“You want a timeless song, I want to change the game / Like modern architecture, John Lautner coming your way”. With those opening lines, Dua Lipa sets the tone for her sophomore full length album, Future Nostalgia. If you’re like me, you had to Google John Lautner to get the reference, but only after like the fifth or sixth spin of the album, because pressing pause would kill the vibe.

You can buy or stream Future Nostalgia on Apple Music.

“I know you’re not used to a female alpha”, she sings over the song’s chorus – and that’s truly the album’s rallying cry. With Future Nostalgia, Dua Lipa has clearly forged her own path to pop stardom, dropping dense architecture references right alongside bold, empowering one-liners that make clear that she’s doing things her way. And the vehicle for her message is so damn addictive that it’s impossible to turn away. This is the pop record we needed.

I’ve been an avid fan of Dua Lipa’s self-titled debut since its release in the summer of 2017. Female empowerment anthem “New Rules” helped put the British singer on the map, but the album has plenty of hidden gems amidst its 12 tracks. Nevertheless, the one thing that held back that debut was its pacing, weighed down by ballads that, although enjoyable in their own right, tended to reign in her more explosive songwriting tendencies.

There is no such filler to be found on Future Nostalgia. With the help of Jeff Bhasker and company, Dua Lipa appears to have leaned fully into the self-confidence that powered her early tracks like “Hotter Than Hell” and “Blow Your Mind”. But this is a far cry from an amped up version of her debut.

You’ve likely heard “Don’t Start Now” enough to know that it’s pure pop perfection and an obvious lead single, but it does little to capture Future Nostalgia as a whole. Across the albums 11 tracks, Dua Lipa makes good on her album title’s promise with splashes of 70’s disco elements, 80’s power pop, and tracks that resemble club bangers from the 90’s. What makes the album so amazing is that none of it feels tired or re-hashed. 

The synthesizers on “Cool” bounce with confidence and purpose as she effortlessly delivers a chorus for the ages, capitalized by the line, “You’ve got me losing all my cool / I guess we’re ready for the summer”. A few tracks later, “Levitating”, with its disco-inspired beat and pristine melody, sounds like what you’d expect if Kylie Minogue strutted her best stuff atop a Daft Punk track. “Pretty Please” and “Hallucinate” are custom built to be modern day dance floor jams with their pulsing bass lines, the latter of which should provide a great workout for anyone who has found themselves glued to the couch these past few weeks.

“Love Again” and “Break My Heart” may be the best back-to-back tracks on the album, wearing their influence on their sleeves while Dua Lipa makes each track her own (the former samples White Town’s “Your Woman” while the latter expertly pulls from INXS’ “Need You Tonight”). Each song finds her walking the line between her confidence and vulnerability without ever forfeiting her autonomy. The way she opens “Break My Heart” with the lines, “I’ve always been the one to say the first goodbye / Had to love and lose a hundred million times / Had to get it wrong to know just what I like”, is the kind of moment where you can feel the earth shift. Dua Lipa has become a bonafide star before our very eyes.

Anyone wanting to pick nits can point to “Good in Bed” and “Boys Will Be Boys” as stumbling the album across the finish line, but even that closing track feels purposeful and poignant with a line like, “It’s second nature to walk home before the sun goes down / And put your keys between your knuckles when there’s boys around”. Future Nostalgia finds plenty of opportunities for Dua Lipa to bring the hammer down, both sonically and thematically.

It’s safe to say that we have an early frontrunner for album of the year, and it’s hard to imagine another 2020 pop album entering its orbit. Dua Lipa has leveled up and delivered a classic.

4.5/5

by Kiel Hauck

Kiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.