Cherry Bomb transforms heartbreak into high-voltage release on “Sorry You’re Not Sorry,” a dynamic, disco-drenched pop exorcism that channels all the apologies that never came into a glittering, feverish, full-body celebration of self-liberation – cementing Mandy Lee’s new solo project as one of 2026’s freshest, boldest, and most utterly irresistible pop arrivals.

for fans of MisterWives, Chappell Roan, Haute & Freddy, Debbii Dawson, MARIS

“Sorry You’re Not Sorry” – Cherry Bomb

A great pop exorcism takes the ache, kicks open the doors, and turns the whole room into a dance floor.

It gives the hurt a place to go when the heart has nowhere left to put it, and makes release feel bigger than the pain that made it necessary.

Cherry Bomb’s dynamic, disco-drenched single “Sorry You’re Not Sorry” embodies that glorious release: A sky-high synth-pop reckoning for the apologies that never came, the closure we’re forced to make ourselves, and the moment grief finally gives way to motion. Feverish, dramatic, and dazzlingly alive, it channels heartbreak into spectacle without losing the bruise underneath – becoming a glittering funeral for borrowed guilt, and a full-body celebration of the freedom waiting on the other side.

It’s like asking a river not to flow
Drawing blood right from a stone
Pleading for lighting not to strobe
I know i know I’m

Re-enacting all I’ve ever known
Expecting a different end result
Praying you’ll pick up the phone
I know I know you won’t

Atwood Magazine is proud to be premiering “Sorry You’re Not Sorry,” the seductive and sparkling fourth single from Cherry Bomb, the Los Angeles-based solo project of Mandy Lee. Arriving today alongside its lavish, camp-fueled official music video, “Sorry You’re Not Sorry” finds the longtime MisterWives frontwoman pushing deeper into the glittering world she’s building on her own terms – one where disco-pop euphoria, theatrical confession, synth-soaked abandon, and raw emotional release all collide in brilliant full color.

After more than a decade leading MisterWives with her powerhouse vocals and magnetic stage presence, Lee introduced Cherry Bomb earlier this year as a fierce solo universe rooted in self-reclamation, excess, and radical expression. Early singles “Never Be Me (M★therf★cker)” and “Digital Girl” established the project’s explosive mix of dance-floor pleasure and diary-like defiance; now following a shimmering take on Alanis Morissette’s “You Oughta Know,” “Sorry You’re Not Sorry” raises the stakes with a song and video that feel bigger, bolder, and more emotionally unbound. It’s Cherry Bomb as church, catharsis, and chosen family – a lavish act of release, a celebration of survival, and a thrilling reminder that Lee’s next chapter isn’t just a reinvention, but a detonation.

For Lee, “Sorry You’re Not Sorry” lives at the exact point where longing curdles into clarity – when the fantasy of being met halfway finally breaks, and the only way forward is through.

“‘Sorry You’re Not Sorry’ is for the pivotal moment when you stop begging closed doors to open and make peace with the grief that comes with choosing closure over receiving it,” she tells Atwood Magazine. “It’s no surprise pain and pleasure are processed in the same part of the brain and perhaps that’s why I often blur the line between the two in music. Alchemizing that heartbreak into something you can move through, sing through and cry out your glitter tears through has become the manifesto of this record and ‘Sorry You’re Not Sorry’ is the newest disco drenched catharsis to hopefully help whoever listens do so.”

That collision of pain and pleasure is everywhere in the song’s bloodstream. “Sorry You’re Not Sorry” moves like a body trying to outrun its own ache, with pulsing synths, surging strings, and skyward vocals that make the wound feel not smaller, but more alive. The verses circle impossible bargains: Asking nature to stop behaving like nature, wishing a stone would bleed, praying a phone will ring even when every part of you already knows it won’t. Lee sings from inside that exhausting loop where hope becomes a habit, where the heart keeps reaching for proof long after the truth has made itself clear.

The harder you hold on
The harder it is to let it go
Tighter and tighter
my knuckles are whiter
than your ghost

Then the chorus opens the ceiling. Violin swells flash through the arrangement like stage lights cutting across smoke, while Lee’s voice rises with the force of a confession finally set free. Her delivery is impassioned without losing its bite – wounded, yes, but also theatrical, sensual, and gloriously unrestrained. When she lands on “I feel everything,” the line becomes the song’s exposed nerve: A declaration from someone who has carried enough feeling for two people and is finally done mistaking emotional depth for defeat.

Oh I’m sorry
That you’re not sorry
And yet there’s still a part of me
that’s hoping
You can be happy

I know it’s petty
But can you blame me?
Cause I feel everything
Watching you still feeling nothing

What makes “Sorry You’re Not Sorry” hit so hard is the way it refuses to flatten heartbreak into a single mood. There’s anger here, and longing, and pettiness that knows exactly how human it is. There’s the humiliation of wanting peace from the person who made peace impossible, the self-awareness of living on a “fault line,” and the strange, electric relief of realizing the old bet was rigged from the start. By the time Lee tosses off “C’est La Vie,” it doesn’t sound casual so much as hard-won – a shrug with mascara running, heels planted, and the lights already coming up.

Cherry Bomb doesn’t sing the pain away; she gives it choreography. Every beat pushes the body forward, every synth flare adds color to the bruise, and every string swell lifts the song closer to transcendence. “Sorry You’re Not Sorry” is grief with a pulse, heartbreak in high definition, and catharsis dressed for the main stage – proof that Lee’s solo world isn’t just glittering on the surface, but glowing hot from the center out.

