Madison Beer, Her Way

Madison Beer is opening up her locket and throwing away the key.

Her third studio album locket arrives on the other side of an industry lull, a silent winter stretch when music quiets to a hum. Beer plans to brave the season by dropping this new project in the space between. She’s not holding anything back this time. “No one’s gonna tell me what to make or what to do,” she says with an earned confidence. “I’m just at a point in my life and my career where I am gonna do what I want.”

Locket is an opening into herself; it possesses a totality that she’s never felt prepared to share before. When we hop on a call, Beer seems unfazed, energized almost, by the quietness preceding her. Music executives on vacation, the same songs on replay and everyone tending to their own new year resolutions – none of this is a setback. She sees it as an opportunity to set the scene on her own terms. And that she does. “I’m approaching it excited about the music and with a ‘Whatever happens, happens’ energy which is very freeing.”

On locket, Beer’s sonic evolution unfolds effortlessly, the tracks winding between R&B influences and the thumping dark-pop melodies that listeners have come to know her for. Any burgeoning artist in her place might feel an urgency to escalate and impress, but for Beer, those metrics fall to the sidelines. “It’s a big deal for me to feel freed from the shackles of pressure and comparisons,” she tells PAPER. “I want to make music I’m proud of and perform it for people who fuck with it. Take it or leave it, honey.”

These days, Beer tells PAPER that boundaries are her priority. “I used to give literally everything,” she admits. “I have been doing this since I was 12, and I love what I do, but it can’t be what defines me as a human being.”

Growing up in the public eye came with unavoidable scrutiny and undeniable personal cost. Entering a cutthroat industry at a young age ushered in preconceived notions about how the public could treat her and what they could expect from her. Especially as a young girl, comments about her appearance, continuous pressure to rebrand and invasions of privacy flooded in from the internet. Her work life became her whole life, and Beer found herself missing out on the small moments that many wouldn’t even notice that she was sacrificing – birthdays, family time, time for herself just to rest.

Before locket, Madison Beer wasn’t sure if she wanted to do this anymore. Now, she’s more sure than ever. With a new command over her image and artistry, her personal life now rests behind the proverbial curtain. Finding the balance was far more than a personal endeavor. Beer’s recalibration protects the parts of herself that exist outside of performance, laying a new foundation for fans and fellow artists who might follow in her footsteps. Advocating for herself and her wellbeing is a non-negotiable – sometimes it’s a matter of just saying ‘no.’ In an industry that rewards overexposure and constant reinvention, Beer aims for something more: sustainability. “I want to be a role model,” she claims. “I hope that there are people out there that look up to me.”

Before we hang up, her tone turns from interview-ready to casual. No need for spectacle, just honesty. “You know, a top ten album would be fucking sick, but if I can be happy regardless of that, that’s really the win.”

Read the rest of our exclusive PAPER cover story with Madison Beer below.

How has your winter break been? Did you go anywhere cool or watch any good movies?

Releasing an album in early January I have now learned is maybe not the smartest idea because the whole industry just goes dark for two whole weeks. I’ve been kind of freaking out, but now everything’s back online. Luckily, we handled so much before the break.

I stayed home. I literally did absolutely nothing, which was so nice. I watched great movies, though. I’ve never seen “The Gentleman” with Matthew McConaughey. I really liked that, I thought that it was great. And I will admit, which is honestly embarrassing to admit, I’d never seen “The Shawshank Redemption,” and it’s literally my favorite movie now. I’m obsessed with it.

I got into a loop of watching things like The Grinch and The Polar Express.

Those movies feel like fever dreams. The Polar Express scares me.

It’s comfortably spooky to me.

That’s valid.

So, just the other day you had your first Billboard Hot 100 entry with “Bittersweet,” congratulations!

It’s so cool. Thank you, it only took me 15 years.

And now you’re kicking off the new year with your third studio album. Those are big landmarks as an artist. How are you feeling?

I’m in a really great place. I’ve never felt more equipped to be releasing an album. I feel very healthy. I’m approaching it excited about the music and with a “Whatever happens, happens” energy which is very freeing.

Some people hear me talk about this and it could sometimes sound like I don’t care. It’s not that. I care so much about the music that I made, and I love this album so much. I love everything to do with it. So I feel like it would be doing it a disservice to then chalk it up to “If it doesn’t perform well then it must suck,” because I don’t think that. Historically, I’ve never had a number one album, I’ve never been someone that’s crushing the charts. It’s unfair for me to put that type of pressure on it.

I feel so good, I just really do. I’m pumped about the music, I’m excited for my fans to hear it. I just feel super, super proud of what I made and where I’m at. I hope people feel the same way.

You’ve spoken about how this era feels like the end of one chapter and the beginning of another. Are there any big differences that you are anticipating or have already noticed between the two?

I look at all my albums as times in my life. When I look back to “Silence Between Songs,” I really wanted to convey emotion and show that side of me. I wanted people to get to know me. With this one, I wanted to make something fun. Tour made me want to do that. With this album, every song that’s on it, I was imagining the live show and what that’s gonna look like. I think that’s super fun.

