Recommended tracks: “Take Me Dancing (feat. SZA)”, “AAAHH MEN!”, “Silly! Fun!”
Similar artists: Kali Uchis, Megan Thee Stallion, Latto
Two years after dropping Scarlet, Doja Cat is back with her highly anticipated fifth studio album, Vie. This time around, she leans back into her pop roots, weaving in a vibrant thread of 80s influence that gives the project a fresh yet nostalgic feel. It’s a sharp evolution that shows just how in control of her sound she really is.
Doja Cat’s sound has never stayed in one place for long. She’s shifted from quirky internet rap to sleek chart pop, and then into darker, more experimental territory with Scarlet. That constant evolution is part of what’s made her discography so engaging: each project feels like a deliberate reset. With Vie, she turns her attention back to pop, layering in shimmering synths and 80s textures that mark a new direction without losing the core of what makes her music work.
The record opens with “Cards,” a confident track about knowing exactly what you want in a relationship. Right away, the album’s heavy 80s influence comes through, and that’s part of what makes it so compelling. The track leans hard on saxophone, giving it a smooth, throwback feel that sets the tone for what’s to come. It’s a bold way to start, signaling that Vie isn’t just revisiting the past—it’s reimagining it through Doja Cat’s unique lens.
“Jealous Type” follows as the album’s first single, and I’ve been hooked on it since the moment it dropped. The track effortlessly channels the modern disco-pop vibe popularized by artists like Sabrina Carpenter, arriving just when we need that upbeat energy most. Doja’s rapping remains sharp and clever, especially on lines like: “No girl enjoys trying to tough it out for a party boy / Everyone wants you and you love all the noise / You want what you can’t have, but I made a choice / I’m not your toy (Boy, let me know).” It’s a track that grows on you with every listen, leaving a lasting impression long after it’s over.
“AAAHH MEN!” plays like a cheeky demand for attention, flipping the script on settling for less in a relationship. It’s also the first track on Vie where Jack Antonoff takes on sole production duties, and bringing him into the mix was a genius move. His style pushes Doja into new territory, and the result feels effortless but intentional. The beat gives her plenty of space to play, and when she launches into her verses, she completely locks in.
On “Gorgeous,” Antonoff brings George Daniel and Sounwave into the fold, and together they take the production to a whole new level. The track floats with a dreamy polish that feels almost otherworldly, but still grounded in rhythm and intent. Lyrically, Doja Cat leans into self-celebration, using 80s fashion as both a reference point and a symbol of power. It’s a love letter to confidence and image, wrapped in shimmering synths and layered vocals. She sings, “She like white gold in her hardware / With an install and a long nail / With a eyelash and it’s glued on / She ain’t so Christian in Louboutins,” turning what could be surface level into something proudly self aware.
The standout moment on the album for me is “Take Me Dancing,” Doja Cat’s second collaboration with SZA. Listening to it feels like that scene in Sex and the City where Carrie spins around at the club while being lost in the moment and fully alive. The track leans all the way into pop, and it lets both artists shine through their vocals and sharp songwriting. It’s like “Kiss Me More’s” older, cooler sister: out late, in control, and not here to impress anyone. Since my first listen, I haven’t stopped singing, “Left, right, bend, slide / Hips, waist, spin, hold it / Tick, tick, tick (Are you ready?) / More body, less mind.” This track turns every moment into an invitation to lose yourself and own the night.
The run of “Lipstain,” “Silly! Fun!,” and “Acts of Service” marks a turning point on the album, where surface-level charm gives way to something more layered. “Silly! Fun!” stands out with Rob Bisel’s solo production creating a warped, surreal atmosphere that pulls you in without warning. Doja matches the mood with a performance that’s sharp, strange, and completely in control: “Those men were practice in my past, don’t be dramatic, let’s have kids / And buy a mansion and three cats and two garages worth of whips / This ain’t delusional, impulsive, don’t be rude, that’s so insulting.” What starts off playful slowly reveals something deeper: chaotic desire, maybe even a touch of delusion. Then “Acts of Service” brings a quiet shift—suddenly, she’s not performing anymore. It’s the moment the album stops winking and starts telling the truth, beginning a descent into a more introspective, vulnerable space.
“Come Back” closes the album with quiet precision. It’s not a dramatic finale—it’s a slow fade, the kind that leaves something unsaid on purpose. Centered on the ache of a breakup, the track captures that strange mix of tenderness and distance that comes when love doesn’t end in anger, just absence. The production leans into soft synths and melancholy tones, like it’s scoring the end credits of an 80s film where nothing explodes, but everything changes. Doja doesn’t overperform: she just lets the emotion sit, and that restraint makes it hit even harder.
Vie feels less like a comeback and more like a statement—an artist fully in command of her vision and willing to take risks without losing sight of her roots. The album balances fun and depth in a way that few can pull off, weaving nostalgia with fresh energy and honest emotion. Doja Cat’s ability to reinvent herself while staying unmistakably true creates a sound that feels both familiar and excitingly new. With Vie, she doesn’t just make music—she stakes her claim as one of the most compelling voices in pop right now, proving that growth and boldness can go hand in hand.
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