ALBUM REVIEW: Halsey releases fifth album 'The Great Impersonator'

Oct 25

Oct 25 ALBUM REVIEW: Halsey releases fifth album 'The Great Impersonator'

Words: Jett Tattersall
Published: 25 October 2024

In a society increasingly consumed by celebrity culture, Halsey's fifth studio album, The Great Impersonator, arrives at a critical moment. Along with themes of physical limits and love, both unconditional and fleeting, the album explores the duality of being both a scrutinised artist, a muse, and a human being.

This incredible collection draws from diverse musical influences and features stunning visual recreations of icons like PJ Harvey, Björk, Aaliyah, and others. At the same time, she wrestle with personal struggles, including her Lupus diagnosis, parenthood, and the emotional toll of fan criticism. “I made this record in the space between life and death,” Halsey shared on Instagram, describing the album as a profoundly confessional project years in the making.

Recent singles nod to her alternative rock heroes. The guitar-driven ‘Ego’ channels Dolores O'Riordan with a biting critique of celebrity: "I think that I should try to kill my ego." In ‘Lonely Is The Muse’, Halsey pays tribute to her "OG dark rock queen," Amy Lee, with brooding intensity and emotional depth. ‘Arsonist’, inspired by Fiona Apple, pulses with hedonistic alt-rock energy, capturing the raw spirit of young Halsey's rage queens.

One of the album’s most personal moments is ‘Life of the Spider (Draft)’, a tribute to Tori Amos. “Just me and my piano,” Halsey says. “Because that’s all Tori ever needed to rip your heart to shreds.” With echoing vocals ricocheting across bathroom tiles and pounding piano, Halsey explores monstrous thoughts and self-loathing. She sings, “I’m the spider on your ceiling, and you’re nothing but a guy,” confronting both critics and her inner demons.

In one of the softer, vulnerable moments, Halsey reflects on mortality and identity. ‘The End’, a love letter to her favourite lyricist, Joni Mitchell, is a haunting meditation on physical and emotional burdens, uplifted by a choir of Halsey harmonies.

’Letter to God (1983)’, honouring Bruce Springsteen, carries the familiar riff from Springsteen's "I’m on Fire", underscored by a production flourish of the crowd’s rapturous energy. “Please, God, I don’t want to be somebody that you’re trying to get rid of,” Halsey pleads, her voice conveying determination—a contrast given the subject matter, yet a true homage to the spirit of "The Boss”.

The Great Impersonator is a profound exploration of fame, artistry, and identity—a portrait of both the artist and the person beneath. “I almost lost my life. I am not gonna do anything that doesn’t make me happy anymore,” she wrote on Tumblr leading up to the album's release. Through confessional lyricism and tributes to her heroes, Halsey reflects on how the art we consume shapes us. In ‘Only Living Girl In LA’ she sings, “This thing I love has grown demanding and obsessive, and it wants more than I can give.” By confronting these pressures head-on, Halsey transforms her struggles into a career-defining work—rooted in the legacies of her musical muses yet very much her own.