Atwood Magazine’s writers celebrate a full year of Chappell Roan’s debut album ‘The Rise and Fall of a Midwest Princess’ with a candid, in-depth discussion about the LP’s global impact and early legacy, and how Roan’s multifaceted, unadulterated, and unapologetic pop music and her refreshingly authentic artistry have taken the world by storm.
Featured here are Atwood writers Danielle Holian, Jada Moore, Josh Weiner, Kevin Krein, Marc Maleri, and Olivia Martinez!
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To start, how did you personally discover Chappell Roan’s music?
Kevin Krein: I remember exactly where I was — I was sitting on the floor in the AirBnB room my spouse and I were staying in, in Duluth, MN, in the middle of February 2022. It was frigid and I was miserable — I had quit the job I had for over five years just, like, two months before this and was still, putting it politely, “in between things.” My wife was at a documentary screening, and while I was waiting for her to return, I saw Dan Nigro share something about the early Chappell Roan single “Naked in Manhattan” on Instagram. I had started following Nigro the year before after his work with Olivia Rodrigo on Sour. I went on Spotify and listened to the song, and was immediately captivated. It’s so fun—the way it writhes around. There is like the borderline dissonance that happens in the vocals in the chorus. It’s sensual and lusty but doesn’t take itself too seriously. It references a David Lynch movie. I remember thinking, “Ok. This is going to be something.”
Jada Moore: On Valentine’s Day of 2018, I saw Declan McKenna in concert. Chappell Roan happened to be opening for him on this tour. Her very essence and commanding stage presence drew us all in, and honestly she still remains as one of the best openers I’ve ever seen! While her music and style has changed quite a bit since then, the passion behind her has never wavered.
Danielle Holian: I discovered Chappell Roan via TikTok – ‘Red Wine Supernova’ and ‘HOT TO GO!’ have been in heavy rotation since!
Marc Maleri: I was in a friend’s living room at the beginning of this year and “Red Wine Supernova” came on the speaker. I went home and listened to the entirety of The Rise and Fall of a Midwest Princess, and like the rest of us, have been hooked ever since.
Olivia Martinez: I first discovered Chappell Roan on Spotify when “Naked in Manhattan” came out. I thought the song was catchy, but forgot about it until a few months later, when I watched the music video for the same song and fell in love with Chappell’s DIY style. Since then, I’ve followed her career really closely and have been very inspired by the trajectory of her success.
Josh Weiner: Looks like many of us here discovered her on Spotify. Same with me! I had Spotify radio on shuffle one time and the song “Red Wine Supernova” came on. I enjoyed it, and as further Chappell Roan songs gradually came out and became popular, I was open-minded about checking her out further, given the positive first impression I’d have of her.
Chappell has been hailed as a trailblazing, charismatic, and unapologetically honest pop star. How do you describe her?
Kevin: Because I love a government name, I would say that Kayleigh Amstutz is 100% committed to the character of Chappell Roan. I mean, it is an extension of who she is, but it is also a persona. But the aesthetic alone is impressive. I mean what is her budget for costumes for herself and her band—because with each performance it seems like they have coordinated a different look, which certainly creates like a heightened sense of excitement around what she’s doing right now. I would agree that she is charismatic though I feel like the colloquial internet would maybe disagree right now? Because she has been outspoken about how this level of fame is difficult, which is not something a lot of other artists are willing to speak on, and there are people within her fanbase that are unhappy with her setting boundaries or calling out the kind of toxic “stan” culture that has developed between artist and audience. I think people forget that the term “stan” itself, to describe the admiration you feel towards a performer, is a combination of the words stalker and fan.
But outside of all of that, she is an artist not afraid of taking risks, and having fun while she’s doing it.
Danielle: Chappell Roan, often celebrated for her trailblazing presence in the pop world, stands out with her charismatic energy and unapologetic authenticity. She boldly addresses societal and personal topics, crafting songs that resonate with a wide audience through both vulnerability and strength. Her music blends catchy pop melodies with powerful lyrics, reflecting her willingness to push boundaries and embrace her individuality. Her fearless persona, combined with her musical prowess, has positioned her as a refreshing and influential figure in modern pop culture.
Marc: In the simplest of explanations, Chappell is a drag queen. She’s been incredibly vocal about how she draws inspiration from the artistry of drag and that much is clear through her live performances, providing each audience with a different kind of persona she fully embodies. Whether that is becoming Lady Liberty at GovBall, the Black Swan + White Swan moment she gave us during her Jimmy Fallon appearance, or making direct references to drag icons like Sasha Colby, Chappell’s art is rooted in that of drag. What ties all of these different selves together is Chappell’s commitment to authenticity and willingness to be a voice LGBTQ+ youth, especially those that feel like they are lacking community and representation in midwest communities. Her charm, blunt honesty, empathy, and commitment to her craft all come together to bring about one of the most unique and refreshing pop star rises we’ve seen in a long time.
