Balancing the need for authenticity between the character she’s constructed and the real Bella, Baby Queen has created the fine art that is Quarter Life Crisis. From the opening monologue of ‘We Can Be Anything’ to the gut-wrenching lament of ‘Obvious’, Bella Latham takes inspiration from her past and her multiple identities, and softens with hope.
The 23 year old’s debut album is a surprising listen. While Baby Queen’s sassiness still echoes through the tracks, the drop feels softer and the lyrics are more vulnerable and open. The choruses are bright while the verses are lyric-heavy journeys through multiple narratives with a twist. There are hints of The 1975’s pessimism, Wolf Alice’s soft whisper-like speech and even a hint of Taylor Swift. It almost feels like a coming of age movie, and maybe that’s part of the appeal. Change is rarely easy, but impossible to avoid.
Album opener ‘We Can Be Anything’ hits a dynamic, conscious rhythm with witty, self-deprecating and illustrative lyrics. It is more positive than some of her other work, an ode to being free, after experiencing a quarter life crisis. It’s about “non-confinement and non-conformity in the face of what is essentially absurdity”, as Baby Queen herself said in a statement.
Baby Queen’s sentiment in previous songs has been slightly defeatist, considering lyrics like; “What doesn’t kill you makes you wish that it had.” So it’s a positive change of pace for her to be on the other side. That doesn’t mean her other songs aren’t inspirational, because sometimes all you need is someone who can relate to your struggles.
Having spent most of 2020 making a wave in London’s emerging anti-pop scene and creating music for a generation falling out of love with social media, Baby Queen is exploring the more grounded and reflective side of herself. In her song ‘Kid Genius’ she talks about how in today’s society everyone wants to be someone – online. She discusses the blurring of the lines between reality and what we see on all the apps that rule over our lives – and the impact it has on us. It’s a cynical showcase of today’s influencer and social media landscape. “Only need a ring light, no talent required”, has got to be one of my favourite lines.
‘Dream Girl’ details the South African born artist’s unrequited feelings for a woman who was in a straight relationship. She actually had palpitations over its release, because when she first started making music, she didn’t want anyone to know about her bisexuality. The track, however, has already captivated listeners and solidified her position in the indie-pop scene,taking social media by storm, leaving fans and critics alike in awe of its gripping melodies and heartfelt lyrics. The song shows Latham’s unique blend of introspective songwriting and catchy pop hooks, encouraging listeners to enter an immersive world of dreams and aspirations.
‘I Can’t Get My Shit Together’ is a punky, punchy confession to a life in “total disarray”, on which Bella Latham barely comes up for air on the fast paced, rapid-fire chorus: “I can’t get my shit together / I take pills, I don’t get better / Coming down under the pressurе / Maybe I’m just not that clever”. The lyrics talk about the struggle of feeling lost and overwhelmed, nailing the essence of mental battles in a chaotic world, delivering a sharp message of inner turmoil, mental struggles, and the feeling of not being able to cope with life’s demands. The recurring lines of “I’m not fine,” “Lost my damn mind”, and “Gone all wrong, right” emphasize the internal conflict.
Quarter Life Crisis feels like a personal journey; just as some songs are full of snappy confrontation, others offer vulnerability. A song like ‘I Can’t Get My Shit Together’ lives off self-depreciation in the first minute, only to then bounce back to hedonistic celebration in an explosion of hyper-pop. Then, only a couple tracks further, ‘Obvious’ confronts life consequences with tenderness and a hint of Taylor Swift’s introspective and melodic influence.
‘Love Killer’ talks about the struggles with relationships and self acceptance and how both of them intertwine. If you can not trust your own judgment and keep trapping yourself in toxic relationships – you are indeed a love killer.
On ‘Grow Up’ Latham talks about the growing pains of going from being a teenager to becoming a young adult. A song her audience will definitely relate to, as Gen Z and Millennials alike face a world they were entirely unprepared for. They grew up with the values of their parents, which nowadays have become almost redundant. Therefore we always feel like we need to catch up on something, even though we feel too young.
Title track ‘Quarter Life Crisis’ is a pop-rock statement that reconciles the mixed emotions of looking forward and letting go. The heart of the album, it draws together the thematic strands that battle across its eleven other tracks. Broadening her creative process, Latham worked on the song with esteemed songwriter (and former indie sleaze heartthrob) Max Wolfgang.
The track is powered by a melody that has, what Latham has described as, “a creepy nursery rhyme vibe”. Starting gracefully with a twinkling piano, we hear the London-based singer-songwriter’s perfectly defeatist lyrics. From the very start, Latham questions life and growth, “What if all my best years are behind me?/ What if they ended when I was nineteen?/ After all of these years that I’ve wasted/ When I get what I want, will I hate it?”
The second verse of the track is much more decorated than the first, glistening with a glockenspiel part as the drum beat persists from the chorus. “I feel like my mind is twenty-five sided/ I’ll let you know if I ever survive it” Latham continues, battling feelings of inadequacy as she reaches a complex stage in her life. This single feels so quintessentially “Baby Queen” and stands as her most sonically confident release to date.
After, ‘Die Alone’ introduces itself with the sound of percussion before the lyrics kick in. It’s slower, more emotional from the get go. The lyrics talk about the struggle with self image and being single in a generation where we seem to be surrounded by happy couples (online). “Just look at my mum and dad” hints at a difficult family dynamic she is carrying with her and attracting toxic relationships over and over. A relatable concept that will pull on the heartstrings of her listeners.
In ‘Obvious’ we are taken on an almost acoustic journey of running away, success and loss. It tells the story of a young girl moving away from home to chase her dreams and break out, only to realise how quickly time passes and leaves us with nothing but memories.
‘23’ taps into the record’s overarching themes of honesty and self-acceptance, a sizzling piece of pop music that mirrors emotional chaos in all its glory.
It’s one of Baby Queen’s favourite tracks from her forthcoming album and continues to explore themes of honesty and self-acceptance. It is, she says, “about a night out and the conflict I have within myself about my sexuality, and accepting certain truths about myself.”
Penultimate track ‘Everytime I Get High’ starts with the sound of futuristic whispers and handles the re-emerging topic of consuming drugs to escape reality with Baby Queen’s identifying sassiness and triumphant self-deprecating humor because “when she gets high she can do anything.”
The album finishes with ‘A Letter To Myself At 17’, a heartfelt song about a conversation with Bella’s younger self. We all wish we could go back in time to tell ourselves everything was going to be alright, so this song feels like healing that young girl with no idea where life was gonna take her. “We can be anything, don’t give up” is the motivational speech we should all say into a mirror three times every morning.
With her distinct vocal delivery and relatable storytelling, Baby Queen continues to connect with her audience on a profound level. Quarter Life Crisis is another testament to her ability to capture complex emotions in her music, leaving a lasting impact.
Written by: Laura Finkler
Edited by: Molly Day
