Throughout my whole career, there’s been this push and pull, this tension between the idea of conforming to what a pop star is versus absolutely rebelling against it. What does this album, and the campaign around it, mean to you through that lens? You’ve been very up-front about the commercial side of being an artist and have fully leaned into the idea of being a Pop Star. I’m wondering how you think about your evolution, in your style and as an artist.
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I feel like that is this sexy thing within pop music and also in real life. I think the reason I’ve become quite fixated on car imagery is because the symbolism of cars in music is that it’s this luxury, sexy, aspirational object - the idea of living fast and driving fast and this vehicle of danger. Like, I’m not somebody who can tell you, “Oh my God, that’s this car or that car.” But I love being in cars. So, the funny thing about my obsession with cars is that I’m actually not a petrolhead. You’ve had a lot of car imagery throughout your discography - what is it about them that speaks to you? With this record, I was very inspired by these vampy B-movie actresses and just the idea of being really comfortable while feeling sexy owning your body and that feeling of fire and fierceness. My personal style is constantly evolving. I really love all the outfits - I feel really empowered and sexy in them. I pair that with these amazing, reflective Celine glasses, which I absolutely love. And practical, which … I suppose the custom Canada Goose puffer jacket maybe is not the most practical outfit choice, but I like it. They have to be really easy to perform in, because I like going a little crazy and dancing and doing my thing. Roxx and R&M Leathers make custom pieces for the show, which feel so perfect and right. The shapes, the colors, the cuts, we really wanted to help amplify this vamp ’80s world that I’ve been creating. But when it comes to the actual clothes themselves, myself and my stylists really worked on trying to create clothes that were reflective of what was going on in the show. I think they all happen in under a minute. I counted five outfit changes at your show on Friday - tell me about them.įirstly, the outfit changes in the show are stressful. So it makes sense that her very own Depop collaboration launches today, giving fans the chance to shop some of her signature pieces to benefit G.L.I.T.S., which works to ensure health care and housing for LGBTQIA people. Every album represents a personal fashion era almost as much as a musical one.
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Over the years of career progression she’s experienced since she started writing songs at the age of 14, her style has evolved in tandem with her music. It was an incredible show, with a visual mood (and costume change) for every act.
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And Charli matched the crowd’s enthusiasm twice over as a performer, she manages to perfectly hit every beat of choreography with equal parts ferocity and freeness it’s perfection without restraint.
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I felt the (very solid!) floor bouncing beneath me as the crowd pulsated. When the show did begin, the anticipatory energy frothed over. A few rows ahead of me, an arm holding an iPhone shot into the air, rotating so everyone could see the screen, which read, in large white letters on a black background: “BLOW?” On the GA floor, smushed between my roommate and a group of grad students discussing a thesis project on Mariah Carey (something I deeply need to read), I watched a couple pass the time before the lights went down by making out, their matching indoor sunglasses bumping against each other. Others incorporated signature elements of Charli’s style: platform boots, tiny skirts, black leather. Some dressed up as the Crash album cover, complete with fake blood splashed onto the temple. I knew the energy fans would bring for this two-night stop on the Crash tour would be intoxicating, and the Angels did not disappoint. Only one woman could have prompted this: It was, of course, the line for a Charli XCX show. On a recent Friday evening in April, the queer community usually found dancing and drinking and dragging in the bars of Bushwick migrated to a line wrapped around the Hammerstein Ballroom on 34th Street.