LØLØ has never been shy about her emotions, but her upcoming sophomore album, god forbid a girl spits out her feelings (arriving April 17), finds her speaking with sharper intent. The recordcaptures an artist who has stopped negotiating with her instincts and started trusting them. Across thirteen tracks, it leans into immediacy, humor, and emotional candor, documentingthought and feeling as they surface rather than reshaping them into something more controlled. The album’s framing came together late, but once it did, it clarified everything. “It actuallyhappened at the very end,” she says of the title. “It wasn’t on mylist of titles at all.”

A vocal injurylimited her ability to record additional songs, forcing her to look closely at what already existed.“I realized the vast majority of the songs were about love, breakups, and relationships,” sheexplains. “I started thinking about what people would say and thought, ‘Ugh—god forbid a girlspits out her feelings.’ I laughed, and then I immediately started writing the title track.” Once thephrase appeared, it stuck. “I knew immediately it was perfect.”That instinctivehonesty has always been part of LØLØ’s writing, even before she committed to making a full-length album.

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When she released falling for robots & wishing i was one, she wasstill grappling with the weight of what a debut record represented. “I always wantedto write analbum,” she says. “But I was scared, because your first album feels like a statement. Once youput it out, you’re kind of saying, ‘This is me as an artist.’” That fear shaped the record’semotional center, which leaned heavily into numbness as a form of self-protection.

“The last album was me being envious of people who could feel less,” she reflects. “This one isrealizing that feeling everything is part of being human.” Rather than framing that shift asreinvention, the new album reflects growing certainty in how she writes and what she allows herself to leave unfiltered. “And I’ve definitely added more humor to my lyrics,” she adds. That humor has long been a defining feature of her songwriting. Sharp one-liners and self-aware sarcasm often cut through moments of emotional intensity, giving her songs their distinct personality. “I’m a really sarcastic, self-deprecating person,” she says. “When I write, I try to justspit everything out and not overthink it. If I start editing too much, it loses its spark. Even in serious songs, it helps to have a moment that breaks the tension. It makes the song feel morehuman, like you’re not just drowning in your feelings, you’re laughing at them too.”

“007” arrives as the first official single to kick off the album rollout, offering an early glimpse into the tone of the record. Written with Brian Dales, Taylor Acorn, and Danen Reed Rector, thetrack leans into confidence and momentum. “It just felt like a very fun, cool, and dare I say, sexytrack to launchthe album rollout with,” she says. “The album has a range of different vibes, but Ithink ‘007’ is its own vibe altogether.” The song sets the pace for what follows, opening thealbum’s world without lingering on explanation

The album’s emotional range is already visible through previously released songs like “The Devil Wears Converse,” “American Zombie,” and “Me with No Shirt On.” Placing those songs into a final sequence proved more difficult than expected. “They’re all so different, but they still really belong together,” she says. “I try to always tell a story with sequencing, but this one took a lot of drafts.” The final order moves less like a straight narrative and more like a thought pattern, reflecting the way feelings surface, overlap, and contradict in real time. That lack of a single emotional anchor is intentional. Rather than positioning one song as the heart of the record, LØLØ allows the album to function as a collection of emotional truths that exist side by side. “The title track really nails down the concept,” she says, “but ‘dumbest girl in the world’ also feels really important to me.” The song captures the self-awareness that runs through the album, in which vulnerability is paired with humor rather than self-protection. It is not written from regret or self-punishment, but from recognition.

Across the record, moments like these reflect a move away from emotional armor and toward clarity, even when that clarity is uncomfortable. Her sound continues to resist easy categorization, moving comfortably between pop melody and rock edge. “I definitely feel pressure to pick a lane,” she says. “My first EP was more pop, and I didn’t love it. Then I leaned rock, and suddenly I was either ‘too punk for pop’ or ‘too pop for punk.’” That tension followed her into festival environments where genre boundaries feel even more rigid. On last summer’s European run, where she played major rock festivals including Download, Nova Rock, and Rock am Ring, she felt the weight of those assumptionsimmediately. “I was terrified,” she admits. “I knew I was probably the least rock person on the lineup.” Her first instinct was to overcorrect, but she ultimately chose the opposite. “I decided just to do what represents me best,” she says. “I stood out because it was different.”

“Live performance has been one of the clearest places where her confidence has grown in real time. She recalls the moment her London headline show sold out, not once but twice. “It was myfirst tour, and I was terrified no one would come,” she remembers.“Then it sold out, twice.” The noise of the crowd was so loud it startled the promoter. “Afterward, I told my tour manager, ‘Thatwas a real concert.’ He laughed and said, ‘They’re all real concerts.’” It was funny, but it also landed. “I’ve always had imposter syndrome,” she admits. “When I’m on stage, I sometimes think, ‘This isn’t a real show, and I’m just pretending.’ But that night, it finally hit me that it is real. People were screaming the lyrics back at me. It was one of the best nights of my life.” As the album rollout continues, LØLØ is preparing to take this record overseas with a new run ofheadline dates. These shows are built with intention rather than adaptation. “It’s night and dayfrom when I am doing an opening slot to when I am doing my own show,” she says. “When Ihave enough time, like in a headline show, I really make it a show, with a story, a set, and a purpose.” The scale may grow, but the focus remains connection, allowing the songs to exist fully without compression. As god forbid a girl spits out her feelings moves toward release, the album stands as a record made without preemptive apology. It does not search for permission or resolution. It allows emotion to remain intact, trusting that honesty does not need to be softened or justified. AsLØLØ puts it simply, “This one is realizing that feeling everything is part of being human.