Doja Cat Mines From the 1980s, Saxophones and All, on Her Pop-Rap Manifesto ‘Vie’: Album Review

Doja Cat's artistic identity has often been a subject of public debate, even for the musician herself. Almost exactly a year after her first number-one single, "Say So," dominated the charts, she expressed fatigue with the song on social media. Later, ahead of her confrontational album "Scarlet," she dismissed her earlier commercially successful records, "Hot Pink" and "Planet Her," as "cash grabs" made with "mediocre pop," teasing fans for embracing them. With her fifth studio album, "Vie," she appears to have reached a creative compromise. In a recent interview, she neatly defined herself as "a rapper that makes pop music," a description that provides a flexible framework for her work. This new project represents an evolution, allowing Doja to play with nostalgic pop elements while refining her strengths as a songwriter and performer.

The album is deeply infused with an 1980s aesthetic, a theme she previewed with her Marc Jacobs pinstripe bodysuit and dramatic hair at the Met Gala. On "Vie," Doja treats these vintage influences like treasures found in a thrift shop, weaving them into the fabric of the music. The record opens and closes with the sound of bleating saxophones, openly embracing a retro vibe. Yet, she adapts these sounds to her own style, seamlessly transitioning between melodic harmonies and sharp, nimble raps. The lead single, "Jealous Type," produced by Jack Antonoff and Y2K, set the stage with its funk-pop energy and was instantly hailed online as a potential Song of Summer. The album tips its hat to icons like Prince and Janet Jackson, with Doja gliding over vibrant synths and deep drums across its 15 tracks.

Jack Antonoff, a producer known for his work with artists like Taylor Swift and Lana Del Rey, is a crucial component of "Vie," helming nine of its tracks. His contributions are the most period-specific, featuring instruments that sound straight out of the 1980s. For instance, the track "Take Me Dancing," which features SZA as the album's sole guest, begins with compressed, aquatic synths, while "AAAHH MEN!" cleverly samples the theme from the 1982 television show "Knight Rider." The influence of records like Janet Jackson's "Control" is palpable, serving as a general blueprint for the album's sound. As one music critic noted, "Antonoff's production provides a cohesive sonic playground that allows Doja's dual talents to shine without conflict." The album's momentum only wavers when Antonoff is absent, such as on the slower, sultry track "Make It Up."

Lyrically, "Vie" frequently explores the complexities of modern relationships. On the playful "Cards," she entices a partner on the dance floor, while on the dreamy "Acts of Service," she contemplates commitment after deleting the dating app Raya. The standout track "Stranger" showcases her candid and clever wordplay, as she admits her attractions with frank humor. Despite the potential for stylistic whiplash as she inserts rap verses into pop songs, the album feels cohesive. This is a testament to Doja's rare command of both singing and rapping, skills she masterfully integrates. By the concluding track, "Come Back," it is clear she has secured her position at the forefront of pop-rap, achieving a precise and expansive balance.

Ultimately, "Vie" solidifies that Doja Cat no longer needs to confine herself to a single musical category to fulfill her artistic potential. The album reinforces the idea that her strength lies in her versatility. This is a realization she seems to have embraced after a very public journey of self-discovery, and the music is significantly richer for it. The project stands as a declaration of artistic independence, proving that creative equilibrium can be far more powerful than conformity.