The Rise and Fall of a Midwest Princess (Album)

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    Chappell Roan’s Rocket-Ship Year

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    Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicChappell Roan has become one of the biggest breakout pop stars of the past year, and made it happen in novel fashion: creating grand-scale, 1980s-influenced pop refracted through a queer lens; building a drag-inspired performance character; and calling into question the way that fans worship their heroes while rapidly accumulating fans online and in real life.Her debut album, “The Rise and Fall of a Midwest Princess,” continues its rise toward the top of the album chart, more than a year after its release. And her festival performances have become wildly viral events. Roan’s ascent has tested the boundaries of contemporary pop, and also may create a template for a next generation of stars.On this week’s Popcast, a conversation about the fits and starts of Roan’s early career, the events that propelled her to fame and the ways in which she is remaking the star-fan dynamic.Guest:P. Claire Dodson, associate director of culture at Teen VogueConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica.Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. More

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      Daniel Nigro’s Path to Hitmaker for Chappell Roan and Olivia Rodrigo

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      The songwriter and producer has helped craft huge albums with Chappell Roan and Olivia Rodrigo. What’s the key to his success? “Dan always believed in me,” Roan said.When Daniel Nigro and Chappell Roan wrote and recorded “Pink Pony Club” back in 2019, Nigro knew they had something special. The problem was, no one believed him.It was the second song the pair had written together, a stirring origin story of Roan’s self-awakening from the Missouri-born Kayleigh Rose Amstutz to the burgeoning queer artist Chappell Roan, spurred by her home away from home, a Los Angeles gay bar where “boys and girls can all be queens every single day.”At the time, Roan was signed to Atlantic Records, which had released her downcast debut EP to little notice. Nigro was scuffling, too; he’d left his middling Long Island emo band to try his hand at songwriting in L.A., where he had some success with credits on songs by Sky Ferreira and Carly Rae Jepsen, among others. But in his mid-30s, he was still paying the bills in part with money he’d earned writing commercial jingles.When Atlantic executives heard “Pink Pony Club,” they were not impressed. “I was convinced the song was incredible,” Nigro recalled, “and then they told me it wasn’t.” The label suggested excising the song’s ebullient guitar solos, played by Dave Stewart’s son Sam, that Roan had pushed for and Nigro helped compose, “and I was like, nope,” he said. Atlantic dropped Roan, and in 2021 Nigro started his own label, Amusement Records, just to release her music. In August, her debut album, “The Rise and Fall of a Midwest Princess,” hit No. 2 on the Billboard 200.“Dan always believed in me,” Roan said in an email. “He has been there from the beginning, and brought me into realizing what makes me feel good to perform, what makes me feel good to sing, to write about. Because he believed in bringing that part of myself to life, I started to believe in it, too.”Nigro performing in 2010 with As Tall as Lions, the emo band he formed with high school friends on Long Island.Joey Foley/FilmMagic, via Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Chappell Roan Seeks the Line Between IRL and URL

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      For Chappell Roan, who has been toiling in the pop music trenches for several years now, the recent burst of acclaim she’s received has been overdue, affirming and more than a little disorienting. Perhaps the most energizing breakout star of this year, she has songs that center queer romance, a robust aesthetic gift and, most striking of all, an unusually moral sense of how a famous person should be treated.As she’s being embraced, she’s also being tested. The last couple of weeks especially have provided Roan a case study in the difference between IRL and URL fandom — the people who show up to commune with you, and the people who make you the object of their study and chatter online — and which to stake her future on.Last Tuesday in Franklin, Tenn., she took a mid-show breather to survey the 7,500 people who’d come to see her perform at the FirstBank Amphitheater.“I know how hard it is to be queer in the Midwest and the South,” she said. She grew up around seven hours west, in Willard, Mo., chafing against her conservative surroundings. As a young person, she continued, “I really needed a place where people weren’t going to make fun of me for how I dressed or who I liked.”For the night, the amphitheater just outside of Nashville had become such a place. Carved into a rock quarry, the open-to-the-sky venue felt cloistered, protected. A place for intimate but very loud conversation out of view of prying ears and eyes.Fans came to the show in costume: Realtree camouflage, pink cowboy hats, Western boots, frilly dresses, hand-drawn shirts with Roan references. Amy Harris/Invision, via Associated PressWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More