If you haven’t seen the hype around Charli XCX’s ‘brat’ album then either my echo chamber isn’t as big as I think, or you’ve simply been blocking it out. Needless to say this album scratches itches in my brain that I didn’t even know existed and just in time for that carefree, unhinged summer we talked about in my last post - check that out here!
I thought about doing a deep dive analysis and think piece around all the tracks that make this album so iconic but honestly, there are plenty of writers and creators that have already done such an outstanding job of capturing the visceral perfection of it all.
Instead I wanted to take an opportunity to explore all my personal fave moments of marketing genius from the brat rollout as well as reflecting on this emerging trend of niche world building in the music scene because I can’t get enough of it rn!
The Visuals
We can’t discuss the marketing genius of this album without first talking about the iconic album cover. Its defiant lack of effort evokes exactly what it says on the tin; it’s peak brat behaviour. More than that, it’s also peak meme bait. The fact that literally anyone can recreate it only amplifies its impact further, so much so that even The UK’s Green Party used the template to generate support for this week’s UK genny lec (”a random twink” cooked here - word to Chappell).
Aside from being incredibly meme-ifyable, the simplicity and lack of imagery also has a universality that gives permission for anyone to be a ‘brat’. There’s a sense of acceptance and community in that blank canvas, giving room to define what being a ‘brat’ means to us individually.
Colour
Is it just me or does it literally feel like lime green is everywhere?? Street signs, city bikes, book covers; I never paid much attention to it as a colour but now I can’t stop seeing it which means I constantly have brat on the brain. Clearly it’s catching:
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Billie Eilish has notably used similar techniques with colour, often signalling in a new album and new era with a hair colour change.
But some world building techniques go beyond signature hues, instead creating an entire aesthetic and uniform around an album. We’ve seen it with Beyonce’s c*nty futuristic Renaissance Tour vibe and Sabrina Carpenter’s current dreamy pin up bombshell era.
brat is no exception. It’s more than an album; it’s a lifestyle with its own language and niche culture attached. IYKYK marketing at its finest.
The Lingo
In an interview with Rolling Stone UK, Charli talks about her love of ‘dumb lyrics’. Lines like ‘I’m so Julia’ and ‘girl, so confusing’ have that instant catchphrase virality where you could slap them on a slogan baby tee, a mug, anything, and fellow brats would immediately recognise the reference. The merch opportunities are endless.
A similar technique is often used in shows like RuPaul’s Drag Race with terminologies stemming from the ballroom scene or drag queen catchphrases that often turn into viral moments. See: Chappell Roan referencing Sasha Colby’s ‘your favourite drag queen’s favourite drag queen’ line in her interview with Jimmy Fallon:
There’s also something I personally love about Charli referring to her own lyrics as ‘dumb’, as it feels reminiscent of last year’s ‘girlification’.
Related: girl math, girl dinner, girlhood interrupted
It carries forward this reclamation of the idea that girl stuff is inherently stupid; a middle finger to the notion that loving music genres like hyperpop somehow makes you basic or less intelligent.
What’s obvious to anyone who’s actually taken the time to listen is that the album’s lyrics are far from ‘dumb’. It’s an album that captures the complete spectrum of girlhood; from contemplations about motherhood to dealing with friendship insecurities and of course dancing your ass off to those club classics.
The Culture
When it comes to the way this album is being received, timing is EVERYTHING. The pandemic era was all about perfection and productivity: clean girl makeup, Pilates princesses and green smoothies galore. Then last year we all witnessed an awakening from the collective performance of girlhood, personified with the monumental success of the Barbie movie. This year, it seems we’re taking it further; the girls are initiated and re-wilding. Barbie strutted in heels so brat could walk home from the party barefoot.
We’ve seen glimpses of it with #feralgirlsummer videos on TikTok, the current discourse on ‘hot rodent boyfriends’, the return of indie sleaze and even with the likes of anti-wellness brands like 4AMSkin which cater to a party lifestyle. The girlies are tired of being clean - we want to misbehave, we want to have fun, we want to get a lil’ dirty.
On a wider scale, there’s a reframing happening of the narrative that partying and drinking is an inherently poor use of your time. Partying is community. It’s quality bonding time - something we didn’t get to experience during the pandemic. Name a better feeling than the juicy and existential conversations you have at pres with your besties, or the friends you make in the toilets at the club. This album basically captures that feeling and bottles it up to take with you wherever you go. It’s a rewind of those pivotal years that many of us in our 20s lost during lockdown - the soundtrack to the feral brat summer we all deserve.
Okay it got a little think piece-y towards the end but honestly it’s hard not to gush over everything this album does. If you’re in need of more brat content (because I clearly haven’t said brat enough), check out this post by Emily North (Angel Cake) which I thoroughly loved reading on my train home from London the other day: