When Paris Paloma released her 2023 track ‘Labour’, it quickly sparked conversation online, becoming a powerful anthem for feminist advocacy and cementing Paloma as a key voice in the ongoing feminist movement. The track went viral online, amassing over 11 billion views across social media, and three years later, it still soundtracks so many ongoing conversations around women’s rights. All before her debut album was released, it was clear that the artist wasn’t afraid to say the quiet part out loud.
Now in 2026, Paris Paloma is back with her sophomore album, The Fatal Flaw. Releasing on 4th September, the album dives into the artist’s innermost thoughts, feelings, and perceptions of the world around her, sparing no moment in sharing it all with her audience. From the immediate outset on the first track ‘Miyazaki’, Paloma declared, “I have something to say”. She wastes no time catching audiences up to speed on where she’s at in life, through her reflections and creativity, as she sings, “I won’t let you take it from me”. It feels like a liberating creative release and sets the rest of the record up for something honest, sharp, and bold.
The album showcases Paloma’s incredible lyricism, which always strikes the perfect balance of vulnerability and relatable honesty while drawing on cutting, razor-sharp lines that hit the mark every time. While her songwriting is a clear standout on the album, you’d be amiss to neglect the beautiful vocals and atmospheric, layered production that also carry the tracks. Oscillating between a haunting falsetto and her raw lower register, her vocal strengths stand out across the album, carrying the weight of her words and amplifying the messages she’s conveying.
The second track, “Rothko”, highlights just how intricate and considered Paloma’s storytelling is. Using the analogy of standing in front of a Rothko painting, she describes how she feels as though she is pouring out from the inside and seeping through the cracks like the colours in the painting, and in doing so is pouring herself out to the audience. It is beautiful, poetic and an absolute masterclass in musical storytelling.
Released in May as a single, ‘Stem the Flow’ is another highlight on the album. She delivers visceral lyrics, asserting “I wasn’t born an angry child but I became an angry man” through demanding harmonised vocals.
‘get her the fucking flowers’ takes a more mellow, stripped-back approach to Paloma getting introspective about a past relationship. She knows exactly when to be loud, to be aggressive and unapologetic, and when she needs to wind it back and let herself feel the pain with more of a delicate lightness in her voice. The song does exactly the latter, and in doing so we feel her pain and emotion as she sings out every lyric in a beautiful falsetto tone.
The album tracks many important yet divisive themes we don’t always hear in popular music. From concerns over the ‘manosphere’ to diet culture and capitalist patriarchy, Paloma never shies away from the difficult subjects. The tracks “Good Girl” and “Good Boy” offer a look at the societal structures we operate within, prompting audiences to question what they have become accustomed to.
While carrying heavier societal issues, Paloma also sings of dysfunctional love and loss, growth, and the very human need to be loved. She looks inward, but also at the world around her, and does so in a thought-provoking, nuanced way.
The Fatal Flaw sees the artist baring her soul, being loud when she needs to and tender when it demands. Perhaps the best reflection of the strength and passion in this album comes from Paloma herself, when she declares, “I’m not a violent person but I make things with aggression”.
FOUR AND A HALF STARS (OUT OF FIVE)
Paris will take The Fatal Flaw to fans across Europe and North America this year, alongside a run of major festival appearances. Full tour dates and tickets can be found HERE