Olivia: Chappell Roan is refreshingly authentic. Over the past few years, we have seen social media influencers and musicians alike do everything in their power to appear authentic, but lately, everything has started feeling somewhat contrived. Chappell, on the other hand, is the real deal. She was dropped from her record label and forced to start back at square one. She did a full 180 in regards to her sonic style and visual aesthetic. She bedazzled her own costumes by hand and, for a long time, was releasing her music independently, without the help of label support. You can tell by her honest lyrics, unhinged TikToks, and wild costumes, that she is the one steering the reins, not some A&R team that tells her how to dress and talk. Because she rose up through the charts independently, she is in control of her own career. This shows in her music and in the way she comes across as a public figure and champion of the LGBTQ+ community.
Jada: Chappell Roan is indeed an unapologetically honest and witty pop star. I feel those very words embody the entire persona of “Chappell Roan.” The very confidence and honesty in her music is something we’re now able to see take center stage, this time with a bigger platform than ever before. She is not afraid to speak about the things she feels very passionate about, and that authenticity is something that has been missing almost entirely in not only pop music today, but the entertainment industry in general. Not to mention she is very outspoken and open about being LGBTQ+ and uses her platform to highlight and uplift the community as well.
Josh: When I saw Chappell Roan perform at Boston Calling four months ago, I remember telling a member of my party that, “She’s a bit of a character, as you can tell, but her music’s still good.” I stand by that description – there’s definitely something off the beaten path about Chappell Roan, but that ultimately helps to service her music. It’s a more unsettling, unconventional package than it might have been if not for all of the other qualities my colleagues above have noted.
What is your relationship with The Rise and Fall of a Midwest Princess?
Kevin: After the very (very) gradual roll out of singles over time, leading up to a year ago, I was glad that she had a full length to share. I was excited to listen to it and thought that the way the album was able to incorporate all of the tunes released ahead of time into this larger context was really intelligent. It’s a fun album—the pacing is impeccable in terms of the amount of ballads, or slower, more somber songs there are, balanced with the joints that are much more enthusiastic and exuberant.
A bit of an aside, when I was still hosting an interview based podcast about music, and the relationship people have with certain songs, I spoke with Anika Pyle of Katie Ellen. One of the tunes she picked was “I Wanna Dance (With Somebody Who Loves Me)” by Whitney Houston and she referred to it as her “orange alert” song. Meaning that if she was not feeling her best, it was a song that she could put on and it would help lift her out of whatever was going on, albeit temporarily. I tell you all of that to tell you this—Midwest Princess, by the end of 2023, was one of my “orange alert” albums, and I return to it regularly. Both because it’s fun as hell but also because I am usually not feeling my best and even the first side of the first LP alone grabs you by the lapels and commands you to have a good time.
Danielle: This is a record I needed as a young adult entering the dating scene and going through the growing pains of growing up. For me, there’s a good mix of love, heartbreak, and embracing oneself songs. I love good storytelling with a captivating production – truly captivated by this album. I feel seen with parts of the album. Chappell Roan will be an artist I will be following along with for a long time.
Marc: This record honestly opened me up to pop music in a way that other albums weren’t able to do in the past. My music taste had primarily been limited to softer, slow, melancholy artists and pop music wasn’t really something that I had listened to on a regular basis in a couple years. This album was irresistible though, and I immediately felt compelled by Chappell’s music on this record, it was so nuanced and unique. From interspersing revving engines on “Femininomenon” to her vocal range and capability throughout, I think Chappell had every component to pull me back into pop music wholeheartedly.
Olivia: I saw Chappell Roan live at a 500 capacity venue in Boston sometime between the release of “Casual” and “Kaleidoscope.” At the show (“Pink Pony Club”-themed), she played almost every single song off of The Rise and Fall of a Midwest Princess. This was before we even knew the name of the album that was in the works! I felt like a guinea pig in the best way possible. I remember learning the dance to “HOT TO GO!” and thinking “Red Wine Supernova” must have been a cover because there was absolutely no way she just wrote a song that good and hadn’t released it yet. So, long story short, The Rise and Fall of a Midwest Princess brings me back to that night. I’ve never had the opportunity to fall in love with an album a year before its actual release before. I feel very lucky to have had that experience.
Josh: It might take more than just one year to really say what my full-fledged relationship with this album is, but for now I’ll say that I’ve enjoyed listening to it in segments here and there, and it helped to liven my experience at Boston Calling 2024 in live format, for sure!
