npr.org
HAIM and Addison Rae's Summer 2025 Music: A Trend of Emotional Passive Resistance
In summer 2025, musicians HAIM and Addison Rae released music reflecting a trend of emotional passive resistance among women regarding relationships; Rae's "Headphones On" depicts escapism, while HAIM's "I Quit" album celebrates leaving unhealthy dynamics.
- How do HAIM and Addison Rae's musical approaches to relationship difficulties differ, and what common themes do they share?
- Both HAIM and Addison Rae's music speaks to a broader societal shift in how women navigate relationships, prioritizing self-preservation and emotional well-being over actively trying to fix flawed dynamics. HAIM's work, particularly "Down To Be Wrong," directly addresses this by celebrating the decision to leave a mediocre relationship as a form of self-assertion. The songs explore themes of female empowerment and finding strength in detachment, connecting to wider discussions about female autonomy.
- What is the significance of HAIM and Addison Rae's music in reflecting contemporary attitudes towards relationships among women?
- In summer 2025, the music of HAIM and Addison Rae reflects a trend of emotional passive resistance, where women respond to problematic relationships by disengaging rather than directly confronting. Rae's "Headphones On" uses music as escapism, while HAIM's "I Quit" album champions the act of walking away from unhealthy relationships.
- What are the potential long-term implications of this trend of emotional passive resistance as represented in their music, both for women's relationships and broader societal norms?
- The success of HAIM and Addison Rae's music suggests a growing cultural acceptance of passive resistance as a valid response to relationship difficulties. This trend likely reflects the evolving expectations of female behavior and a rejection of traditional ideas about women's roles in romantic partnerships. The impact could be far-reaching, influencing how women approach relationships and communicate their needs in the future.
Cognitive Concepts
Framing Bias
The framing emphasizes the theme of "emotional passive resistance" as defining the sound of summer 2025. This framing could be interpreted as prioritizing a specific perspective on female expression over a wider range of musical themes or trends prevalent during that summer. The headline and introduction reinforce this focus.
Language Bias
The language used is largely neutral, though descriptive words like "dreamlike swirl" and "lush, harmonic hook" could be considered subjective and potentially evocative rather than purely objective descriptions. However, these are relatively minor instances.
Bias by Omission
The review focuses heavily on HAIM and Addison Rae's music, potentially omitting other significant female artists who might also embody the "emotional passive resistance" theme. There is no mention of the broader context of female artists expressing similar sentiments throughout music history. This omission could limit the listener's understanding of the trend's scope and historical context.
False Dichotomy
The review presents a somewhat simplistic dichotomy between "emotional passive resistance" and actively working to repair relationships. While the music highlighted explores the former, it doesn't fully consider the complexities or potential validity of other approaches to relationship issues.
Gender Bias
The review focuses exclusively on female artists, which while seemingly positive, could inadvertently reinforce the idea that only women engage in "emotional passive resistance". A more balanced approach would explore how men might express similar sentiments in their music.
Sustainable Development Goals
The article highlights female artists (HAIM and Addison Rae) expressing agency and resilience in relationships, challenging traditional gender roles and promoting female empowerment. Their music reflects experiences of navigating relationships on their own terms, which aligns with the broader goal of gender equality and challenging patriarchal norms.