When I put myself in the shoes of an artist who has some level of popularity, I always think the most awkward part of it would be realizing that some of your fans are idiots. Marie Davidson explores that idea on “Your Biggest Fan,” the lead track on her new album, Working Class Woman, and it’s probably the funniest song of the year. In a mocking voice, she impersonates the dumb questions she gets after shows and the sexist assumptions people make about her: “Why are you so strange? Do you play in a band? Do you really need to carry all that gear with you? Is this album about taking risks?”
Davidson’s dark industrial electronic sound, which she’s developed over the last few years, adds some dread and horror to the comedy. Eventually, the funniness of “Your Biggest Fan” gives way to a sense of anxiety and despair as the annoying voices turn into paranoid whispers. It’s an ideal tone-setter for this album, which feels like a complete dive into Davidson’s psyche as an artist. At the end, I possibly knew too much about her sense of humor, her anxieties, and how she feels about her life as a traveling musician.
This dancey electronic music isn’t something I listen to much, but Davidson puts a spin on it that is compelling. The second track, “Work It,” is a good example: taken at face value, it resembles a typical electronic song with a pulsing club beat that someone might use to motivate them while working out. Taking on the voice of a deranged fitness coach, she uses the familiar language of empowerment, talking about working to be a winner and working until you sweat. Read another way, it’s a satire of her musical genre, her workaholic nature, and the values our society has that makes someone define themselves by work.
The ambiguity in tone is very intentional and part of what makes the album captivating. The protagonist of Working Class Woman is complex and difficult, which stands out among one-dimensional portrayals of women in other media, which are often either misogynistic or purely fantasy wish fulfillment with little in between. Davidson isn’t necessarily brave or heroic for working hard and dealing with weird fans — it’s just a part of her life that is portrayed, like everything else on this album, with brutal honesty.