“The Rise and Fall of a Midwest Princess” by Chappell Roan emits queer joy: It has the softness and sharpness of the sun. It embraces a bouncy, lively energy while also having moments of quiet, thoughtful sincerity and reflection. It’s campy, raunchy, gay fun that finds joy in pleasure and openly embraces it. Pleasure derived from dancing, flirting, and unselfconsciously moving through spaces.
The first track, “Femininomenon,” is orchestral in the first few seconds – notes stretched on string. Soon after, vocals and piano enter the ballad. Subtle background notes are played in succession that sharpen an intensity present in the lyrics – one that is otherwise softened and contained.
The pre chorus interjects the ballad with, “um, can you play a song with a f*cking beat.” The dirt bike revs up as the song transforms as instrumentals become animated and amplified. That interaction continues, and the moving back and forth between quiet sincerity and boisterous sound is a form of edging for the listener. Ultimately, the song satisfies. It highlights the orgasm gap, and the bridge has that direct dialogue with the audience:
“Ladies, you know what I mean /
And you know what you need /
And so does he /
But does it happen? (No) /
But does it happen? (No) /
Well, what we really need is a femininomenon /
(A what?) A femininomenon”
The song lyrically and structurally plays with pleasure.
The album serves as a gay bar: an open and safe space for those that seek and desire belonging. “Red Wine Supernova” captures the light and fun magic of flirting. “After Midnight” plays with identity and exploring yourself in different spaces and having the freedom to do so in the night. “Super Graphic Ultra Modern Girl” begins with the sense of telling a story and having people lean in eagerly, gasping at the revelations. “HOT TO GO!” allows you to channel your inner cheerleader which is to say inner performer.
“Kaleidoscope” is an oil spill in the parking lot. The rainbow reflection of a bubble expanding and rising in the air on a green summer day. Rainbows on the floor and walls, moving with the sun in the morning. It is soft in its capacity and range as Roan sings in the last few lines of the chorus:
“Don’t be afraid to hold it close /
It’s never just a shape alone /
Love is a kaleidoscope.”
The 11th track follows a girl who leaves her hometown for the Pink Pony Club. The dynamic depicted in the chorus makes me think about being a child, as that open curiosity lives in many of us. The small creature who was filled with so much love and joy and dreamt of filling a space with that love and joy because it should not be contained within a body – it should be shared and witnessed.
It’s the experience of being a child and rummaging through your parents’ closet: wearing heels three times your size, adorned in dresses that pool around you and suit jacket sleeves that trail the floor like a wedding gown – two brides down the aisle. A joy sheltered and shared with yourself. A performance with no witnesses. A fear of being seen in this state of exploration. Being this bright, vibrant, energetic creature and being made to feel like you have to hide.
It is an irony that people wish for the sun after rain, marvel at the rainbow and then are disgusted at the sound of the soft earth when they walk on the grass.
“She sees her baby girl /
I know she’s gonna scream /
God, what have you done /
You’re a pink pony girl /
And you dance at the club /
Oh mama, I’m just having fun /
On the stage in my heels /
It’s where I belong”
“The Rise and Fall of a Midwest Princess” celebrates queerness and exploration. It is a space for community, play and pleasure. Its bubbly, bouncy sounds revel in the excitement of potential and offer validation of a performance you have agency in.