Jada: One thing about me, I’m going to always be attached to the concept of duality. This album itself is a full embodiment of that word entirely. This album ranges from more vulnerable and gut wrenching ballads to the more confident and upbeat, pop heavy songs. Personally, because I was a fan of Chappell’s earlier releases like “Bitter” and “School Nights,” I was still more attached to her softer and heavier songs like “Picture You” and “Kaleidoscope.” Though “HOT TO GO!” and “My Kink Is Karma” also grabbed my attention because they truly just felt like the persona of Chappell Roan.
When this album was first announced, Chappell described it as “holding stories of unearthing my true self and fearlessly embracing queerness. With the contrast of my Midwestern upbringing and living in one of the biggest cities in the US, The Rise and Fall of a Midwest Princess mirrors the rollercoaster of becoming the pop star I always wanted to be.” How, for you, does the record live up to that candid description?
Kevin: The kind of open and frank queerness on Midwest Princess is honestly refreshing. I mean, contemporary popular music can and often is progressive, but only up to a point. I think it is very impressive how candid the lyricism is on the album in terms of her journey to accepting and really embracing her identity. There are songs that are vague enough where it is like a pop song about the tumultuous nature of interpersonal relations, and those are smartly juxtaposed against songs that are much more not confrontational in their writing, but do not wish to hide behind any kind of ambiguity about her sexual identity and like the kind of self-discovery needed to arrive at where she is now.
Danielle: The Rise and Fall of a Midwest Princess is a journey. Chappell Roan is open with her storytelling, and the production is refreshing in today’s music. I think this album was released once Chappell Roan was ready to share her art and her true self, even with this persona, with the world.
Marc: After learning more about Chappell’s story over the past year, I think this description couldn’t be a more honest portrayal of the record. Being pigeon-holed early on in her career as another sad-pop girl on her 2017 EP, School Nights, (a project that does not at all feel authentic to Chappell) to quickly being dropped by her label, to then becoming an overnight sensation…`I think comparing her rise to pop stardom to that of rollercoaster is fair to say. As for the record’s content itself, it’s clear that the project is one that mirrors Chappell’s awakening and embodiment of her queerness, especially on the opening track and songs like “Super Graphic Ultra Modern Girl.” The intensity and energy that’s felt throughout listening to the album reflects Chappell’s radical acceptance and awakening into a world that felt inaccessible to her as a young queer person growing up in the midwest.
Olivia: The record absolutely lives up to that description. Songs like “Femininomenon” celebrate not only Chappell’s queerness, but the entire queer community, which Chappell has so warmly embraced. For those who have not yet listened to the deeper cuts of the album, I would recommend listening to “California” for a glimpse into Chappell’s journey before reaching massive success. The song very beautifully describes the experience of moving away from your hometown to pursue a dream, only to wonder if you made a mistake and/or have failed in the eyes of your family and friends back home. As someone who moved away from Ohio to pursue a career in music, the lyrics of this song could honestly make me cry. “‘Cause I was never told that I wasn’t gonna get the things I want the most / But people always say, ‘If it hasn’t happened yet then maybe you should go.’” I also think the line “I miss the seasons in Missouri, my dying town,” is really beautiful and heartbreaking.
Josh: My interpretation of that statement is that, basically, Chappell Roan feels as though she can just be herself within the space of this album. It’s an encouraging thought and I agree that she makes the most of that personal liberty on this record.
Jada: In this album, Chappell Roan is completely a storyteller. Except, it’s clear the story is a biography – simply written by her. From heartbreaks, grief and triumphs, to the unadulterated, and unapologetic love for herself and her own journey creating the music and life she dreams about.
Why do you think this record has been so well-received? What is it about Chappell’s artistry that attracts people to her songs?
Danielle: I think The Rise and Fall of a Midwest Princess has been well-received for several reasons factoring in her authentic storytelling, unique artistic vision, cultural commentary, strong visuals, and epic performances with her charismatic presence. Chappell’s ability to convey vulnerability and raw honesty resonates with listeners, creating a strong emotional connection. She blends various musical styles, from pop to indie and beyond, with a distinct aesthetic that sets her apart. Her sound is fresh and innovative, combining catchy melodies with introspective lyrics. Her work often includes commentary on social issues, identity, and personal growth, which can appeal to a broad audience that values meaningful and thought-provoking content. Overall, it’s the combination of heartfelt songwriting, innovative sound, and a compelling artistic presence that makes Chappell Roan’s work so engaging and memorable.
