special culture
Two Vogue Writers Debate the Merits—And the Motivations—of Charli XCX and Lorde’s “Girl, So Confusing” Remix

When Charli XCX dropped her sixth studio album, Brat, on June 7, the internet was immediately set ablaze. While plenty of songs prompted discourse—“360,” with its flock of It girls; “I think about it all the time,” with its reflections on the weirdness of having friends with kids—“Girl, so confusing” started a different sort of conversation, thanks to Charli’s allusions to a famous frenemy with “the same hair” as hers. It took all of five seconds for sleuths to deduce that the subject of the song was Lorde—though that conclusion was somewhat complicated by the fact that Lorde had quickly taken to Instagram to sing Brat’s praises.

More bewildering still, Lorde actually responded to the song. Last night, the two artists dropped their first-ever collaboration, “The girl, so confusing version with lorde” remix, produced by A.G. Cook. Instead of a cheeky, throwaway verse, Lorde met Charli’s stated insecurities about their relationship (“We talk about making music / But I don’t know if it’s honest / Can’t tell if you wanna see me / Falling over and failing”) with searing honesty of her own. “You’d always say, ‘Let’s go out’ / But then I’d cancel last minute / I was so lost in my head / And scared to be in your pictures,” Lorde sings. “’Cause for the last couple years / I’ve been at war with my body / I tried to starve myself thinner / And then I gained all the weight back / I was trapped in the hatred / And your life seemed so awesome / I never thought for a second / My voice was in your head.”

Allie X and Empress Of on Fandom, Friendship, and Joining Forces for Their New Single “Galina”

Allie X and Empress Of are having two very different Mondays. Connecting over Zoom from rural Canada, Allie, real name Alexandra Hughes—who now lives in Los Angeles, but is back in her native country for a summer vacation—sits on a sun lounger with the bucolic splendor of a forest-edged lake behind her. Lorely Rodriguez, meanwhile—the Los Angeles native behind Empress Of—is in London, where it’s 10 p.m. on a bank holiday weekend, and she’s returned to the apartment she’s renting from a big day out dancing at the legendary Notting Hill Carnival. “Sorry, I’ve had a few Aperol spritzes,” she says with a grin.

While both musicians are pop chameleons, their most recent records are also a study in contrasts. Hughes’s Girl With No Face, released in February, is a dazzling, theatrical slice of ’80s synth-pop perfection, produced in its entirety by Hughes. Released in March, Rodriguez’s For Your Consideration, on the other hand, expanded on the woozy, Latin-inflected dance-pop of her previous releases I’m Your Empress Of and Save Me to become her most self-assured album yet. So it came as something of a surprise that the two had teamed up for a rework of Hughes’s album standout “Galina,” a wonderfully wonky ode to an older female mentor who mysteriously disappears from Hughes’s life. (It turns out the more literal inspiration was an old Russian woman who worked at a skin clinic and created a bespoke lotion that cured Hughes’s eczema: after she retired, Hughes was unable to track her down to acquire the recipe. “Basically, Allie called me and was like, ‘I have this song about eczema, and I feel like you need to be on it,’” jokes Rodriguez. “And I was like, ‘Okay. Period. Let’s go.’”)

A Reminder That Joni Mitchell’s Blue is the Ultimate Summer Travel Album
‘Being a Realized Version of Yourself Is Really Cool’: Clairo on Charm, Her Upcoming Tour, and Finally Nailing Winged Liner

It’s around 4 p.m. when Claire Cottrill, known professionally as Clairo, strolls into Webster Hall for soundcheck. Outside, on East 11th Street, fans are wrapped around the block, eagerly waiting to secure their spot in the standing-room-only venue. It’s been a busy summer for Cottrill, whose third album, Charm, came out in July and quickly went viral online. (Surely you’ve heard the fizzy, yearning “Sexy to Someone”?) Four shows into her five-night residency in New York, she chats through notes from the previous day’s performance with her band onstage. Then, after running through “Juna,” “Thank You,” and “Echo, Cottrill meets me in her dressing room. She cracks open a package of Cafe Bustelo, her preferred brand of coffee, and offers me a cup while we talk.

