![]() “Things I once enjoyed/Just keep me employed now” is the most disenchanted post-breakthrough hook since Nirvana kicked off In Utero with “Teenage angst has paid off well/Now I’m bored and old.” It sets the tone for the whole album. She details the way fame has messed up her life, the way heading toward her twenties has messed up her life, and the way she’s struggling to leave her backlog of turmoil behind. “Getting Older” is an astonishingly assured way to introduce the new 19-year-old Billie, murmuring to the minimal electro pulse like the mall-rat niece of Julie London or Björk. The way Billie avoids reprising any of her “ duuuh!” jokes is as bracing as Taylor Swift choosing not to do any of her trademark laughs on Folklore or Evermore. She’s got trauma to figure out and secrets to share, but she’s not watering it down for anyone. It’s a dark, painful, confessional album where she’s choosing not to settle into the role of America’s beloved kooky kid sister. Absolutely nobody was out here saying Billie Eilish needed to push even harder and get even better - nobody but Billie. Her excellent sophomore album, Happier Than Ever, feels downright heroic, the work of an artist refusing to stay still. The homemade bedroom tunes she cooked up with her brother Finneas were recognized as instant classics, even when Billie was baring the Invisalign of her soul. She was suddenly the world’s most high-profile teen, the object of strangers’ gazes, a target for mind-blowing amounts of misogyny. Her blockbuster debut album When We All Fall Asleep, Where Do We Go? made her an overnight legend, the kind who accepts her Grammy awards from Smokey Robinson and Ringo Starr. ![]() ![]() When we all wake up, where do we go? Billie Eilish opened her eyes in 2019 to find herself the biggest sensation in pop music, when she was still just a kid on the edge of 17. ![]()
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