Kevin; I think that the album was certainly well received when it was released among people who had been following Chappell Roan for however long prior to it’s arrival but I think that the seemingly endless promotion she has done of it this year alone is really what has opened it up to a much larger audience that might not have been aware of it or even her as an artist. It is also really intelligent pop music—self-aware and campy, and has a sense of humor when it needs to, but it really is, at the end of the day, art made by an ambitious artist.
Olivia: I feel like I have to shoutout producer Daniel Nigro for his apparent ability to help artists express their unique selves in their collaborations with him. I’ve noticed this with Olivia Rodrigo and Chappell Roan. You can tell they were really comfortable in the studio and weren’t made to feel ridiculous for suggesting wacky, angst-y, or humorous ideas. Of course, I think Chappell Roan deserves full credit for her personality and lovely, quirky brand. But I find it really refreshing to see a producer in the pop industry who embraces the characteristics that make artists themselves, rather than trying to stick them in a box. As far as Chappell’s artistry, there is no question in my mind that her artistic vision comes from deep within the core of her creative spirit. By this, I mean that she has cracked the code to seeking meaningful inspiration and creating a piece of art that fits within the realms of her personal aesthetic. This makes her music feel absolutely unique, which, given the right platform, is bound to be received by a passionate audience.
Marc: I think there were a lot of moving pieces in the music industry and society’s musical cravings at large that contributed to the success of the album. Ever since the early-later 2010s, we saw the rise of artists like Billie Eilish and Lorde, artists that merged pop music with melancholy production and lyricism. Artists like these and their dominance over musical culture is still very much present, but I think the pop landscape became a very serious place for a few years in terms of lyrics, subject matter, and thematic exploration. The Rise and Fall of a Midwest Princess came on the heels of those more somber years and was a specific kind of refreshingly fun, upbeat, and distinct pop. I think we’ve been craving an outspoken, unapologetically confident and experimental artist for quite some time now and Chappell filled that gap. Putting all of that aside, it must be said simply: if Chappell’s music sucked and felt devoid of character, she wouldn’t have shot to superstardom. She is insanely talented in terms of her vocal range, her visuals are captivating, the album itself expertly mixes pop anthems alongside sad ballads, and was overall a wonderfully cohesive and fully realized vision.
Josh: The songs here are danceable, they have charm and attitude, they’re unconventional and they’re consistently fun to have on.
Jada: This past decade in music, we have seen a rise in pop music with women once again at the forefront. With an artist like Chappell, I feel people are just drawn to the overall down to earth, unapologetic person she is. She is authentically herself, and her music is an extension of that. Having such fun “bops” also seals the down as well!
Which song(s) stand out for you on the album, and why?
Danielle: ‘Red Wine Supernova’ and ‘HOT TO GO!’ are my personal favourites – my go-to when I need a Chappell dance party.
Kevin: I think she does like very energetic, fun songs very well, but I think the songs that burn a little slower are maybe my favorites on the album, like “Coffee” and “Kaleidoscope.” There are ballads that have a little more enthusiasm or drama to them as well like “Casual,” and I would argue that “My Kink Is Karma” would fall into this because it is a little slower but is also incredibly fun. “Femininomenon” is also a track one, side one for the ages.
Olivia: My favorite songs off the album change all the time! My most consistent top three are probably “Femininomenon,” “Red Wine Supernova,” and “Naked in Manhattan.” I love “Femininomenon” for the humor (and genuinely valid observation), “Red Wine Supernova” for the melody, and “Naked in Manhattan” for the production (shoutout Dan Nigro).
Marc: “Naked in Manhattan,” “Guilty Pleasure,” and “Super Graphic Ultra Modern Girl,” are definitely the ones that have remained consistent in terms of what I’ll throw on during a casual listen. All three of those songs pack such impactful punches in the production alongside Chappell’s distinctly powerful pipes, they’re so fun to listen to (I could say that for most of the album). One track that I feel doesn’t get nearly enough love is “Picture You,” probably because it’s one of the less grandiose, slower moments off the record. The vocal flips at the end of that track are so impressive and it really allowed her to showcase her versatility in terms of the kinds of songs she’s able to successfully create.
Josh: I’m still appreciative of “Red Wine Supernova” for introducing me to Chappell Roan herself, but there are plenty of more impressive tracks to choose from here. “HOT TO GO!” is so fast-paced and comes with a YMCA-style arm dance, which earns it major points– seeing hordes of Chappell fans engaging in that on the lawn of the Harvard Athletic Complex last May was quite the sight, and having it come alive again in my mind whenever that song comes on is simply delightful.
Jada: I mentioned it briefly above, but I truly do love the heart wrenching vulnerability on the tracks “Coffee”, “Casual,” “Picture You,” and “Kaleidoscope.” However, I love the overall vibe of “HOT TO GO!” I mean it’s a crowd (and meme) favorite for a reason isn’t it?
