It’s all blonde (and) bomb-shells at the box office this summer. The internet phenomenon – famously coined ‘Barbenheimer’ by film Twitter – has turned everyone’s heads towards the multiplex, as Greta Gerwig’s statement reimagining of the popular toy brand ‘Barbie’ came head-to-head with Christopher Nolan’s blockbuster atomic-bomb epic ‘Oppenheimer’ on July 21st. It’s been a cinematic showdown for the ages and a much-needed triumph for the industry post-Covid. However, this red pill, blue pill situation might have a slightly pink tinge to it.
No summer party is complete without a jukebox of bespoke Barbie tunes and the Mark Ronson-produced album has enough star power to shake a faux mink coat. In discussion with Time Magazine, Ronson discussed his impulse to jump aboard the Margot Robbie picture and his considered process of obtaining a concise soundtrack that enhanced the film’s narrative in its own organic way. Yet again, Ronson showcases his pure panache for producing – marrying this childlike concept of pink with established talent and favoured newcomers.
The album opens with Lizzo’s ‘Pink’ – a sickly sweet, nostalgic number that sets Barbie up for her perfect day, every day. Prior to its release, Spotify curated a playlist of all of the songs that served as the inspiration behind the tracks heard in the movie. One notable song was DeBarge’s ‘Rhythm of the Night’, which, no doubt, Lizzo took influence from here. ‘Pink’ echoes a distinctly 80s disco sound that gleefully reminiscences over a retro era of Barbie, all whilst skilfully evoking that pure innocence of playtime in the dream house. The glittery orchestral strings hint towards the next disco dance number ‘Dance the Night’. When Dua Lipa isn’t splashing about the plastic shores of Barbieland as one of three featured mermaids in the film, she is delivering what is arguably the song of the summer. ‘Dance the Night’ embraces full Xanadu, in a glamorous though secretly sombre banger that sees the facade of Barbieland begin to slip as Lipa sings, “Even when the tears start flowing they’re diamonds on my face”. The album’s melancholic undertones take a momentary back seat as the transcending, cosmic soundscape of Tame Impala’s ‘Journey to the Real World’ ventures us out of Barbieland. The intergalactic-sounding synth is matched by celestial sound effects and Kevin Parker’s hypnotising vocals – the only problem is that it’s too short!
Hyper-pop fans will struggle to be disappointed in Charli XCX’s ‘Speed Drive’, which energetically resamples Toni Basil’s ‘Mickey’. Likewise, Ice Spice and Nikki Minaj collaborate to the challenge of Aqua’s iconic ‘Barbie Girl’, as the two rappers give the 90s tune a modern revamp with a plucky attitude.
Beyond the tidal wave of pink, Khalid’s ‘Silver Platter’ and The Kid LARIO’s ‘Forever and Again’, serve as a necessary gear shift from the album’s more high-octane ideas. The low-fi, R&B numbers act as a refreshing palette cleanser and prove that this is an album for all. Speaking of which, this Barbie soundtrack isn’t without its own sprinkle of Kenergy. Sam Smith’s ultra camp ‘Man I Am’ cheekily underscores the film’s themes of gender roles, as well as Ryan Gosling’s much-talked-about musical ballad ‘I’m Just Ken’. Who’d of thought a show tune was just what this album needed? But Gosling more than proves its place worthy. The anthem starts with the actor lamenting over his place in Barbie’s life before bursting out into rapturous rock and quickly side-stepping back into the album’s eighties soundscape. It’s a very peculiar number, with tonal swings so technically jarring, it shouldn’t work but with Gosling at the helm, it does.
We often return to this profound sense of wistfulness. Newcomer PinkPantheress stuns with her dreamy ‘Angel’ – one of the album’s high points. The song ambitiously blends Celtic instrumentals in between the singer’s soft vocals, delivering a product of modern bedroom pop that describes a love that has gone away. Meanwhile, HAIM’s uplifting and reflective ‘Home’ provides a comforting blend of the band’s electric stylings with a sense of longing as the sisters sing. “I know that I’ll be looking back someday”.
Gerwig’s influence bleeds throughout the entire soundtrack, but Barbie’s melancholic undertones come to a powerful crescendo in Billie Eilish’s show-stopping ‘What Was I Made For?’. The piano ballad poignantly reflects this idea of purpose and delicately reveals the film’s existential concerns, “I used to know, but I’m not sure now. What I was made for…what was I made for?” Following her success with ‘No Time to Die’, Ellish achieves a career-best with her latest, further showcasing her skill for writing for the screen. ‘What Was I Made For?’ is an emotional exhale that acts as the centrepiece for this highly corporate but surprisingly enamoured album.
Ronson has certainly crafted ideas as big as Gerwig’s film – from its grand orchestral strings, ecstatic pop and disco dance numbers to the slower, more contemplative numbers. In the end, the eclectic record blends the pink frosting of childhood nostalgia with the melancholic realisations of the adult world, resulting in a soundtrack that cleverly recaptures the memories of days gone by.
Written by James Punshon
GEM Magazine 