wrapped unpacked 2025
Aquamarine
Addison Rae
“Aquamarine” was a fitting follow-up to Addison Rae’s breakout hit.
The second single from her self-titled debut cleverly contrasts the youthful, fleeting fantasies and synthetic pleasures she celebrated on “Diet Pepsi” with lyrics grounded in an organic, ethereal self-confidence. The song still has plenty of Addison’s signatures — it indulges in worldly pleasures (“The world is my oyster and I’m the only girl”) and makes several slick pop culture references (she name-checks Madonna’s Ray of Light album, and nods to an iconic 90s film and Britney video at once with a reference to the “heart of the ocean”; the track also shares its title with a generation-defining teen flick). But unlike the bubblegum pop on her first EP, it feels more cosmopolitan than Cosmo! Girl. The sexy, sophisticated dance groove and euphoric bridge (“give me more…”) elevate the track even more. With this song, Addison clarified the artistic vision of her debut LP — it’s a celebration of contemporary girlhood that’s rooted in ancient truths; an exploration of identity; an embodiment of the divine feminine.
Fame is a Gun
Addison Rae
Addison Rae’s debut was audaciously ambitious. This track, the album’s fifth and final single, announces her intentions in no uncertain terms — “There’s no mystery / I’m gonna’ make it / Gonna’ go down in history.” It’s also the embodiment of Addison’s ironic ethos.
Like the remix of Charli xcx’s “Von Dutch” she guested on, it’s a braggadocious dance banger — the lyrics celebrate Addison’s unshakeable confidence, focus and determination, as well as the luxurious lifestyle she’s manifested. But it’s also, in part, a cautionary tale. Addison believed notoriety “was the only way to mend my broken heart”; but as she achieves celebrity status, fame becomes a lethal weapon that she brandishes recklessly — “Fame is a gun and I point it blind” — to the point of destruction — “crash and burn girl.” This imagery clashes violently against Addison’s egoistic ambitions. In the chorus, she apparently taunts the listener — “You got a front row seat and I got a taste of the glamorous life” — yet the bridge finds her desperate for their approval — “nothing makes me feel as good as being loved by you.” In pursuit of fame, Addison willingly sacrifices her self — “Tell me who I am,” she says in the opening line of the track — in exchange for her audience’s admiration. So her privileged position on the stage is also one of disempowerment; of dehumanization. And yet, as much as this song casts shadows on the spotlight, for Addison, fame roulette has an enduring allure that makes it worth the ultimate risk. By celebrating fame while exploring its dark side, “Fame is a Gun” paints a complex portrait not only of celebrity, but of those who chase stardom so desperately.
Switch
Rose Gray
Rose Gray’s debut album Louder, Please was a masterclass in pop songwriting, and this song is the perfect example.
At its best, pop music takes complex emotions and personal narratives, and turns them into songs that are not only sonically pleasing, but also easily-digestible and relatable to a wide audience. On “Switch”, Rose turns challenging changes in her life and relationship into exciting — and sexy — opportunities to try new things. The verses describe the emotional struggle Rose faces — she’s longing for change, but her desires have implications for what seems to be an already-strained relationship. And yet, the chorus offers a simple solution — “Baby, we can switch.” To be clear, these lyrics are pretty explicitly about versatility in the bedroom — Rose goes as far as suggesting “dominant, submission” as options. But the heart of the song is about being adaptable and resilient in the face of life transitions, while also celebrating the confidence required to ask for what you want — even if it challenges tradition.
High Fashion
Addison Rae
Just as she explores both the delights and dangers of celebrity on “Fame is a Gun”, on the third single from her debut album, Addison examines both the pleasures and pitfalls of fashion.
For Addison, couture is a crippling vice. In the chorus of the song, she defiantly rejects “cheap love” and the fleeting highs of mind-altering substances in favor of the euphoric sense of embodiment she finds through luxury fashion. (“I’d rather feel the sun kissing my skin.”) But this is not a straight-edge anthem — despite asserting, “I don’t need your drugs,” Addison’s fashion fantasy provides its own form of escapism, and has a similar shadow side. Fashion allows Addison to express herself, but it also enables her to sublimate her more subversive desires (“You know I’m not an easy fuck, but when it comes to shoes I’ll be a slut”; in the bridge, she grapples with “denial” which she says makes it “so hard to choose”). So as she seeks a sense of self through fashion, she creates an idealized image that she may not fully identify with. Nevertheless, the identity she constructs for herself has an addictive allure that mirrors that of many of the drugs she rejects — “I know how to make the hard things look really easy.” As a song about vanity, “High Fashion” is a hard look in the mirror.
Headphones On
Addison Rae
The fourth single from Addison’s debut is arguably the album’s mission statement.
“Headphones On” is a breezy midtempo that celebrates the power of music. On one hand, it’s about how music can provide an escape from life’s struggles — but it’s also about how it can encourage us to embrace even difficult experiences. The lyrics are some of Addison’s most confessional — “Wish my mom and dad could have been in love / Guess some things weren’t meant to last forever” — and describe how she uses music not only to forget her problems, but to face them — “You just have to surrender to the moment … Soaking up the rain / Letting my hair down.” It’s a powerful statement that makes the case for the lush pop confections that make up most of her debut.
Denim
Kylie Cantrall
Disney starlet Kylie Canatrall’s debut EP B.O.Y. is a love letter to Y2K pop and R&B. The project’s third single is a fun, flirty summer anthem that feels tailor made for the TRL days.
“Denim” describes the timeless tradition of engaging in a summer rendezvous — “...sneaking up out of this house / Pop a window so no one finds out … Youthful type of indiscretion” — but brainrot-era buzzwords give the narrative a present-day update — “Gatekeep me, baby, please don’t tell ‘em.” The song is based on the eroticization of the narrator’s skimpy summer fit — “Hands on me, wanna’ feel my denim” — and Kylie maximizes her use of this symbolism to humorous effect. A line in the second verse brings to mind both luxury textiles and fast fashion — “Materials from overseas / You’re probably thinking it was made from heaven.” The effect is delightfully camp. With this track, it’s clear that Kylie isn’t just hopping on the Y2K trend, she’s cleverly commenting on the tropes of the era, making her a promising new voice in the pop girl space.
Obsessed
Addison Rae
Addison Rae’s debut single proved she was destined for pop stardom.
Released at the peak of her TikTok fame, “Obsessed” cleverly played with her reputation as a shallow influencer and the girlboss ethos of the era. The lyrics describe a romantic evening with her boo, where he confesses his affection for her. But his admission doesn’t cause Addison to gush over the guy — instead, she leans into self love: “You say you’re obsessed with me / So I took a second, and I said, ‘Me too.’” It was a critical and commercial failure upon release, partially because people missed the song’s self-awareness. But in the wake of her illustrious debut album, it’s clear that Addison was in on the joke all along.
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