“The whole point of having short-term residencies in LA and New York was so that we’d have, like, 10 shows under our belt before we embark on a tour in the rest of the country and the world. Having that practice and language built amongst the band is important,” Cottrill says, reflecting on her first headlining shows in nearly two years. Still, the crowds both in New York and Los Angeles, where she played five nights at the Fonda Theatre near the start of the month, came prepared: “It’s definitely wild to hear people singing the words back to me,” she says. “It’s always been a wild phenomenon for me.”

Cottrill picked both residency venues for their sound quality, which she could remember from attending shows there herself in years past. “Going to see live music was such a big part of my growing up,” she says. “What more could I want than to be supplying an experience like that for teenagers? It’s so sweet.”

While Charm has been charming Clairo fans for months now, its groovy sound freely borrowing from jazz, soul, and psychedelic folk, Cottrill has been living with the album for the better part of a year since recording it in her upstate New York home with co-producer Leon Michels. “I go into recording knowing what I put out might not be everybody’s favorite album, but I think as long as I feel like I’m progressing and moving my own personal needle, then it’s worth putting out,” she says.

Kendall Jenner Stepped Out For a Chic (and Barefoot?) Museum Date With Bad Bunny at the Louvre

Personally, I think a museum date is best experienced at the very beginning of a relationship—when you’re still new enough to each another’s quirks and whims to convince each other that you really love art and are, in fact, practically a walking Gardner’s Art Through the Ages textbook—but now that they’re (allegedly) back together, Kendall Jenner and Bad Bunny seem to be embracing their artistic side. On Wednesday, a few nights after appearing at Vogue World: Paris, the two were spotted at the Louvre, where they were treated to a private late-night tour.

A Kendall/Bad Bunny date is always a cause for celebration, but there’s one detail that makes this little outing particularly exciting from a fashion (or…orthopedic?) standpoint: Jenner paired her pretty black asymmetrical skirt and matching top with bare feet, continuing a trend that no less an authority than Gwyneth Paltrow is most widely credited with popularizing. Is it peak rich-person behavior to go shoeless at one of Europe’s foremost cultural institutions? Yes, but compared to donating to Trump’s 2024 campaign or buying a Tesla Cybertruck, I think it’s a relatively harmless expression of extreme wealth. Let Kendall live! Honestly, if you gave me an evening tour of the Louvre, the first thing I would do is slide my shoes off; next, I’d take my bra off; and by the time you came by to kick me out, I’d fully be wrapped up in a Slanket next to the Seurats.

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Liam Gallagher, Noel Gallagher, and the Art of the Public Feud

Don’t look back in anger—Oasis, the prodigal sons of Brit-pop, is returning. After years of public feuding and subtweets and alleged battery with a cricket bat, the Gallagher brothers—Liam and Noel, obvs—are working it out on the remix, with a rash of 2025 summer dates announced on their website. (This is as good a time as any to say that “Wonderwall” is a masterpiece; no notes.)

I’m not a music writer, so I won’t bore you with my clanky synonyms for melody, but Oasis was, of course, a cultural phenomenon. At their zenith—arguably their infamous two-consecutive-night Knebworth gigs in 1996—Oasis embodied a very particular swaggering Manchester-ness, an unmatched scally confidence that butted up against a more constructed, dare I say pretentious, British music scene. Look, most of the ’90s had a nostalgic ’60s feeling—bedrooms across the land had lava lamps and translucent inflatable chairs—and Oasis was the most Beatles-esque of the mid-century spittle that doused Brit-pop. And where Blur and Suede and Pulp felt art schooled and frustrated with their own middle class–ness, Oasis were at the other end of the British spectrum, a working-class rock band chancing their luck with nothing to lose. Brit-pop, broadly speaking, was whimsical and essentially polite. Oasis were brash, lawless, and comprehensively out of fucks.

