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A few nights ago, I waited for an hour and a half in a line snaking out of Cubbyhole, an LGBTQ+ bar in New York’s West Village neighborhood. I queued up little after 11 p.m., surrounded by enthusiastic company: Nearly everyone in line was dressed for the occasion, namely, a slumber party–themed album-release party for Chappell Roan. People wore sleep masks as headbands, vintage satin pajama sets, lacy nightgowns, and flannel pants paired with Converse sneakers.
The singer’s debut album, The Rise and Fall of a Midwestern Princess, came out at midnight on Friday, September 22, and as someone who does not identify as a night owl (at all), the release party was about the only function that could get me out of bed at that hour. The album is like sonic glitter with bold, unapologetic lyrics meant to be sung-screamed at the top of your lungs—and that was precisely the vibe inside Cubbyhole as soon as the clock struck midnight.
Chappell Roan is the stage name of Kayleigh Rose Amstutz, a 25-year-old singer from Missouri. In interviews, she’s spoken about how Chappell is a quasi-drag persona for her—while Kayleigh is slightly shy, Chappell is outspoken and fabulous. In performer mode, she goes all out: colorful eye shadow, go-go boots, and her signature long red curls bouncing about her. Amstutz has been teasing this album with singles like “Pink Pony Club” and “Naked in Manhattan” for more than a year, and the result is 49 minutes of pure joy. (It’s also empowerment, screaming from the rooftops, disappointment in men—sorry, but yes, all men—queer awakening, situationship confusion, revenge…it’s everything.) “I’m so sick of online love,” Amstutz declares in the theatrical opening single, “Femininomenon”—relatable!—but she’s also done trying to be the chill girl. In my new favorite song from the album, “Super Graphic Ultra Modern Girl,” she intones, “Not overdramatic, I know what I want.” You tell ’em.
Similarly multifaceted are the album’s influences. Amstutz’s songs have a cinematic sensibility that calls Caroline Rose to mind, just as they tap into the youthful angst of Olivia Rodrigo’s music. (In fact, Rodrigo is a friend—Amstutz will be joining her on tour next year—and they’ve both worked with producer Dan Nigro.) On a few tracks, as she switches between speaking and chanting lyrics to outright belting them, she evokes one of my all-time favorite pop stars, Mika; and in the wistful “Picture You,” she is definitely channeling the melancholic vocals of Lana Del Rey.
As the title of her album suggests, Amstutz’s Midwestern identity is still core to her singer-songwriter persona. The music video for “Hot to Go!” was shot in her hometown of Springfield, Missouri, and features a choreographed dance with her grandparents, who look thrilled to be a part of it. She might be a Los Angeles girl at the moment, but as Amstutz grooves around a gas station in a cheerleader’s uniform and mini-golfs in heels, it’s clear she hasn’t forgotten her roots.
Amstutz’s tour begins tonight in California, and I am counting down the days until she comes to New York. I hope I don’t have a voice the next day.