Do you have any favorite lyrics? Which lines stand out?
Danielle: I love the first verse of “HOT TO GO!” As a writer, I am obsessed with words, metaphors, and creating a thought-provoking line for my reviews, poems, lyrics… I particularly enjoy this verse because there’s innocence, there’s hope, there’s curiosity, there’s lust.
I could be the one, or your new addiction
It’s all in my head but I want non-fiction
I don’t want the world, but I’ll take this city
Who can blame a girl? Call me hot, not pretty
Kevin: I mean, I think “Knee deep in the passenger seat, and you’re eating me out—is it casual now,” is a line that will like live rent free in a lot of heads for a long time. There are a ton of quotable things from the more uptempo songs, like “Femininomenon” and “Red Wine Supernova,” but I feel like the more introspective, slower songs offer a look at the kind of impressive lyric writing on the record like the chorus of “Coffee” – “I’ll meet you for coffee, ‘cause if we have wine, you’ll say that you want me, I know that’s a lie. If I didn’t love you, it would be fine.” And it is subtle but the very personal reflections in the first verse of “Kaleidoscope,” have felt very resonant. “I guess we could pretend we didn’t cross a line but ever since that day, everything has changed.” It’s just a very real observation delivered with such conviction.
Olivia: This is so silly, but the line that always makes me laugh is “I don’t care that you’re a stoner,” from “Red Wine Supernova.” As I mentioned before, I had heard this song at Chappell’s concert a few months before it was released. Right away, I loved the song so much that I looked up Youtube videos of her singing it live, in order to listen to it while I waited for the single to come out. It is often difficult to hear and decipher lyrics from a live recording on an iPhone, so I had no idea that this was the lyric until the actual song was released! I think it is so funny, because she says it with the intensity of “I don’t care that our families are feuding Romeo, I love you anyways!” but all she actually says is, “I don’t care that you’re a stoner.” The humor of the line is so Gen-Z and it is very funny to belt out, as though it is some big dramatic declaration.
Marc: Some of Chappell’s lyrics are so brutal; I’m really obsessed with some of the ones from her more somber tracks off the record. “I f*ed you in the bathroom when we went to dinner / Your parents at the table, you wonder why I’m bitter,” from “Casual” is such a raw and painfully honest lyric. You could almost feel the embarrassment from whoever Chappell’s ex is every time I hear that. “Coffee” has some great lyrics as well, “I’ll meet you for coffee, ‘cause if we have wine / You’ll say that you want me, I know that’s a lie.” What makes lyrics like these impactful is the pain from how simple and real that is. Chappell didn’t waste her time making some complex metaphor about how a ‘casual’ run-in with an ex always leads to something more, she said it plainly but in an intelligent way. Apart from the sad ballads, lyrics like “Well, back at my house, I’ve got a California King / Okay, maybe it’s a twin bed / And some roommates, don’t worry we’re cool,” and, “I want this like a cigarette / Can we drag it out and never quit,” from “Red Wine Supernova” and “Guilty Pleasure” are again, said with simplicity but expertly crafted, which makes for this fun, cheeky listening experience.
Josh: I agree with Marc that some of the unhesitantly vulgar lyrics here stand out to me as well. Hearing her gently and delicately sing, “You just told me, ‘Want me to f* you?’ Baby, I will, ‘cause I really want to” was very jarring, but hey, in the long run that just helped “Red Wine Supernova” stand out in my memory all of the more so. Plus, the chorus line “I’m gonna keep on dancing at the Pink Pony Club” is a nice one, since it’s left me scratching my head as to what sort of Hotel California-style building metaphor could be at play here.
Jada: Just the raw, vulnerability on “Coffee” in these lyrics alone left me speechless.
I’ll meet you for coffee ’cause if we have wine
You’ll say that you want me, I know that’s a lie
If I didn’t love you, it would be fine
I’ll meet you for coffee, only for coffee
Nowhere else is safe, every place leads back to your place
These lines in “HOT TO GO!” because it’s giving a little “YMCA” and “Hoedown Throwdown” – which all of us 2000s kids were obsessed with!
H-O-T-T-O-G-O
Snap and clap and touch your toes
Raise your hands, now body roll
Dance it out, you’re hot to go
H-O-T-T-O-G-O
How has your relationship to the album changed over the last year, in terms of growth and appreciation?
Danielle: I was initially drawn to Chappell Roan’s bold storytelling over the infectious pop hooks, feeling an immediate connection to the charisma and relatability of the music. Over time, with repeated listens, the nuances in the album’s production and the depth of its themes — identity, self-discovery, and resilience — resonated more deeply.
