The Addison Rae rebrand has been in full swing, to say the least. Since screaming on Charli xcx’s “Von dutch” remix—which ironically reached virality on the same platform Rae initially found success on—the days of TikTok dancing and basic influencer allegations became relics of 2020 as Addison Rae continues to try and push a new pop ascendant narrative.
As the fourth single leading up to her self-titled debut record, “Headphones On” finds Rae slightly shifting away from the synth-pop sound of “Diet Pepsi” and “Aquamarine” by sonically incorporating flashes of R&B. The track’s resonant yet airy bass and swingy percussive loop create this sense of groovy liberation that matches its lyrical themes of accepting life’s positives and negatives for what they are while also touching on the crucial role music plays as an outlet to endure said challenges.
Rae’s breathy delivery throughout these lines and speech-like singing during the verses and bridge are, to put it bluntly, short of an impressive vocal performance. When coupled with her rather surface-level lyrics, Rae’s relatively amateur status within the music scene grows increasingly apparent. Yet, the track as a whole is still a catchy listen, and given the type of pop artist she is attempting to be, she can get away with her otherwise unmemorable vocals and writing. Pop music is also meant to be simple anyway, so why not have some fun with it? Besides, it’s not like the mainstream needs another Taylor Swift adjacent.
Nevertheless, Rae’s new image has been polarizing. Her shift in persona from bubblegum influencer to alternative artist has been sudden and consequently feels a bit forced and inauthentic at times. Lyrics like “need a cigarette to make me feel better” and exclusively listening to an iPod Nano in the “Headphones On” visuals feel incredibly on the nose and come off as trying too hard to fit a certain aesthetic. Also, given her infamous Björk puffer jacket, blurry single covers, and newfound glamorization of smoking, these claims of false authenticity are understandable yet ironically representative of modern cultural shifts among Gen Z. Addison Rae was no less indie sleaze than everyone else five years ago; the aesthetic has just been adopted again today as the so-called cool and alternative niche. Perhaps she genuinely is playing into and forcing this new image, or perhaps she is simply embracing current trending subcultures for the sake of being perceived as eccentric, just like the rest of us. Both could very well be true.
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