Addison Rae’s First Album Marks a Refreshing New Direction

The debut album from the TikTok sensation effectively challenges any doubts that she’s merely a performer of catchy dance moves and charming smiles.
Photo: Addison Rae via YouTube

The realm of influencer pop is often more spectacular failures than triumphs, resembling a graveyard of missed opportunities. While the same platform that propelled Troye Sivan and Benson Boone also gives rise to subpar hits from figures like James Charles, Addison Rae’s initial foray into music in 2021 seemed to signal a similar fate. Her debut single, “Obsessed,” was misunderstood as self-indulgent rather than the satire it intended to be. Yet, with clever ideas and support, that same effervescent charm that made her popular could translate into pop success. On her 2023 EP, AR, she collaborated with multiple co-writers and producers to envelop her delicate voice in engaging dance-pop vibes, marking a shift where her musical pursuits triumph over her earlier ventures in makeup and film. She has refined a sound that garners praise from Charli XCX and Ariana Grande.

With her debut album, Addison,she aims for more than just diversifying her portfolio; it represents a clear departure from her past. Thisis her space now, as she drops her middle name, Rae. While her parents, previously prominent in her early videos, have become more low-key, the album showcases a 24-year-old artist defining her lyrical and musical identity. Unlike her EP, this project features just three main composers: Addison, along with Luka Kloser and Elvira Anderfjärd, affiliated with Max Martin. It’s refreshing and lively, capturing not only her bright personality but also reflecting the creative freedom afforded by these younger collaborators away from the conventional oversight of industry veterans.

Addison embodies a high-stakes endeavor that feels low-key. Its lyrics explore themes of autonomy and potential, serving as meta-commentary on her distinct career shift. “Aquamarine,” a pulsating Europop track, pays homage to sultry Madonna vibes. Yet beyond the Ray of Light nod, the anthem — “Honey, dive into me / I’m not hiding anymore” — tackles a recurring doubt in her journey: What profound emotional truths can her music convey? The reflective “Times Like These” starts with musings on fashion choices to please a lover but evolves into an introspective dialogue about public perception; she sings about her songs playing on the radio while grappling with life’s rapid pace. Although the lyrics may come off as light, tracks like “Money Is Everything,” a trap-pop anthem, reflect notable progress from her previous work. “Money” approaches the themes in “Obsessed,” blending melodrama with a playful take on her experiences, including whimsically recalling moments like sharing a smoke with Lady Gaga. Addisonencourages a lighter tone, a strategic move for someone once teased for her relentless self-promotion to her followers. The standout tracks creatively express themselves on a clean musical canvas, while others seem to replicate existing trends.

Echoes of Britney Spears are unmistakable. Both rising stars from Louisiana share a dreamy vocal style, producing ethereal pop music with Swedish collaborators. The colorful chaos of Addison’s “Fame Is a Gun” video mirrors the behind-the-scenes drama and whimsical aesthetics of “Lucky,” while “In the Rain” recalls the pop-heavy beats characteristic of Britney’s work with the Neptunes. However, a clear distinction is that Addison is asserting control over her artistic identity, unlike teenage Spears. Tracks like “Summer Forever” and “Diet Pepsi” draw inspiration from the atmospheric reverb of Lana Del Rey’s early hits but ultimately fail to innovate beyond the already saturated landscape of imitative songs. Instead of distancing her current music from her past as a viral sensation, these tracks lean into readily recognizable trends. More captivating are the pieces striving to carve out a distinctive narrative and playful sonic experience.

Even when some lyrics feel undercooked—consider “Times Like These,” which downplays Addison’s anxieties with the repetitive line “In times like these, it’s how it has to be,” or the vague sentiment found in “Headphones On”—there’s a sense of authenticity. The TikTok phenomenon suggests anyone is just one viral moment from fame, and Addison has navigated this whirlwind to express her true self, rather than merely showcasing enjoyable moments. She’s not striving to append herself to the current Spotify hitmakers in tracks like “Times Like These” or “Headphones On.” Instead, she’s searching for lyrical expressions that resonate with her newfound identity as a celebrated figure. Tracks like “Fame” and “High Fashion” cleverly play with her status as an online target, with the former mockingly acknowledging how minuscule her actions need to be to draw criticism, and the latter humorously suggesting her superficiality when it comes to fashion priorities. “When you shade me,” she confesses in “Fame,” “it just makes me want it more.”

There’s a sense of balance in how she approaches the spotlight—she’s well aware of the line between earnestness and irony, especially when humor can be derived from embodying the superficial LA archetype she’s been typecast. Addison embraces her self-awareness, and the album showcases some sharp remarks on her earlier persona while laying the groundwork for a new identity. She expresses her rebellious side through cursing, casual smoking, and acknowledging the past perception of her. Addisonallows for a sense of liberation that comes with this clean slate. Each track feels like a surprise, marking the album’s achievement in transforming any lingering doubts about her-as a mere performer into a genuine musical artist. Should she choose to delve deeper in her songwriting, exploring intricate emotional landscapes instead of settling on surface issues like parental divorce or examining the dynamics of fame, the road is open for ongoing success in pop. If that’s not her focus, Addison remains a refreshing addition to the summer soundtrack.