Caroline Polacheck
The other night, I had “So Hot You’re Hurting My Feelings” by Caroline Polachek playing on loop while I was driving, and it hit me just how far she’s come as an artist. The track is so unmistakably her—glittery, avant-garde pop that somehow feels both alien and deeply human. Caroline’s music isn’t just pop; it’s art. It pushes boundaries, and you can tell she’s carving out her own lane, completely unbothered by what anyone else is doing.
Caroline started her career with Chairlift, the synth-pop duo that had its big break with “Bruises” in 2008. Chairlift was quirky, fun, and perfectly in tune with the indie wave of the late 2000s, but even back then, Caroline’s voice stood out. Her voice is more than just a pretty sound—it’s an instrument in its own right, elastic and emotive in a way that makes every lyric feel like a performance.
But it wasn’t until she went solo that Caroline really unlocked her potential. Her debut solo album, Pang (2019), is an absolute masterpiece. It’s experimental pop at its finest—haunting and lush but also catchy in a way that feels effortless. Tracks like “Door” and “Ocean of Tears” aren’t just songs; they’re sonic worlds, each one layered with intricate production and surreal lyrics. “Pang” doesn’t try to be radio-friendly, yet it’s endlessly listenable, proof that pop can be intelligent and boundary-pushing without losing its soul.
And then there’s Caroline herself—she’s not just a singer; she’s a visual artist, a performer, and a creative force of nature. Her live shows are like stepping into another dimension, with choreography, visuals, and vocals that elevate the music into an experience. She’s got this magnetic, almost mythical energy about her, like she belongs more to the art world than the mainstream.
What really sets Caroline apart is how she blends emotional vulnerability with high-concept artistry. Her lyrics feel personal, even when they’re cloaked in abstract metaphors, and her production choices—often a mix of shimmering synths, unexpected percussion, and experimental soundscapes—always serve to amplify that emotional core. She’s not afraid to be weird, and in a pop landscape where conformity often rules, that’s a superpower.
In her most recent work, like Desire, I Want to Turn Into You (2023), she’s pushed even further into the avant-garde. Tracks like “Welcome to My Island” are bold, theatrical, and deeply confident. It’s like Caroline knows exactly who she is now, and she’s fully embracing her ability to create music that’s equal parts cerebral and visceral.
Caroline Polachek isn’t just making pop music; she’s reimagining what pop can be. She’s a visionary who’s reshaping the genre on her own terms, and it feels like she’s only just getting started. Every time she releases something new, it’s like an invitation to step further into her beautifully strange, endlessly fascinating world.