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Infinite Icon in Bloomington, MN
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Almost 20 years after her debut album,
Paris Hilton
welcomes herself back with her sophomore album, the knowingly wry and sugary
Infinite Icon
. At the height of
Hilton
's fame as both a socialite and star of the reality series The Simple Life, not to mention Teen Choice and Golden Raspberry Awards regular, she made the move into music with 2006's
Paris
, a production that blended clubby dance anthems with a light dusting of 2000s pop-punk. At first glance, the record seemed to ooze a one-off vanity project energy. Yet it worked surprisingly well as a pop confection, hitting number six on the Billboard 200 and spawning the reggae-infused, chart-topping dance hit "Stars Are Blind." In fact, it worked so well that it seemed odd
didn't immediately follow it up, instead focusing on more reality TV and business ventures, as well as shifting gears into DJing. Executively, and one feels empathetically, produced by singer
Sia
(who also guests on two tracks),
builds nicely upon its predecessor, once again revealing
to be a savvy spokesperson for her own stylishly campy brand and a pretty good singer to boot. While her breathy, cherubic vocals might still evoke
Britney Spears
as they did in 2006, the comparison now feels like a genuine influence. There's a similar self-awareness to the songs, including the opening "Welcome Back," where she both literally and figuratively welcomes herself back to her fans, singing "Welcome back (B*tch, you've been missed)." It's a cheeky move, yet one that manages to strike the right balance of tongue-in-cheek humor and earnest understanding of her position in popular culture. If society can rethink how it treats young stars like
and
Justin Bieber
, then
is certainly overdue for a cultural reconsideration. This is especially redolent in the wake of
Charli xcx
's 2024 album
Brat
, an artist whose maximalist, feminist pop energy also seems to be a touchstone for
. Cuts like the disco-infused "I'm Free" with
Rina Sawayama
, the sparkling and oddly prescient "ADHD," where she reveals the disorder was "always her super power," and her effusive
duet "Fame Won't Love You" work as cautionary, self-care anthems for the dancefloor. Thankfully,
's sense of ironic humor remains intact, as "BBA" (an acronym for Bad B*tch Academy) -- where she and rapper
Megan Thee Stallion
tell their students to grab their "Hot Girl Bibles" before instructing them in the many ways of weaponizing their hotness -- proves. At turns silly and heartfelt,
is both a return to form for
and a sly deconstruction of her image. ~ Matt Collar
Paris Hilton
welcomes herself back with her sophomore album, the knowingly wry and sugary
Infinite Icon
. At the height of
Hilton
's fame as both a socialite and star of the reality series The Simple Life, not to mention Teen Choice and Golden Raspberry Awards regular, she made the move into music with 2006's
Paris
, a production that blended clubby dance anthems with a light dusting of 2000s pop-punk. At first glance, the record seemed to ooze a one-off vanity project energy. Yet it worked surprisingly well as a pop confection, hitting number six on the Billboard 200 and spawning the reggae-infused, chart-topping dance hit "Stars Are Blind." In fact, it worked so well that it seemed odd
didn't immediately follow it up, instead focusing on more reality TV and business ventures, as well as shifting gears into DJing. Executively, and one feels empathetically, produced by singer
Sia
(who also guests on two tracks),
builds nicely upon its predecessor, once again revealing
to be a savvy spokesperson for her own stylishly campy brand and a pretty good singer to boot. While her breathy, cherubic vocals might still evoke
Britney Spears
as they did in 2006, the comparison now feels like a genuine influence. There's a similar self-awareness to the songs, including the opening "Welcome Back," where she both literally and figuratively welcomes herself back to her fans, singing "Welcome back (B*tch, you've been missed)." It's a cheeky move, yet one that manages to strike the right balance of tongue-in-cheek humor and earnest understanding of her position in popular culture. If society can rethink how it treats young stars like
and
Justin Bieber
, then
is certainly overdue for a cultural reconsideration. This is especially redolent in the wake of
Charli xcx
's 2024 album
Brat
, an artist whose maximalist, feminist pop energy also seems to be a touchstone for
. Cuts like the disco-infused "I'm Free" with
Rina Sawayama
, the sparkling and oddly prescient "ADHD," where she reveals the disorder was "always her super power," and her effusive
duet "Fame Won't Love You" work as cautionary, self-care anthems for the dancefloor. Thankfully,
's sense of ironic humor remains intact, as "BBA" (an acronym for Bad B*tch Academy) -- where she and rapper
Megan Thee Stallion
tell their students to grab their "Hot Girl Bibles" before instructing them in the many ways of weaponizing their hotness -- proves. At turns silly and heartfelt,
is both a return to form for
and a sly deconstruction of her image. ~ Matt Collar
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