Review: Chappell Roan is ready for her next chapter

Bon Iver collabs with Danielle Haim, Playboi Carti teams with Kendrick Lamar.

The New York Times
March 20, 2025 at 4:00PM
Chappell Roan signals a new chapter with the single "The Giver." (Eileen T. Meslar/Chicago Tribune)

Chappell Roan, ‘The Giver

Roan provocatively but persuasively dons country-queen drag on “The Giver,” her first single in nearly a year, which she previewed on a November episode of “Saturday Night Live.” Driven by a boot-stomping beat and heavily embroidered with fiddles and banjos, the track is a vividly rendered throwback to country’s ’90s pop crossover moment — think Shania Twain and the Chicks — though its cheeky lyrics (full of queer innuendo) frame 21st-century bro-country in its crosshairs. “Ain’t no country boy quitter,” Roan winks at a love interest on a rollicking, shout-along chorus that centers female pleasure. “I get the job done.” “The Giver” feels like the beginning of the self-assured second chapter of Roan’s stardom, since her previous smashes were all sleeper hits that crawled up the charts long after their initial release. But here she’s stepping confidently into an expectant spotlight, unbowed by the pressure and ready to fulfill the song’s promise: “Baby, I deliver.”

LINDSAY ZOLADZ, New York Times

Haim, ‘Relationships

The Haim sisters, who haven’t released an album since 2020, juggle cynicism and connection in a new single, “Relationships.” The backup is steady-chugging midtempo R&B, with cushy piano chords and a firm back beat; the lyrics pile on the ambivalence. The sisters ask, “Don’t they end up all the same? When there’s no one left to blame?” Seconds later they admit, “I think I’m in love but I can’t stand [expletive] relationships.” Consider it an update of Samuel Johnson’s line about a second marriage: “a triumph of hope over experience.”

JON PARELES, New York Times

Playboi Carti featuring Kendrick Lamar, ‘Good Credit

Carti has optimized hip-hop for the splintered-attention era of streaming and TikTok. He releases a barrage of one-off singles and features, slinging high-impact sounds and percussive, seconds-long phrases in unpredictable voices. Meanwhile, he’s been working on “I Am Music,” his first full-length album — a 30-track marathon — since “Whole Lotta Red” in 2020. Among the guests is Lamar, who shows up on “Good Credit” to anoint “Carti my evil twin.” Lamar raps about his own ungimmicky integrity and success: “The numbers is nothing, the money is nothing / I really been him, I promise.” Carti’s boasts are more scattershot — women, dangerous associates, drugs — and one is undeniable: “I got too many flows.”

JON PARELES, New York Times

Bon Iver featuring Danielle Haim, ‘If Only I Could Wait

Doubts and yearning — and electronics and distortion — threaten to overcome Eau Claire’s Justin Vernon, who performs as Bon Iver, in “If Only I Could Wait” from his coming album, “Sable, Fable.” He wonders, “Can I incur the weight? / Am I really this afraid now?” in one of his majestically hymn-like melodies — a melody that’s set atop edgy electronic drums and interrupted by stray guitar lines. Danielle Haim arrives with companionship and sympathy: “I know that it’s hard to keep holding, keep holding strong.” But their verses and vocal lines collide. By the time they find harmony, they conclude they’re “best alone,” more bereft than before.

JON PARELES, New York Times

Matt Berninger, ‘Bonnet of Pins

Berninger doesn’t make a radical departure from the sound of his longtime band, the National, on “Bonnet of Pins” from his second solo album; it’s robust folk-rock with orchestral backup. “Bonnet of Pins” sketches an awkward encounter with an ex; “I thought I’d find you much quicker than this,” she says, after finishing his drink. “You must’ve thought I didn’t exist — poor you, I do.” What happens next goes untold, but the guitar hook sounds confident.

JON PARELES, New York Times

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