I’m also talking about my personal life. It’s a big deal for me to feel freed from the shackles of pressure and comparisons. At the end of the day, it’s just not why I do this, and I actually don’t care. I’m not afraid to say it. It’s just not my thing! I’ve never been driven by anything but the love of the art and the love for the fans. That’s truly it.

If people don’t like that, then it is what it is. I see posts sometimes that are like “Why do we want you to be bigger than you want it?” And I’m like, well, I don’t know what to tell you. My priority isn’t to be the biggest artist on earth. I want to make music I’m proud of and perform it for people who fuck with it. Take it or leave it, honey.

Exactly. When I was listening to locket, I noticed a particular evolution sonically. Touching on what you were saying about how going on tour affirmed the kind of fun you can have with live music – do you feel a new authority over your sound? How has your relationship to the technical aspect of your music-making evolved?

I definitely take a way more hands on approach now. Luckily I work with producers who are super collaborative and want me to be producing with them because they trust my taste and vision. It’s really affirming and cool because, growing up a young girl in the industry, I felt for a really long time like I couldn’t have a voice in rooms especially with big male producers. I would feel shot down, I couldn’t really speak my mind and was like “I’m not a producer.” But then my producers were like, “Yes you are… Like what the hell, you produce just as we do. Just because you’re not physically clicking the buttons – these are your ideas.”

It’s really awesome to work with people who want that and are down to be collaborative. So yeah, I feel like the approach is way different. Every single sound you hear, there’s nothing on my album that I didn’t choose. It’s all of us, you know, but I’m a part of every step. That’s been a really fun experience.

I can imagine how affirming that is – to have that creative control and see it unfold.

Yeah, no one’s gonna tell me what to make or what to do. I’m just at a point in my life and my career where I am gonna do what I want.

Is there something about your creative process that would surprise people who try to box you in as “just a voice” or “just a face” when actually, you’re the head of creative?

Probably just that I am the head of creative. All of the ideas that you are seeing are coming from me. I’m a part of every aspect. I mean, even when you come see me on tour, hopefully, you’re seeing lighting programming that I was sitting there for every single song and giving direction. I’m not saying I do everything myself, but my hand is in all of it. I’m sitting there for every single step because I have such a clear vision.

That alone would surprise people, because a lot of people don’t know much about me and probably think I’m just a dumb pop girly.

When I was listening to the album, I caught myself a few times wondering if there were any samples or interpolations. If there are, could you talk about those and what drew you to them?

There’s actually not really, except for I guess you could call them samples, but in “Complexity” there’s a sample of the elevator ding in Severance in the middle of the song. I just thought it was funny and cool because the lyric is “Remember the time you severed me.” Then there’s a sample of Marceline from Adventure Time at the end of “Healthy Habit” and she’s saying “You don’t remember anything, do you?” Everything else is original.

I love that, like how you’ve done the Rick and Morty sample before.

Now I can’t wait for shows and all of them are screaming “You don’t remember anything do you?” I can already imagine it. It just feels personal, you know? My true fans – the ones who come to the shows, the ones who have read my book, the ones who see me clearly – they appreciate that. They hear stuff like that and they’re like “This is that closeness that we love with her.” We have this relationship that is really special and that’s my way of honoring it because I want them to go “We know she loves her Adventure Time, that’s funny that she would put that in there.” It’s a way of feeling close to them as well.

It’s nice that you feel like you don't have to take yourself too seriously, that you’re able to honor that closeness by having a little bit of fun with them.

It’s a double edged sword. Like, okay yeah I should obviously take it seriously – this is my career. This is my album. But on the other hand, this is music. It should be fun! It should be silly at times. It should be personal. I want them to have those moments where it makes them feel like “she did this for me.”

Riffing off of that, would you say that you give everything of every part of yourself to your art? Or are there parts that you keep for yourself, and how do you draw that line?

I used to give literally everything. Making this album, I gave legitimately everything and then after it was done, I took a step back and was like, “I don’t know if this is all there is to life.” I have been doing this since I was 12, and I love what I do, but it can’t be what defines me as a human being.

I value so much more about myself and about my life outside of my music career. Life is short and I don’t want to look back and be like “Damn I spent all my time working” when I could have gone on vacation with my family, had a birthday party – little stupid things that people don’t think of that you find yourself sacrificing. I don’t want to do that anymore. I want to also prioritize my human life and not just always exist in this “Madison Beer, performance, posting” cycle.

If anything, I want to be a role model for people who want to have a career in something that is pretty life-consuming. I want to be someone who they can look to and be like “Wow, she maintains a healthy work life and healthy personal life.”

Especially with the position you’re in, being consumed can become your whole life. Working becomes your whole life.