As my perspective grows, I found new layers of meaning in the lyrics, appreciating how the album captures a journey of vulnerability and empowerment. I enjoy how Chappell unapologetically navigates themes of personal evolution might inspire greater admiration for her authenticity, making the album feel even more relevant as time passes.
Kevin: I mean I do lean on this album a lot to pull me out of moments when I might not be feeling my best—the singles are certainly fun but the last year has really give me a chance to appreciate it as a whole album. I mean there are no bad songs on it. Even the songs that are maye not my “favorites” work well within the context of the album from start to finish. It was one of my favorite albums of 2023 and it is an album that I have taken with me this year, and will honestly continue to return to it regularly.
Olivia: I think my relationship to the music itself has stayed the same, but my understanding of its cultural significance has changed. I’ve honestly just been sitting back and watching in awe as Chappell’s career has taken off. Seeing her perform at the VMAs was very inspiring. I am glad that people are starting to compare her career to that of Lady Gaga and similarly massive artists. She deserves it. And I think that in an industry completely taken over by capitalism and the exploitation of art, Chappell’s story serves as a message of hope for independent artists everywhere.
Marc: There are plenty of albums that I listen to and love on the first go-around, but for some reason, lose steam for me and aren’t great in terms of replayability. This record, however, is most definitely not a part of those instances. In a year where I’ve heard more fantastic albums than I’ve seen released back to back in my lifetime, The Rise and Fall of a Midwest Princess has always remained consistent in my listening patterns. My appreciation for this album and Chappell Roan as an artist only grows the more time I have with it. The fact that I (and music lovers at large) haven’t gotten sick of hearing the same songs on repeat is a testament to the music she’s created and how special of a work of art the record is.
Josh: Basically, I’ve gone from being like, “Hmm, I like that Red Wine song, it’s pretty entertaining,” to, “Oh man, this girl has proven her abilities on so many songs now! Very impressive!” It’s quite the satisfying arc, indeed.
Jada: I would say my appreciation and fondness for the album has intensified greatly. Seeing the joy and excitement Chappell has performing these tracks to fans makes the album all the more bittersweet to listen to. As when she put this out, I’m sure she did not imagine that within a year, it’d have grown to be such a massively loved album.
Given the slow rollout of the songs released upwards of two or three years ahead of the album’s full arrival last year, while it is hard to predict, what are your hopes for Chappell Roan’s second album, or whatever she’ll do next, artistically?
Danielle: Chappell Roan has truly shown she’s an artist on the rise. With this album, she had strong and emotionally charged songwriting on full display, vibrant pop elements, along with her pitch-perfect vocal performance. Moving forward, artistically I can see her becoming more popular and releasing more bops.
Kevin: I think it was smart for her to release “Good Luck, Babe” as a stand alone single and not try to tack it on to any repressings or reissues of Midwest Princess, and even if that song ultimately make it onto whatever comes next, it is like one of the finest songs of 2024 just in terms of what it conveys and how it does so. It is enormous and emotionally cathartic and at times a little dissonant or eerie, but it never alienates the listener. My hope is honestly that she takes some time away, or off, as this year ends. She had shared in an interview lately that she has a lot of time set aside for working with Dan Nigro again on new material, which is great, but given the recent struggles she’s been open about regarding the perceived lack of boundaries from her fans, and that the public does always seem to want more than an artist is willing to give when they already give so much, I feel like given the pacing of the last year, she deserves a real break before heading into something new.
There’s a demo of a song called “Read and Make Out” on the b-side to the “Good Luck, Babe” single and it is like, kind of twangy, very dramatic, kind of Lana Del Rey-adjacent in some ways, so it is not like anything she’s done before. Really I just hope she continues to make the music she wants to make and like pushes herself creatively into new places.
Olivia: I really hope that Chappell maintains an element of her DIY artistry, even now that she has access to so many resources. I still want to see her in costumes that look like she had a hand in their design and writing songs that feel specific to her experience. It would be kind of sad to see her go down the same path as Katy Perry, who had a similarly quirky and wonderful debut pop album, One of the Boys, but has proceeded to make music that sounds kind of generic in recent years. I think Chappell’s best bet would be to follow in the footsteps of Olivia Rodrigo and continue making the music off her sophomore album with Dan Nigro, rather than work with a variety of different pop mega-producers. I believe this would create more of a cohesive addition to her discography.
Josh: Well, why wouldn’t I have high hopes, given how much of an impact she just made on her debut project? Plus, “Good Luck Babe” proved that she’s still goods in 2024, so hopefully that’ll still be the case in 2025 or whenever we get to hear her sophomore release.
