After testing the beach pop waters with her single, “Yellow Cloud” in 2019, Trixie Mattel released her third studio album, Barbara, on Feb. 7.
With an A-side reminiscent of ‘60s beach music and ‘90s pop groups like Sixpence None the Richer, Barbara is an incredibly polished foray into a new genre that feels like a natural next step for Mattel’s Malibu Barbie aesthetic and persona. Mattel, now accompanied by a full band, blends acoustic guitar, electric instrumentation, kicky drum beats, and catchy vocal stings to make a sunny, sugary road trip playlist. If the Hannah Montana theme song grew up, got a degree in political science, and then went back to its music career because it was more fun, Barbara is what it would sound like.
In an interview with Paper Magazine, Mattel said that she went (literally) back to the drawing board, looking for inspiration in concept sketches for Trixie from 10 years ago. Mattel originally performed the country music she’s known for under her legal name, Brian Firkus, but took advantage of her Drag Race fame by integrating her music and drag careers; her first two albums, Two Birds and One Stone, were pure country and folk, complete with autoharps, plaintive violins, and poetic lyrics. Both featured Trixie and Brian on their album art — but Barbara has just Trixie, signalling a return to basics for Mattel’s drag character and the synthesis of a 10-year career for Mattel as a performer.
Mattel’s evocative songwriting is far from wasted on pop music: her jokey ballad to Jesse Eisenberg, “Jesse Jesse,” is bursting with playful allusions and turns of phrase, and is as clever as Mattel’s best country tracks. But it’s clear that at this stage of her pop career, Mattel is experimenting more with sound and feeling. “We Got The Look” is uncharacteristically edgy but flippantly fun, and the entire album feels more relaxed and comfortable than Two Birds and One Stone.
However, it doesn’t seem like Mattel is saying goodbye to country music; Barbara’s B-side features folk fare more familiar to Mattel’s fans. However, the two halves make a seamless, cohesive whole, as these tracks are breezier and more lighthearted than many songs from Mattel’s previous two albums. The final song on the album is a cover of Lavender Country’s 1973 song, “I Can’t Shake the Stranger Out of You,” listed as simply “Stranger.” The original singer Patrick Haggerty, a pioneer of queer country music, helped with its recording, even holding Mattel’s hand in the recording booth, and it’s Barbara’s emotional crown jewel.
Mattel’s newest album is expertly crafted. While lacking the density of heavy-hitters that her first two albums had, Barbara represents a compelling transition for Mattel, whose emerging pop sound already feels complete and distinct. Barbara is a great album, a synthesis, a transition, and a character study all in one.
