleading, making the lyrics all the more poignant.
9 "Kaleidoscope"
Track 10 - 3:42
The piano takes the lead in "Kaleidoscope," alongside Chappell's deep and low vocals in another chilling ballad. This song just oozes raw emotion and the vocals are enough to bring you to tears. The instrumental ensemble is loosely reminiscent of "Golden Slumbers" by the Beatles, and the overall sound just feels like a warm hug from Roan herself.
The lyrics of the chorus, "And love is a kaleidoscope / How it works we'll never know / And even all the change / Is somehow all the same," feel deeply meaningful when she sings them in that low hum of hers, and the pain of a breakup shines through flawlessly. You can hear the feeling and ion in her voice, so much so that while it feels like she's giving us a warm hug, we just want to hug her right back and tell her it'll all be okay.
8 "HOT TO GO!"
Track 7 - 3:04
"HOT TO GO!" is a classic case of the overplayed single. The introduction, upon first listen, sounds a little bit like "Your Love Is My Drug" by Ke$ha, but as one becomes more familiar with the song (and there is probably no one left who isn't familiar with the song), the first few notes are unmistakable.
"HOT TO GO!" is a classic case of the overplayed single.
This song blew up about as largely and as quickly as Chappell Roan herself did, probably in part due to the incredibly catchy chorus, which has turned "H-O-T-T-O-G-O" into the modern day "Y-M-C-A." The thing about this song is that the painfully catchy chorus actually starts to take away from the merit of the verses. This song caught on for a reason, no doubt, but the constant presence has unfortunately brought it down a bit.
7 "My Kink Is Karma"
Track 8 - 3:42
"My Kink Is Karma" is the perfect balance between Roan's emotional, ion-filled ballads and her fast-paced dancy pop songs. The lyrics toe the line perfectly: "Who knew that we'd let it get this bad when it ended," followed in the chorus by, "People say I'm jealous, but my kink is watching / You ruin your life / You losing your mind." It's the best of both worlds, with the emotion in the verses and the catchy lyricism in the chorus.
This song is also a shining example of Roan's versatility as an artist; this song has the ability to play appropriately just about anywhere at any time. Early morning FM radio? Sure! 2am nightclub in a city? Why not! Simply put, "My Kink Is Karma" really is a testament to how and why Chappell Roan became as big a sensation as she is now.
6 "Femininomenon"
Track 1 - 3:39
The first track on the album, "Femininomenon" starts The Rise and Fall of a Midwestern Princess with a total bang. As the title suggests, it's a complete and utter feminist anthem. All about rising above an immature boy while dating, this song serves as Chappell Roan's call to any woman who has been wronged by a man in their dating life. The chorus is easy to sing along with, and the song as a whole is just fun.
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"Femininomenon" is the perfect way to start this album. It's just as fun, if not, dare I say, more fun than "HOT TO GO!" and it sets us up for the absolute roller coaster that is The Rise and Fall of a Midwestern Princess. There really is no better song to introduce the album.
5 "Naked In Manhattan"
Track 12 - 3:31
Another song that you can hear just about anywhere, "Naked In Manhattan," falls somewhere on the pop side of the Chappell Roan spectrum. The song begins with the sound of lasers, a dial tone, and a voicemail recording, starting the song in a rather innovative and exciting way. The verse that follows is a slow burn, building up to a subtly explosive chorus: "Touch me, baby (touch me, touch me, touch me, touch me) / Touch me, baby (naked in Manhattan)."
This song is a representation of Roan exploring her sexuality through the lens of a high school love story. It's a track that resonates deeply with much of her LGBTQ+ fan base (which is a pretty large part of her overall fan base), making it integral to her entire body of work. Plus, it doesn't hurt that it's among her catchier songs, too.
