Hissy Fit is already in the red from the first second. It doesn’t climb there, it stays there.
With Makhyli, the track feels less like a performance and more like a state you’ve walked into midway. It’s brief, but not slight. It knows exactly how long it needs to hold that feeling before cutting out.
What really drives it is the drum line. It has a rock and roll backbone that keeps everything locked in place, steady and a little relentless. Nothing drifts too far from it. Even when the guitars come in around the one-minute mark, they don’t take over. They sit underneath, almost worn out, adding a layer that feels heavier rather than louder. Then the track drops straight back into that same rhythmic spine, like it never really left.
The idea of a “hissy fit” sits at the centre, but it’s handled carefully. The word itself is usually dismissive, something used to shrink emotion. Here, it’s claimed instead. The song doesn’t try to justify the reaction or soften it into something more acceptable. It lets it sit as it is.
That’s where the tension comes from. This is feminine rage without structure. No clear arc, no resolution waiting at the end. It circles itself. There are moments where it almost steadies, but they don’t last. It slips back into that same heightened state, like it’s stuck there on purpose.
There’s also a clear lineage in how this kind of sound is forming right now. Artists like Lauren Sanderson are pushing pop into something louder and less contained, pulling from figures like Missy Elliott and even the abrasive edge of Limp Bizkit, shaping a queer pop space that feels like a provocation as much as a sound, built as much for the underground as it is for the mainstream. That mix of pop, rock, and attitude sits in the background here too, even if Hissy Fit keeps things more contained.
It sits between alt-pop and pop-rock, but it’s the rhythm that holds everything together.
Hissy Fit works because it doesn’t step outside the feeling. It stays in it, and trusts that’s enough.
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