Marc: I’m fairly confident that whatever Chappell will put out next will be successful, so long as she remains strong in her commitment to showing off her most authentic self. I think that’s what made this record so popular in the first place, so whether she drops another album full of pop bops or something that veers in a completely different direction, I’m sure her dedication to putting out art that aligns with with her values and brand will yield something that’s just as interesting and thrilling as this record was.
Jada: Personally, I don’t ever typically envision or create an expectation of what an artist will do next. Maybe it’s because I love to be surprised. For an artist like Chappell, doing the unexpected is characteristically her. So, I hope she continues to make the music that makes her happy. Free of pressure or expectations, as you know that is the best kind of music to listen to!
As this album turns one year old, what is The Rise and Fall of a Midwest Princess’ legacy?
Danielle: As The Rise and Fall of a Midwest Princess turns one year old, its legacy is already shaping up to be one of personal empowerment and boundary-pushing pop creativity. The album has left an indelible mark on the pop landscape, standing out for its unapologetic celebration of self-expression and Chappell Roan’s ability to tell deeply personal, yet universally relatable stories.
The album solidified Chappell Roan as a leading voice in queer pop, offering anthems of self-acceptance and liberation. While the album is deeply personal—grounded in her experiences growing up in the Midwest and her journey toward self-discovery—it also taps into universal emotions like love, longing, and the search for belonging. The vulnerability and relatability of songs like “Naked in Manhattan” and “Casual” helped the album connect with a broad audience, extending its appeal beyond LGBTQ+ listeners.
The way Roan blends humour, sincerity, and vulnerability in her songwriting is a hallmark of her style and has contributed to the album’s lasting impact. Her ability to create an environment that celebrates individuality and authenticity has become a core part of the album’s cultural footprint. The album’s legacy isn’t just the music itself but also the emotional and communal spaces it has helped create.
Kevin: I think there is legacy in the album itself and that it had an audience upon release but found a much larger audience over the course of the year. But more than that, I think there’s the mythology about Kayleigh Amstutz becoming Chappell Roan, and continuing to work away at building this fully realized sound and character or persona, even after she had a deal with a different label, was let go, and had to find her way back.
Olivia: I think this album’s legacy will be different for different people. For me, its legacy is that of an independent artist’s journey to success while maintaining authenticity. To others, its legacy is that of queer pop’s re-defining moment in the age of social media. At the end of the day, the songs themselves are really catchy and of great quality, so I do not believe that they will be forgotten anytime soon.
Josh: “Legacy” might be a big of a big word after just 12 months, but in the long run I can see this album having a solid legacy as the record that made a star out of its avant-garde auteure.
Marc: I think it may be a little too early to start unpacking the legacy that this album will leave behind, but it’s undoubtedly going to be revered as a distinct moment in pop culture. Her rise to fame after this album was released was so insanely quick and it’s all thanks to making some of the best pop music we’ve heard in quite a while. Talk of Chappell has only become more and more common since the release of her album, and I doubt that’s going to change anytime soon.
Jada: I think this album will leave the legacy behind of being the introduction of Chappell Roan to the world. This album was simply the catalyst in bringing Chappell Roan to the forefront of everyone’s mind.
What do you make of the inevitable comparisons to pop icons like Lady Gaga and how does Chappell differentiate herself from other pop culture sensations?
Danielle: Chappell Roan has certainly drawn comparisons to pop icons like Lady Gaga, largely due to her theatrical flair, bold visuals, and commitment to a pop aesthetic that feels larger-than-life. Both artists embrace a fearless, avant-garde approach to fashion, music, and self-expression, pushing the boundaries of what pop stardom can look like.
However, Roan differentiates herself in several key ways with her personal and regional storytelling, self-expression and self-empowerment, and playful aesthetics as she taps into pop culture references in a way that feels more tongue-in-cheek and approachable. In essence, while she shares a bold, boundary-pushing spirit with Lady Gaga, her focus on personal, small-town experiences, queer identity, and a DIY ethos sets her apart, making her a unique voice in modern pop.
Kevin: Honestly I guess I didn’t realize there were comparisons because I don’t really see the similarities? I mean in the theatricality yes. They’re both operating within the confines of “pop music” but I would argue that they are making different kinds of pop music. I think Chappell Roan’s charisma alone differentiates her from anyone else right now.
Olivia: I think that, on the one hand, it is cool to see Chappell Roan be compared to someone as iconic as Lady Gaga because it is a big achievement for a new artist to reach that level of success in the age of social media. And, as others have mentioned, they are both quite theatrical and draw inspiration from drag. On the other hand, I don’t actually think their styles are very similar. “Good Luck Babe” is the only song where I can see the comparison being one of actual sonic similarities. Other than that, I think their music is totally different. Even their color palettes feel like polar opposites to me.