Like, where’s the line? When is my time off? I love what I do. But you’ll hear on the album, on “locket theme” I touch on it a little bit. I talk about how I had to take a step back to see if I even wanted to continue this. It’s a lot at times, it’s really fucking intense. I’m somebody that can’t turn off my very sensitive heart and sometimes this job is not cut out for people like that. There are times when I need to take a step back. And you’ll hear that on the intro. Ultimately I decided to make another album and stay here, but yeah. I just want to keep doing things my way so I feel good about it.

Do you feel like standing firm on those boundaries has, in some way, allowed you to feel safe enough to break down your own walls?

One hundred percent. That’s me advocating for myself and my wellbeing. Saying no is powerful sometimes.

All the discourse online about me needing a rebrand – I see this shit everyday. “We need a new thing! She needs a new hair color, she needs a new this!” They want everything about me to change. I’m like, take me as I am or don’t. I hope that there are people out there that look up to me and say, “I want to be myself because she is herself, regardless of all the people telling her to change all the time.” That’s become a very important pillar for me.

It’s admirable that in the thick of it, you are still looking out for the girls behind you. To lighten things up a little: If you could hold one thing in a locket with you forever – anything or anyone you could dream up – what would it be?

Honestly, my instinct would be my brother. He’s been the most consistent person in my life. I’ve known the kid for 23 years and I just love him so much. He’s brought me so much joy throughout the years and he makes me laugh harder than anyone. Our closeness means a ton to me.

I can’t wait to tell my best friend that. We listen to “Ryder” all the time together.

Stop it, that’s so cute. He’s the best.

Speaking of, you’re very intentional with each album’s world building and soundscape. What was one choice you made on locket purely because it felt good, not strategic?

The whole album is very me, and encompasses me better than any other project I’ve ever released. But specifically, the outro of “angel wings.” It’s a pretty long outro; it’s not made for radio. I made that for the kids that love music, that might be producers.

Part of the conversation that has followed you as an artist is where you fall in the music industry, categorically. Where do you see yourself? Who do you consider your contemporaries and inspirations? I would love to hear who floats in your orbit from your perspective.

I definitely think I sit in a pop landscape – I would say pop alternative. It’s not completely down the line pop, but it’s not fully alternative. locket has a lot of R&B influence. As for my contemporaries, I love all the pop girlies that are all very beloved. Whether it’s Tate [McRae] or Sabrina [Carpenter], or Clairo and beabadoobie, the spectrum is very wide. We all make super different music but sit in a similar world. I would love to think that I’m amongst those really talented people.

Ariana’s obviously always been one of my idols and someone I’ve looked up to my entire career. Sonically and vocally, I just think she’s incredible. I’m also a huge Daft Punk fan. I love old 80s music. I’m very into The Beatles. My music catalogue is very random.

I couldn’t help but think about Ariana and also Imogen Heap when listening to some of the songs on locket. I loved the combination of R&B influences and then by the next track thinking “Okay! We have a new Imogen daughter on our hands.”

Yes! That’s so cool, I love Imogen. Do you know Eli?

Yes! I’m living for her.

She’s perfect. Her voice is fucking literally insane. I followed her on TikTok for awhile then saw her at a bagel shop and we were looking at each other and I was like “is that her?” and then just went right up to her. She’s so talented. There’s a song called "Fortunately 4 U,” it’s so fucking good.

I had her song Glitter on repeat for two weeks.

It’s so good.

You’ve been in the game for a long time. At what point did you feel authority over your image and art? Was there a specific moment of reclamation or is it a gradual journey that you’re still on?

It’s definitely a gradual journey. I would say getting dropped from my record label and my management when I was 16 helped, because I was able to be like alright, well, you know what it is? Sink or swim. To me, that was my moment of asking myself: What can I do? What’s in my realm of control? It’s still taking shape to this day. I’m co-directing my music videos and writing the treatments; that’s something that wasn’t even in the realm of possibility a couple of years ago. It’s just going to continue to evolve.

Speaking of co-directing, who are some of your dream collaborators? It could be producers, directors, other artists, anyone.

I mean, I would love to be in movies. If you want me to shoot for the stars, being in a Christopher Nolan movie would be my dream. That would be cool.

Honestly, same. It’s sink or swim and you chose swim, girl.

Thank you.

What does success look like to you right now?

Success to me looks like being happy and content, no matter the outcome. Not tethering my self worth to things that are out of my control. Being proud of who I am and what I’ve made, regardless of the noise or the charts, the numbers, anything. That, to me, is true success. You know, a top ten album would be fucking sick, but if I can be happy regardless of that, that’s really the win.

You sound happier and more present than you’ve ever been. But also, continuing to believe in yourself this way will pay off – we just saw it with the Hot 100 entry!

I appreciate that. That’s what my fans were saying, like, “She did this without y’all’s rebrand” and “She did this making her shit by herself.” I’m excited that I’m able to do it my way. Frank Sinatra said it best.

So when people talk about this era, what do you hope they take away from it?

I hope they remember how I stay true to me, and I hope they think this is an epic album.