Glamorous, Bejeweled, and Rough Around the Edges: Chappell Roan
By Samara Mellis ‘27
Chappell Roan by Samara Mellis
Chappell Roan is a bonafide pop star. Like many female icons of the current music age (Taylor Swift, Olivia Rodrigo, Dua Lipa), Roan uses her music to pine for lovers, curse toxic exes, and celebrate her diva-ness. Her lyrics about falling in love with the idea of someone and avoiding an old flame resonate with countless fans in ways similar to Swift or Rodrigo’s music. She recounts old partners and bad nights with an irreverence that matches Fiona Apple or Courtney Barnett. Unlike these current legends, Roan can relate to us in ways they can’t: she has a shitty credit score, roommates, and a twin bed. She’s glamorous, bejeweled, and rough around the edges.
Legally, Chappell Roan is Kayleigh Rose Amstutz from Willard, Missouri. She’s been playing music live since the age of fifteen, and at twenty-five, she already has ten years of performing under her belt. Over the years, her sound has evolved from more moody, dark-pop influences to the disco-pop sound she curates on The Rise and Fall of a Midwest Princess, her debut album that she released in September of this year.
Roan is glamorous, yet accessible. She’s a walking dichotomy: her mid-western charm has been transplanted into Los Angeles clothes. Equipped with her bedazzled cowboy hat and pink cowboy boots, she’s a superstar and still incredibly accessible, singing about the pitfalls of dating in your twenties and wasting Friday nights on terrible dates. She does all this while singing from her perspective as a queer woman.
I saw Roan on October 15th, at the House of Blues in Boston. Lansdowne Street teemed with young people from across the city sporting their best red and black garb in honor of Roan’s song “My Kink is Karma.”. Throughout her tour, Roan has designated cities with different themes, including pink cowgirl for her song “Pink Pony Club,” rainbow for “Kaleidoscope,” and more abstract themes, including goth, grunge, glitter, and “slumber party kissin’”. Outfits at her Boston concert ranged from simple all-black ensembles to get-ups reminiscent of Rocky Horror costumes. Others dressed as Roan herself. Before even entering the venue, the excitement was palpable.
Instead of a traditional singer-songwriter opener, Roan invites local drag queens to open her shows. In Boston, Tara Dikhof, Kulfi Jaan, and Chanel thee Angel kicked off the night. Each of the queens used a mash-up of different songs, exhibiting a range of choreography, dance, and performance. After the queens finished their performance, a party ensued. As the crowd awaited Roan’s entrance, Kelly Clarkson, Charli XCX, and Beyonce blasted over the sound system. People danced, encouraged by the supportive, unapologetically queer atmosphere. Finally, Roan emerged.
Roan wove through her debut album over the course of her set. Standouts included “Red Wine Supernova,” “Coffee,” “Super Ultra Graphic Modern Girl,” and, of course, “My Kink Is Karma.”
I entered the show as a new fan; I left a devotee. Roan has an ineffable stage presence: she’s magnetic and sexy, but her energy doesn’t just dominate the space, it expands it. Her concert feels like a slumber party with your best friends where everybody is dancing and singing, joyous and unabashed.
Like any good show, Roan gave us highs and lows. She started with a bang, playing “Femininomenon.” Next was her hit “Red Wine Supernova,” which built on the excitement. The first tone switch arrived during “Casual,” where Roan lamented the tribulations of a confusing no-labels situationship. Her infectious humor took center stage during “Super Graphic Ultra Modern Girl.”
Later, the set hit its most melancholy notes during “Coffee” and “Kaleidoscope.” Roan returned to the fun energy of earlier with her cover of Lady Gaga’s “Bad Romance.” Her cover was everything a reimagining should be: inventive and fun while still recognizable.
Roan concluded the evening with “My Kink is Karma,” which she dedicated to the crowd. After exiting, Roan came back for her encore, playing “California” and “Pink Pony Club,” two crowd favorites. When Roan finally left the stage, she left her jubilant energy in the air. I left with a feeling of celebration: of love, dance, and queerness.
Although Roan’s United States tour ended on November 14th, she will be back on the road this spring, opening for Olivia Rodrigo’s SOUR tour. In the meantime, she’ll be going international, playing shows across Europe and Australia.
Chappell Roan is a pop star for the future. She has the iconic traits of past mega-stars while simultaneously bringing her experiences as a queer woman into the media mainstream. Watch out for her mane of red hair: Chappell Roan is about to blow up.
