Sir Baby Girl | Crush on Me

Crush on Me by Sir Baby Girl

Family Average: 4/7

Lets shake it up folks! Sir Baby Girl is here to disrupt all and every thing you know about everything. That is why I used the word shake. I like shake. Reason being as follow: 1. shakes are delicious, 2. shake weight is still the funniest informercial, and 3. Shake that taffy taffy is still a great song. Still moving on there is Sir Baby Girl! They are a musical artist from New Hampshire making some tremendously driving pop music. Did it drive the fam to pure bliss? Only one way to find out, and that is to read our reviews below the fold.

Read on to find out:


Sir Babygirl dropped a giant glitter-bomb on the binary pop scene.

Lauded as an underground discovery, Sir Babygirl is a binary-bashing pop singer championing self-love and self-awareness. With a theatrical edge, she explores poignant themes of social anxieties, gender identity, and sexuality. Her lyrics read like a diary--a form of confessional--and the songs themselves are anthems of bubble-gum-flavored, glitter-encrusted, DIY pop.

Sir Babygirl delivers a maximalist album to match a maximalist persona. There's a lot going on in each song; sweet harmonies build into swelling pop crescendos, accented by tons of quirky moments and layers of falsetto vocals. She's blending genres and styles in a really deft way, washing over it with a synthetic sheen of glitter and day-glo.

As a whole, the album is pulsating and a little erratic, but cohesive in terms of identity and aesthetic. It follows an arc of self-discovery alongside musical experimentation and exploration. Like the persona, it feels excessive and theatrical, yet genuine and authentic. There is also a level of self-awareness that grounds the album from being a caricature, breaking the fourth wall through her exaggerated emotional confessions.

The songs are all executed and produced very well. It's charming and campy and extremely relevant in today's society. It's a sort of escapism, and I'm intrigued to see what else Sir Babygirl has up her sleeves.  



Did you ever put a couple of gumballs into your mouth at once? The flavor blasts into your puffed up cheeks, but then the it fades and the color of the gum becomes gray and sad and drained of sweetness? That was kind of like every song on this album for me.

It gave off nineties, bubblegum pop, Hoku “Perfect Day” vibes. But as each track goes on and on and Sir Babygirl continues to scream the lyrics off-key I’m nearly crying, bridging on insanity. Doesn’t help that she repeats every lyric three or four times like she’s a teacher trying to teach me another language.

But hold up, “Pink Lite” where did this come from? The energy, the lyrics (tho she repeats “come on” a million times it fits here). This is a good track. This is a bit closer to Alanis Morisette for me. It feels different, in a good way. Still a candy but more like a sour patch kid. Two separate flavors, but both flavors in their own right and enjoyable.



If you want my reaction to Sir Babygirl’s Crush on Me, cf. Kate’s review.


Sir Babygirl’s Crush on Me is a faux-saccharine story of teen drama as told through pop.
This pop album has got an even mix of variety to keep you invested and prevent it from getting flat. I didn’t realize until near the end though that the songs connected into a narrative. I can always appreciate when a band utilizes album composition like that. “Heels” starts out strong with a bouncy vibe. There’s little accompaniment, just synth, drums, and clapping, but they work so well together that that’s all it needs. The voice gets a little grating at times, but this is only the case in a couple songs. Normally the range she explores works in her favor. “Flirting with Her” is accurate to its name, having a cute and flirty sound to it. The lyrics are quirky but not in a sickeningly sweet or cliche kind of way. “Cheerleader” does start to veer into the cliche high school drama territory, but I can forgive that due to the creative lyrics and composition. The addition of the backup vocals singing the “be aggressive” chant was a clever addition. “Haunted House” was my favorite, everything works together perfectly. It successfully conveys the stress a teenager would have dealing with social stigma and drama. I kept trying to pick lyrics to share from it but I wrote out too many, but it’s just safe to say there’s a lot of good metaphors and allusions. “Everyone is a Bad Friend” is another song that can hit a relatable note with a lot of people: the fear that we’re not reaching out enough to people to justify our friendships. The song isn’t morose or anything, it still keeps that upbeat vibe, but the anxiety is still there underneath.
There’s two reprises that act as follow-ups to previous songs in the album. “Haunted House Reprise” was the one that stood out more though. It seems to take place after the party, so to speak, and the narrator dealing with the fallout (“I wasted all my hard earned truth on a room full of people who will always believe you”). “Pink Lite” seems to continue past the aftermath, it’s angry but in a smoldering, subtle way. “Crush on Me” is the song most different from the others. It’s an interesting spin with more techno, synth, and distortion. But it still has the flippant, tongue-in-cheek attitude the album established prior. It’s interesting, but it works.
I can safely say this album does feel nice. If you like self-referential satirical pop with some relatable Mood, you should give this one a listen.



Sir Baby Girl is Bubblegum pop with an undeniable edge that gives no fucks.

I like what she’s about. I had to give this one some time and chances, listen a bit, and see what she was really about for me to be able to fully appreciate her.

The production of the first song, “Heels,” drew me in right off the bat but then it kind of spiraled into annoyingness. I was only taking it for the surface value though because it is undeniably bubblegum pop. But the thing is that she knows that.  She knows exactly what she is, she embraces the bubblegum pop and embodies it, but she’s not singing just any bubblegum pop. There is a definite edge to her music, she gives no fucks. The contrast between a pixie-like voice, upbeat production, and cynical lyrics such as “everyone I meet, I think is gonna die” shows what she’s really about. It’s almost like she’s satirizing the generic pop genre. “Haunted House” goes from a pop song about a party to the line, “I can’t wait to lose all my friends tomorrow.” Her lyrics reveal that edge, that bite, that “I am this and I don’t give a fuck what you think” aspect.

I tuned into that edge of hers at the end of “Flirting With Her.” That voiceover of her stream of paranoid thoughts about the text conversation between her and the girl she like with comments like “she texted me back and then she sent another text what do you think that means…” and so on is hilarious and so real. It shows that craziness that attraction can wrap us all up in.

There’s depth to her lyrics too, and they’re dripping in metaphoric language.

Her voice also has a lot of range and the production is consistently good.



Ya Poppin Fresh Sir. Baby Girl.

Welcome to the glitter factory fellas. On her latest album, Sir Baby Girl gives listeners a glossy portrait of social anxiety. I can’t help but think how much all other facets of my life could benefit from this treatment. Imagine if the ConEd bill came in a laminated sparkling gold envelope. Oh boy, that would just make it my favorite day of the month.

The album bops around within the pop spectrum giving the album an exciting vibe from start to finish. All the pops are here, Synth Pop, Art Pop, Pop Rock. The only one that did not make an appearance was Pop Punk I am okay with that. It has its place in the world.

The second half of the album is where all of my favorites are. Starting with “Haunted House” track six. This one has a charming Synth Pop style. A sound that is akin to spectacular minimal synth pop groups like Freezepop. It also nails the feeling dissociation around a big group of people. Sad stuff. powerful, but also really sad. From there the next track Everyone Is a Bad Friend is just driving. The arpeggiating synths and crisp handclaps build a great frame for the song.  Pink Lite is another fun one to scream along to.

The closing outro is great. I kind of wish more of the album had this sort of abstract experimental sound. Bear in mind, it’s nothing too unapproachable. Strays from the expected pop music sound.  It gets wacky with electronic distortion, and even throws in some spoken word things.

The album’s concept comes to a satisfying ending as well. With the majority of the songs dealing with social anxieties, and wanting to fit in. The resolution of the album is the artist deciding to put themselves first. Fantastic message that more people should live by. Self love is good love.


Sean Maldjian