To answer the second part of the question, Chappell differentiates herself just by being herself. I realize this sounds like a “captain obvious” statement, but the same can’t necessarily be said about a lot of other pop artists. I also think Chappell does a good job of walking a very fine line between ironic and serious when it comes to her maximalist aesthetic. As compared to an artist like Jojo Siwa, you can see why Chappell Roan has been more well-received, despite sharing an affinity for so-called “gay pop” and glitter.
Josh: I still remember what an insane surge to fame Lady Gaga went on in my late high school years– how she was consistently everywhere from 2008-11 or so, had eleven Top 10 singles during that skinny period, and made front cover after front cover with all of those wild outfits of hers. I wouldn’t say Chappell Roan has reached that same stratosphere yet, meaning that Gaga comparisons may be a little immature for now– but hey, if you want to study them both as unconventional songstresses making a big splash on the charts, then so be it!
Marc: I think this is just something that’s common with women in pop unfortunately, even if the comparisons don’t really make any sense. The same thing happened with Lady Gaga earlier on in her career with comparisons to Madonna. Something similar is beginning to happen with Sabrina Carpenter and comparisons to Katy Perry; in reality, when you break down the artists’ aesthetics, performances, and songwriting choices,the only similarities that have any sort of merit are the fact that they’re both strong, out-spoken, confident women who are making art that creates cultural waves. I’d like to think that Chappell is flattered by comparisons like these so early on in her career, but I hope that people don’t push it to a point when we’re pitting artists against one another unnecessarily.
Jada: Well in an industry that loves to compare and pit women against one another, unfortunately it truly was inevitable. I think in the case of Chappell and Lady Gaga, both women just embrace themselves and have such powerful and dramatic stage personas incorporated into their art. Though I would say both have such distinctly different sounds and aesthetics in general.
Chappell Roan has been bringing many facets of LGBTQ+ culture to the mainstream and forefront of today’s musical culture. Do you think her ability to proudly champion that part of herself and her commitment to authenticity has played a significant role in her cultural rise?
Danielle: Yes, Chappell Roan’s proud embrace of LGBTQ+ culture and her commitment to authenticity have been key drivers in her cultural rise. In today’s music landscape, audiences—particularly younger listeners—crave artists who are genuine, transparent, and unafraid to express their true selves. Her open celebration of her queer identity not only aligns with this cultural moment but also positions her as an artist who gives voice to those who may feel marginalized or underrepresented in mainstream music.
Kevin: I am not sure if it has played a role but it is refreshing to hear an artist who has embraced their identity and not only embraced it but also made a whole album about finding her way to her queerness.
Olivia: Of course! She is championing the rights of the queer community to exist during a time where politicians are trying to outlaw drag shows. For years, she has been inviting drag queens to open for her who are local to the city in which she is performing. She also represents a demographic of people who are queer but were born into communities that are less accepting of anyone LGBTQ+. These communities need someone to acknowledge their right to exist with pride and integrity. I also think she has done a great job in showing that her personality is a combination of many things! Yes she is queer, but she is also a woman who is funny, creative, and so much more. It is important for queer artists to be seen as fully complex humans and not just a caricature of themselves.
Josh: Yes, I see no reason to argue that. Many pop stars have been LGBT-friendly, but how many of them have actually been straight-up queer themselves? It’s nice to see Chappell Roan carving that space for herself as of late.
Marc: It almost goes without saying that her proud embodiment of queerness has greatly contributed to some of the most compelling parts of her artistry. Without the direct inspiration from drag queens, the eccentric performances, and this album at large taking us through a journey of self actualization, I don’t think we would have the Chappell that everyone fell in love with. In a time where queerness and countless facets of LGBTQ+ culture are under scrutiny, Chappell is the perfect voice and fearless representation that I think of lot of young queer people needed.
Jada: I absolutely think so! Chappell chooses to highlight and amplify her experience of being queer, and it’s refreshing and reaffirms that there is a space for queer artists in every industry. The LGBTQ+ community also gets to see representation and an artist that provides a safe space to be unapologetic in who you are. This is very important for younger music fans to see and experience as well!
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:: stream/purchase Good Luck, Babe! here ::
:: stream/purchase Midwest Princess here ::
:: connect with Chappell Roan here ::
Watch: “Pink Pony Club” – Chappell Roan
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© Ryan Lee Clemens
© Ryan Lee Clemens
The Rise and Fall of a Midwest Princess
an album by Chappell Roan
