Open-mouth sobbing while watching new movies in theaters seems to have become a common experience for me.
This was the case on July 21, 2023, the opening night of the Barbie movie. My family and I had dressed up in all pink to see Greta Gerwig’s fabulous blockbuster film, perfectly ready to laugh and be positively dazzled by the outburst of femininity on the screen.
Of all the emotions I expected to feel during this movie, sadness was not one of them.
When Ruth Handler, the creator of the Barbie doll, took Barbie’s hands and said, “Take my hands. Close your eyes. Now feel,” a lilting melody of melancholy piano filled the room. Then, Billie Eilish’s breathy, otherworldly voice layered on top of the melody, and suddenly, I felt tears on my cheeks.
“What Was I Made For” by Billie Eilish was the song that got me officially hooked as a devoted listener. Although I had heard plenty of snippets from “Happier than Ever,” and “you should see me in a crown,” none had fully enticed me as much as Barbie’s soul song, as Eilish and Gerwig like to describe it.
The first track off of Eilish’s new album, HIT ME HARD AND SOFT, reminded me a lot of “What Was I Made For.” With beautiful instrumentals and Eilish’s trademark soprano, “SKINNY” was immediately a favorite of mine when I first heard it. Although Eilish is known for her lyricism in many of her songs, none have ever felt more vulnerable to me than this first track. In “SKINNY,” Eilish sings, “People say I look happy / Just because I got skinny / And the old me is still me and maybe the real me / And I think she’s pretty,” which references a paparazzi image taken a couple of years ago when news outlets began to widely publicize a picture of Eilish that made it seem like she had gained weight. She continues, “And the internet is hungry for the meanest kind of funny / And somebody’s gotta feed it,” further explaining the exploitation of celebrities and renowned figures in the public.
After the lyrics close out, a minute runtime remains, which highlights a gorgeous, thoughtful outro of a six-piece orchestra playing a haunting melody composed by Eilish’s brother and musical partner, Finneas O’Connell. I have always had a penchant for orchestras, so hearing string instruments highlighted on the first track made me—for lack of better words—very happy.
Eilish transitions to a more upbeat, romanticized tone in “BIRDS OF A FEATHER,” another one of my favorites. Here, the musical production ramps up to a light drum beat in favor of string instruments. The chorus proclaims, “Birds of a feather, we should stick together, I know / I said I’d never think I wasn’t better alone / Can’t change the weather, might not be forever / But if it’s forever, it’s even better,” displaying Eilish’s belief in unconditional love, until the end of life itself. She also expresses vulnerability in her acceptance of some things she cannot change, yet she is still willing to keep trying for love. This message is idealistic and pure, matching harmoniously with the varying vocals Eilish performs.
Even with Eilish traveling between her lower and higher vocal registers throughout the album, the most vocally impressive song is undoubtedly “THE GREATEST.” Eilish has always had a talent for writing lyrics that her audience relates to, and this song is no exception.
She constructs the hymn around a sense of unrequited love, thus subsequently eliciting anger and dejection. As she sings, the sound of guitar strings being plucked picks up the rhythm, which then layers with a slight echo and reverb of Eilish’s voice. A crescendo builds as the chorus arrives, and then, Eilish performs possibly the best belt I have ever heard her sing. It’s almost ethereal, the way that her voice can carry such a powerful note for so long. The production arrives at a resonant peak here, displaying some of the best work Eilish and O’Connell have ever released together.
The final track on the album is “BLUE.” This particular song has quite a long history behind it. For those who don’t know, the first half of “BLUE” was originally a partially completed song called “True Blue,” written by Eilish and O’Connell before either of them were globally known songwriters and singers. As her popularity increased, Eilish began to perform snippets of “True Blue” for fans, but she never felt the desire to release it officially. That is, until 2022 when the entire song was leaked to the public. Ironically, this inspired Eilish to rework it and release an altered version of the fan favorite on her most recent studio album.
After listening to both “True Blue” and “BLUE,” I must admit that I prefer the reworked version. Following the lyrics of the original, Eilish made an addendum to them, changing the tone from a somewhat energetic beat to a nearly dystopian, mournful ballad. Here, the mood shifts, now focused on poetic lyricism and gentle piano in the background. Then, a deeper, altered version of Eilish’s voice joins in at the bridge, further affixing the almost chilling tone. This part of “BLUE” is so well-executed, leaving no room for naysayers. As the outro begins, the same string orchestra from “SKINNY” makes a triumphant return, therefore bringing the album to a satisfying, full-circle close.
Although I am a relatively new fan of Eilish and her incredible work, I know that she is one of the most influential singers of our time. Through her enticing lyricism and iconic vocals, especially on HIT ME HARD AND SOFT, Eilish has accomplished a marvelous feat of music. Since the album was released on May 17, audiences have become obsessed with it, and for good reason. Her songs can capture nearly any emotion, from heartbreaking angst to wholesome love and friendship. I believe it’s safe to say that I, along with millions of other fans, are anxiously awaiting her next release with anticipation and pride.
