Troye Sivan’s new album She’s the Best isn’t just another release—it’s a cultural statement wrapped in a trip-hop beat. The announcement feels like a calculated move, one that leans into both his artistic evolution and the shifting tides of pop culture. What makes this particularly fascinating is how Sivan, a figure who’s long navigated the intersection of queer identity and mainstream music, is now centering women in a way that feels both celebratory and subversive. This isn’t just about writing a song; it’s about redefining who gets to be the subject of art, and who gets to create it. Personally, I think this shift reflects a broader industry reckoning with representation, though I wonder if it’s a genuine pivot or a strategic rebrand. Either way, the result is a project that demands attention.
The title track, co-produced with Jack Antonoff and The 1975’s George Daniel, is a sonic departure from Sivan’s previous work. The late ’90s trip-hop vibe, complete with record scratches and spoken word, feels like a deliberate nod to an era when music was more about texture than trends. But here’s the thing: this isn’t nostalgia for nostalgia’s sake. It’s a rebellion against the sterile, algorithm-driven pop that dominates today’s charts. What many people don’t realize is how rare it is for an artist to take such a risk, especially when they’re on a major label. Sivan’s choice to embrace a gritty, analog sound suggests he’s not just chasing fame—he’s trying to carve out a space where artistry can breathe. I find it especially interesting that he’s leaning into this aesthetic while also collaborating with producers known for their polished, radio-friendly hits. It’s a tension that makes the track feel both fresh and familiar.
The music video, starring Nicole Kidman and a mosaic of women in everyday moments, is where the album’s thesis truly crystallizes. Directed by Gordon von Steiner, it’s a visual love letter to women—queer, straight, working-class, or privileged—who exist beyond the confines of traditional narratives. But here’s the catch: the video’s 1980s queer New York homage is a double-edged sword. On one hand, it’s a powerful reclaiming of a space where LGBTQ+ communities thrived. On the other, it risks romanticizing an era that was also fraught with exclusion and marginalization. What this really suggests is that Sivan is aware of the complexities of representation, even if he’s choosing to frame them through a lens of celebration. I can’t help but think about how this video might resonate differently with younger audiences who’ve never experienced that era firsthand. Does it inspire? Or does it feel like a curated memory?
Looking at Sivan’s trajectory since Something to Give Each Other, it’s clear he’s not just an artist but a brand—a carefully constructed persona that balances vulnerability with ambition. His Grammy nominations and collaborations with Charli xcx signal a move toward mainstream acceptance, yet She’s the Best feels like a step back into the shadows. This duality is what makes him compelling: he’s both the boy-next-door and the provocateur. I suspect this album will be his most polarizing yet, not because of its quality, but because it challenges the expectations he’s built up over the years. The question is, will listeners follow him into this new phase, or will they stick to the comfort of his earlier work?
Ultimately, She’s the Best isn’t just about the music. It’s about who gets to be celebrated, who gets to create, and who gets to define the narrative. Sivan’s choice to center women—both in the songwriting and the visuals—feels like a quiet revolution. But revolutions don’t happen without friction. What I’m most curious about is whether this album will be seen as a turning point or just another chapter in his ever-evolving story. Either way, it’s a reminder that art isn’t just about the notes you play—it’s about the spaces you choose to fill.