One of the things that makes Oasis feel so British is their knack for taking themselves incredibly seriously while also being very, very witty. Their imaginative lyricism goes beyond their songwriting, and all their spats seem hilarious. Noel described Liam as “a man with a fork in a world of soup.” Liam has more beefs than an episode of The Bear—with Damon “that dick out of blur” Albarn, the Spice Girls’ (Mel C (who offered to fight Liam at the Brits), and, in a seemingly neverending feud, with Robbie “fat fucking idiot” Williams. Liam once said, “Chris Martin looks like a geography teacher,” called footballer Wayne Rooney “a fucking balloon with a fucking Weetabix crushed on top,” and said, “Everyone [in Mumford & Sons] looks like they’ve got fucking nits and eat lentil soup with their sleeves rolled up.” But Liam reserves his burning ire for “old brown tongue” and “the Ronnie Corbett of rock n roll” Noel, who reportedly temporarily left Oasis after Liam threw a tambourine at his head.

I’m glad Oasis are back together—a bajillion people singing “Wonderwall” live will be transcendent—but, I dunno, I’m sort of hoping for a bit of drama between the bros? I just don’t think their dueling egos can relax enough for long enough—even given the rumored £50 million they’re meant to be making. It’s part of the reason their rift has been so captivating—and their reunion will be so entertaining.

All the Winners at the 2024 MTV VMAs

The 2024 MTV Video Music Awards aired live from Long Island’s UBS Arena on September 11, with Megan Thee Stallion as the ceremony’s charismatic host and all manner of exciting musical talents—from Chappell Roan and Sabrina Carpenter to Lenny Kravitz, Shawn Mendes, and Rauw Alejandro—lined up to perform. But with such competitive categories this year (Ariana vs. Taylor! Bad Bunny vs. Eminem! Beyoncé vs. Billie!) which nominated artists walked away with the night’s top prizes? Follow along for updates on all the big moonperson winners at this year’s VMAs.

Video of the Year

WINNER: Taylor Swift ft. Post Malone, “Fortnight”

Ariana Grande, “we can’t be friends (wait for your love)”

Billie Eilish, “LUNCH”

Doja Cat, “Paint The Town Red”

Eminem, “Houdini”

SZA, “Snooze”

Best Latin

WINNER: Anitta, “Mil Veces”

Bad Bunny, “MONACO”

KAROL G, “MI EX TENÍA RAZÓN”

Myke Towers, “LALA”

Peso Pluma & Anitta, “BELLAKEO”

Rauw Alejandro, “Touching The Sky”

Shakira & Cardi B, “Puntería”

Best New Artist

WINNER: Chappell Roan

Benson Boone

Gracie Abrams

Shaboozey

Teddy Swims

Tyla

Best Hip–Hop

WINNER: Eminem, “Houdini”

Drake ft. Sexyy Red & SZA, “Rich Baby Daddy “

GloRilla, “Yeah Glo!”

Gunna, “fukumean”

Megan Thee Stallion, “BOA”

Travis Scott ft. Playboi Carti, “FE!N”

Best Choreography

WINNER: Dua Lipa, “Houdini” – Choreography by Charm La’Donna

Bleachers, “Tiny Moves” – Choreography by Margaret Qualley

LISA, “Rockstar” – Choreography by Sean Bankhead

Rauw Alejandro, “Touching The Sky” – Choreography by Felix ‘Fefe’ Burgos

Tate McRae, “greedy” – Choreography by Sean Bankhead

Troye Sivan, “Rush” – Choreography by Sergio Reis, Mauro Van De Kerkhof

Best Visual Effects

WINNER: Eminem, “Houdini” – Visual Effects by Synapse Virtual Production, Louise Lee, Rich Lee, Metaphysic, Flawless Post

Ariana Grande, “the boy is mine” – Visual Effects by Digital Axis

Justin Timberlake, “Selfish” – Visual Effects by Candice Dragonas

Megan Thee Stallion, “BOA” – Visual Effects by Mathematic

Olivia Rodrigo, “get him back!” – Visual Effects by Cooper Vacheron, Preston Mohr, Karen Arakelian, Justin Johnson

Taylor Swift ft. Post Malone, “Fortnight” – Visual Effects by Parliament

Song of the Year

WINNER: Sabrina Carpenter, “Espresso”

Beyoncé, “TEXAS HOLD ’EM”

Jack Harlow, “Lovin On Me”

Kendrick Lamar, “Not Like Us”

Taylor Swift ft. Post Malone

Teddy Swims, “Lose Control”

Best Afrobeats

WINNER: Tyla, “Water”

John Legend on Composing in His Sleep, Meeting Prince, and His New Album of Lullabies, My Favorite Dream

John Legend has music on his mind even when he’s asleep. There are nights when the singer-songwriter is so inspired, he dreams of new melodies and concepts, eventually jolting awake and grabbing his phone to record them before they disappear.

