“You can’t make me feel bad for a cover that has visceral meaning,” was Doja Cat’s statement after posting the cover of her fifth full-length LP, Vie. Fans had expressed disappointment on social media, deeming the photo – featuring the rapper dressed in a wedding gown, dangling from a tree by a parachute (used to signify the complexities of love, faith, and life’s journey) – as “not fitting the vibe.” It came as a surprise, as the previous artwork was full of ’80s nostalgia, but Doja is in her selfish era. Deeming her last three albums “money grabs,” she’s going back to making music for herself. Fair play to her – that’s her prerogative. I think the fans who felt deathly offended are overreacting. Kurt Cobain didn’t love Smells Like Teen Spirit, and Radiohead tried to sabotage Creep – we’re always our own worst critics.
Regardless of all the background noise surrounding it, Vie is a solid salute to ’80s Pop and R&B with a little extra flavour.
We open with the smooth saxophone of Cards. It reeks of ’80s nostalgia, with a punchy clap snare and synths. Her falsetto is working overtime and is cut with her rap verse, keeping it interesting and varied – which is lacking towards the close of the album. Both Cards and Jealous Type remind me of Whitney Houston’s I Wanna Dance with Somebody, full of energy. Jealous Type has more depth to it, with its plinky-plonky layers reminiscent of a Super Mario game. Despite its themes of being an overly jealous partner – “when my eyes are green, I’m ugly” – it’s a fun dance track, and the belting vocals toward the close! Doja isn’t holding back; she can do it all, and she’s not afraid to let us know, demonstrating her talents throughout, especially with her Ant Clemons-inspired high notes in All Mine later on in the album.
One of the most iconic uses of the theme from 1982’s Knight Rider adorned with a Funk bass line is used for the melody of AAAHH MEN! Again, this track is dripping in maximalist effects to keep it exciting, giving out “motherfuckers” like she’s in Pulp Fiction, accompanied by dramatic horn exclamations conjuring the “POW”s and “ZAP”s in an old-school Batman episode. Like a preacher to her flock, her sermon is one of having a tolerance far too high for someone who doesn’t deserve it: “I have too much tolerance // but my DNA wants your D in me.” This track’s production is flawless and has to be my number one from this album.
The next two in the line-up are the most vulnerable. Couples Therapy uses dreamy flutes and panpipes to lull us into bearing it all. Doja demonstrates buckets of maturity and self-awareness: “they just need one more push to cope.” // let the truth set you free.” The layered harmonies and falsetto vibratos give Erykah Badu; the mingling of soft and strong stuffs the track with emotion without being a ballad. Gorgeous digs even deeper with themes of modern beauty standards and how people treat aesthetics as a cure for their insecurities: “You feeling empowered, but not within.” There are multiple throwbacks to past hit – “look at me, look at me,” bringing back 2023’s Paint the Town Red. Using her “telephone bit” to express her appreciation for her partner – also featured in Agora Hills – and throwing us a hailing saxophone solo much like The Weeknd’s In Your Eyes Remix, which she featured on even further back in 2020. It’s a grown-up “love yourself” anthem.
As soon as I saw a track titled Stranger, I thought of Stranger Things star Joseph Quinn, who Doja is still casually dating (as of September 2025). Whether it’s about him or not, this track is a steady, feel-good tune about two people who are too “strange” for the rest of the world, but are perfect for each other: “Nothing you do could freak me out.” The rap verses are relaxed and sexually charged. The melodies are simple and repetitive, with a spattering of sax and guitar solo, but nothing that shocks the palette.
SZA and Doja reunite on Take Me Dancing. It’s what you would expect from a song of this title—a bouncy club tune—but honestly, it doesn’t wow me. Their voices are very complementary, and SZA’s verse is a gorgeous way to break up the tracks, but it lacks the energy of the first two tracks, so it doesn’t have the same oomph. I’ve heard Doja say it’s her favourite track, and as I said before—she’s doing it for herself.
Above – Doja Cat Channelling ‘80s hair metal at this year’s Outside Lands festival.
They bring the tone to baby-making music with Lipstain. The lyrics really grabbed me with this song—not just the French, but how clever Doja is. The first line, “I don’t wanna dance around it,” leading from a song that is all about going out dancing, is so unserious. The imagery of “sapphires on my neck, matching his hickeys” is just chef’s kiss, uniting class and marking “your territory for them dogs.” Although I love the rap portion of this track, it doesn’t mix with the backing in a way that satisfies my ears. The attitude in the flow struggles with the funk-bass melody—it’s a bit curdled.
Silly! Fun! is another melody that takes after its title. Despite it being so light on its feet, the themes suggest Doja is looking to settle down: “to just pop out a baby // getting married in Vegas // the clock’s ticking.” It’s short and sweet, which I think is needed—too much and it would be tiring, as the melody is repetitive.
The next three tracks lose me. Acts of Service, Make It Up, and One More Time almost blend into one for me. All three are chilled and monochromatic. The rap sections don’t stand out to me either, lacking the attitude to make me pay attention. Maybe spreading them throughout the album would have given them an opportunity to shine individually.
The last two tracks, Happy and Come Back, tell a story together. We get more French in Happy, detailing infidelity in a relationship and walking away: “Brise mon cœur, encore, ce soir” – break my heart again tonight and “Pour ça, non merci, j’ai vécu ma vie // Don’t fall asleep, adieu, bonne nuit” – For that, no thanks, I’ve lived my life. Don’t fall asleep, goodbye, goodnight. The backing has more life in it with layers of synth, guitar, and clinking percussion. Despite the song’s beauty, it’s a sad tale of letting go of a relationship that’s steeped in history: “We got roots and, baby, they could run deep // But you cutting me off, I feel like ripping this tee.”
Come Back is softer melodically than its predecessor, bringing back the glassy chimes from previous tracks and consolidating that the relationship is finished- no matter how much they “change it up when I’m ‘bout to leave.” I find ending an album on a song about closure very satisfying, tying Vie up in a bow.
On its face, Vie is a solid album. I personally enjoyed it more than Scarlet, despite some of the rap sections feeling disjointed and almost like Doja is a featuring artist on her own song which, although it’s not my preference, is very clever. Overall, I’m happy for Doja Cat. I think it’s important that artists make music that they enjoy making and stay true to themselves – great things usually come from artists taking back control. Just look at Bob Dylan.