The song’s music video takes that emotional lift-off and blows it into a whole universe.

Directed by Lee with maximalist grandeur and a wicked sense of play, “Sorry You’re Not Sorry” unfolds like a sacred ceremony after the rules have been rewritten: Church pews become runways, mourning gives way to movement, and the whole sanctuary starts to pulse with sequins, sweat, devotion, and defiance. Lee doesn’t simply perform the song’s release; she stages it as an event – a procession of dancers, drag artists, showgirls, nuns, and divas gathering around her as if liberation itself has called everyone to service.

“The ‘Sorry You’re Not Sorry’ music video is the nail in the coffin for releasing remorse that isn’t yours to carry,” she shares. “This funeral for the apologies that never came and the closure we often crave but don’t receive turns mourning into celebration and oppression into liberation.”

“Inspired by the campness of Rocky Horror, visuals of Baz Luhrmann’s Moulin Rouge, and Romeo and Juliet and a healthy serving of religious iconography as metaphor, ‘The Haus Of Cherry’ dismantles a world I didn’t feel love and acceptance in and puts it back together anew with the help of a congregation of divas, a dazzling drag priest, and convent of showgirl nuns.”

I guess it’s my fault
For living on a fault line
Forgiveness is a fine line
Can’t be shocked or surprised
showed me who you were
Every time
Call a spade a spade
Now the horse is in the grave
But I’d still call a truce,
Clean the slate like it’s new
Place a bet ’til I lose

The harder you hold on
The harder it is to let it go

Every frame feels built to honor that reclamation. The video begins in ritual and restraint, with Lee arriving to the chapel in black, caught somewhere between grief and relief; by its final act, the red carpeted aisle has become a runway, the congregation has become a chorus, and the whole room has surrendered to the kind of joy that can only arrive after sorrow has been named.

The transformation arrives all at once – suddenly, the congregation throws off its black, revealing dazzling reds and whites underneath. Mourning veils give way to feathers and fringe, nuns shed obedience for showgirl splendor, and Lee, now clad in a breathtaking white showgirl ensemble (complete with a towering feathered headpiece and rhinestone fringe), moves from casket-side stillness into a feverish communion of bodies, color, and light. The farther the video goes, the less it feels like a service for what was lost, and the more it becomes a coronation for the self she refused to abandon.

Oh I’m sorry
That you’re not sorry
And yet there’s still a part of me
that’s hoping
You can be happy

I know it’s petty
But can you blame me?
Cause I feel everything
Watching you still feeling nothing

I’ll cry the tears for the two of us
Crystal is clear you don’t give a f***
Make it look easy I wish it was

This contrast is delicious: Catholic iconography collides with drag spectacle, confession becomes transformation, and the sacred is reclaimed through bodies in motion, glittering costumes, fevered choreography, and a community refusing to let shame have the final word.

That’s what makes the video feel so electric: It doesn’t decorate the song so much as complete it. Where the track gives heartbreak a pulse, the visuals give it a stage. Where Lee sings from the raw edge of feeling everything, The Haus of Cherry surrounds her with proof that no one has to pass through that fire alone. “Sorry You’re Not Sorry” is a full-scale act of emotional theater – funny, sensual, wounded, ecstatic, and deeply human – with Lee at the center, not begging for absolution, but walking straight into the light she built for herself.

“Sorry You’re Not Sorry” resonates because it understands that empowerment doesn’t always arrive cleanly. Sometimes it’s messy, petty, aching, glamorous, and half-laughing through the tears; sometimes it sounds like admitting you still feel everything, then choosing to move anyway. Cherry Bomb makes that contradiction feel radiant. Her song is fun because it refuses to be small, empowering because it refuses to be ashamed, and liberating because it gives voice to the part of us that has waited too long for another person to understand the damage they left behind. In Lee’s hands, pop becomes permission: To grieve loudly, want more, dance harder, and make your own ending when the one you deserved never comes.

With Cherry Bomb, Mandy Lee is building so much more than a solo project; she’s crafting a whole universe for all to surrender, shimmer, and set themselves free.

An undeniable artist to watch, Cherry Bomb feels fun, fresh, twisted, and utterly irresistible. The disco-pop music she’s making right now is explosive, emotional, theatrical, and fully hers, carrying the communal fire fans have long loved in MisterWives while charging forward with its own voltage, vision, and bite. She stands apart in today’s pop landscape by making spectacle feel personal and vulnerability feel enormous. With “Sorry You’re Not Sorry,” Cherry Bomb truly arrives as a singular force – a voice of glitter, grit, feeling, and freedom, detonating her way into a future that looks brighter every time she steps further into it.

Stream “Sorry You’re Not Sorry” exclusively on Atwood Magazine, and step inside the dazzling world of this liberating song and video. Some doors may never open for us, but Cherry Bomb reminds us that we can still kick them down, flood the room with light, and dance our way through.

Oh I’m sorry
That you’re not sorry
And I’ve made my peace
that you’ll never be
C’est La Vie

I know it’s petty
But can you blame me?
Cause I feel everything
Watching you still feeling nothing

I’ll cry the tears for the two of us
Make it look easy I wish it was
I’ll cry the tears for the two of us
Crystal is clear you don’t give a f***
Make it look easy I wish it was

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“Sorry You’re Not Sorry” – Cherry Bomb

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