It's no secret that pop music thrives on pageantry, and every so often an artist comes along who emblematizes this well. In 2025, that artist is Chappell Roan, a queer pop powerhouse whose glitter-drenched persona, thunderous vocals, and camp-meets-burlesque aesthetic have made her one of the most exciting artists of our time.
In an excerpt from a new Chappell Roan book out October 7, Chappell Roan: The Rise of a Midwest Princess, writer Ilana Kaplan digs into the layers of Chappell's well-deserved stardom. But first, here is more about the book:
Chappell Roan broke through as a superstar, thanks to a genuinely new blend of powerhouse vocals, queer pride and drag queen style. Her appeal is clear: the songs are bouncy anthems that are unabashedly joyful, and her campy looks are a perfect mix of burlesque star and beauty queen.. This stunning gift book immerses you in Chappell’s world, examining her rise to fame, how she established herself so seemingly quickly, and how she is challenging expectations while honoring gay women’s impact on pop culture.
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“The Spectacle of Chappell” by Ilana Kaplan in Chappell Roan: The Rise of a Midwest Princess
In the trajectory of the world’s biggest pop icons, certain astonishing moments raised the bar for all performers that followed: Madonna’s brazenly sensual performance of “Express Yourself” in a John Paul Gaultier cone bra during the 1990 Blond Ambition tour. Lady Gaga’s bloody demonstration of the perils of fame while performing “Paparazzi” at the 2009 VMAs. Beyoncé’s history-making, drumline-flanked headlining performance at Coachella in 2018. Taylor Swift’s dive into the stage and graceful “underwater” swim, surfacing for the Midnights portion of her Eras Tour.
For Chappell Roan, that game-changing moment came in the summer of 2024 in New York City, when she broke through an apple bong dressed as a nearly naked Lady Liberty. From head to toe, she was drenched in the statue’s particular shade of oxidized blue-green as she belted hits like “Pink Pony Club” and the location-appropriate “Naked in Manhattan.” She used her appearance at the packed festival to speak up for the rights of all oppressed people, the trans community, and women. On that day, through theater and spectacle, Chappell’s star power became utterly undeniable.
While the pandemic era teemed with whisper pop by singer-songwriters like Billie Eilish, Gracie Abrams, and Phoebe Bridgers, who soothed us during our many months of solitude, Chappell’s ascent signaled a post-pandemic shift to unapologetically loud, buoyant, catchy, pulsing anthems. This was music built for parties, clubs, crowds, and being out in the world in every way. Chappell emerged as a beacon of maximalism. No longer was the understated, introspective artist at the forefront of the music industry; Instead, queerness, theatrical-pop, bold makeup, and (lots of) sequins were en vogue. Chappell reinvigorated pop music—and challenged the prevailing view of what a pop star looks like.
The pop star herself has said that her flamboyant on-stage character is just that—a character—which she’s unsurprisingly compared to David Bowie’s glam-rock alter ego Ziggy Stardust. Like Ziggy, Chappell uses her on-stage persona—and music—to express and explore sex, sexuality, and queer romance. On the Kate Bush-tinged comphet song “Good Luck, Babe!” she sings a kiss-off to a female ex who she believes will end up trapped in a marriage with a man; In the power ballad “Casual,” she laments the pitfalls of a situationship with some NSFW lyrics about oral sex; On the glittery bomb “Naked in Manhattan,” Chappell yearns to have a “cinematic” sex scene like the one in the 2001 film Mulholland Drive; And in the queer liberation anthem “Pink Pony Club,” she celebrates being able to be comfortable in her own skin in Los Angeles.
Like David Bowie, Chappell creates distinct worlds through music, making her songs a complete audio-visual experience. She weaves theatrical elements into both her songwriting and performance. Songs like “Pink Pony Club” and “My Kink is Karma” aren’t just pop tracks—they’re fully realized character studies brought to life with distinct personas and storylines.
Bowie is just one of the larger-than-life pop icons who has influenced Chappell. She also pays homage to Purple Rain-era Prince through her gender-bending ease, funky guitar riffs, ’80s synth-pop influences, campy ensembles, and the high-energy drama she brings to her shows. Much like Prince, Chappell’s style is rooted in the power of self-expression. Prince rebelled against gender norms and embraced androgyny—sporting leotards, ass-less chaps, feathers, heels and shimmery suits. He not only oozed sex, but also helped redefine masculinity, in the way that Chappell is redefining femininity.
On stage, Chappell embraces an (at-times) hyper-sexualized fantasy with big hair, white face makeup, vibrant eyeshadow in costumes that range from horror-inspired to burlesque. Like the Purple One, Chappell refuses to be categorized.
Chappell’s success isn’t a fleeting trend. The maximalist aesthetic she’s cultivated has permeated not only the music industry but also fashion, makeup, and broader aesthetics. Since Chappell’s rise, we’ve seen Gaga return to the larger-than-life visuals that helped cement her as a star and Addison Rae harness the tacky Y2K sartorial edge of the OG pop princesses like Britney Spears and Christina Aguilera. Chappell is not only a tastemaker, but she’s set the stage for what the future of theatrical pop can look like. And it’s not going anywhere anytime soon.
— By Ilana Kaplan, Chappell Roan: The Rise of a Midwest Princess
Chappell Roan: The Rise of a Midwest Princess by Jennifer Keishin Armstrong, Dibs Baer, Patrick Crowley, Izzy Grinspan, J'na Jefferson, Ilana Kaplan, and Samantha Olson will be released by Hearst Home Books on October 7, 2025. To preorder the book, click on the retailer of your choice:
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Disclosure: Hearst Magazines is the parent company of Hearst Home Books and Cosmopolitan.