The constant, even compulsive churn of Legend’s creativity can perhaps be explained by the fact that the 45-year-old has been writing songs since he was a child, regularly harnessing inspiration from the ether and channeling it into the songs making up his extensive discography.

In the 20 years since the release of his debut album, Get Lifted, Legend has often chronicled defining moments of his life through his work; his signature song “All of Me,” dedicated to Chrissy Teigen, was released a month before their Lake Como wedding in 2013. Now the father of four children under age nine (the youngest, a baby boy named Wren, was born last summer), Legend is decidedly a family man—so it follows that his tenth studio album, the aptly titled My Favorite Dream, is a project focused on lullabies and music for kids. For Legend, the project represented a chance to put his distinctive stamp on a largely overlooked genre.

With Sufjan Stevens aboard as a producer, My Favorite Dream spans joyful original compositions and covers of Fisher-Price ditties that many parents know all too well. Legend spoke to Vogue about the project and the magic of creativity—as well as about his recent headline-making performance at the Democratic National Convention.

Vogue: Aside from songs like “Rainbow Connection” or Vince Guaraldi’s Peanuts music, serious songwriting and children’s music haven’t always mixed…

John Legend: I don’t want to denigrate all of the folks who make children’s music for a living, because there are plenty who make it and put a lot of thought and energy into it. But it’s true that there haven’t been a lot of mainstream pop artists who make a full children’s album like this. But I wanted to think about it like I would any other album, in the sense of setting a standard of musical excellence and just sonic quality and every standard I’d hold any other album of mine to.

On the Podcast: Finneas Is Not Sentimental

Finneas is not afraid of letting things go. Whether it’s a song he’s written or a memento, the 10-time Grammy winner shares that being precious is not a part of his process.

Finneas first broke out co-writing and producing music with his sister, Billie Eilish, in their parents’ Los Angeles home; now, he’s produced music for a list of artists including Drake, Rosalía, and Justin Bieber. In ths week’s episode, he speaks with editors Chloe Schama and Chloe Malle about the making of his second solo album, For Cryin’ Out Loud; attending the Met Gala; and working with Alfonso Cuarón on the new Apple TV series Disclaimer.

Plus, Chioma Nnadi and Chloe Malle discuss the major fashion news of the week, including Chioma’s recent conversion to Maria Callas core (inspired by Angelina Jolie’s new film Maria), the best looks at the Academy Museum Gala, and a review of Armani’s first New York runway show.

Camila Cabello’s New Album Is a Glittering Work of Miami Sleaze

Camilla Cabello has played a few different girls in her career. As a member of the X Factor–forged girl group Fifth Harmony, she stood out to the show’s judges as an accessible, all-American pop star—so much so that after four years, she opted to embark on a solo career in 2016. In early releases like “Havana” and “Señorita,” the Cuban-born singer served up a 21st-century Carmen Miranda fantasy, seemingly geared to anglophone consumers.

Cabello dug deeper into her heritage in her 2022 album, Familia. Yet the vulnerable ballads of a dutiful immigrant daughter weren’t only about her own identity but her relationship to Latino culture more broadly. In songs like “Lola,” she contemplated a parallel universe in which her parents never left Cuba and Mexico to pursue greater ambitions.

In the lead-up to her new album, C, XOXO, Cabello broke things off with her longtime flame, Shawn Mendes, and ditched Los Angeles for the city that raised her: Miami. She then called on star producers El Guincho and Jasper Harris to help assemble an edgier sonic vibe for her, inspired by the hip-hop sounds she grew up with. Fusing her tracks with Jersey club (“I Luv It” with Playboi Carti), reggaeton (“Dream Girls”), and Afrobeat (“He Knows” with Lil Nas X), Cabello emerged with an eclectic record that mirrors the melting-pot quality of the Magic City.