Unashamedly Political: Chloe Slater – ‘Love Me Please’ Review

Words: Josh Parsonage

‘Love Me Please’ toils with a superficial era of music corporatism and a perceived inadequacy perpetuated through its deep patriarchal core.

Chloe Slater was propelled into exponential fame with 2024 single ’24 Hours’, a track which took aim at the Molly-Mae associated ignorance toward the struggle of working teens. Her pop-infused indie-rock carries an explosive quality that hits home her increasingly relevant political messaging, making her a musical spokesperson for Gen Z.

A year of experience in the industry has taken Slater’s unashamedly political lyrics to a new level. The Bournemouth born artist’s latest effort, ‘Love Me Please’, dissects the intersections between that blank corporate face, the suffering of working-class writers, and how patriarchy ties it all together. 

The idea of self-alteration continues into the indie-rockers’ standout track, ‘Fig Tree’. The song narrates the experience of the societal pressure for women to remain youthful and flawless – expectations rooted in consumerism and patriarchy – and ties this struggle back to the idea of selling oneself for fame. The spoken bridge in ‘Fig Tree’ is the EP’s defining moment:

“Choose heavy hula-hoops that swing around your stomach and leave marks
Choose Pilates, liposuction, don’t forget to wear a bra,
Choose youth, choose smooth, let lasers touch your bare skin,
Don’t drink, don’t blink, choose diet soda, thin is in[…]”

Slater delivers these lines with a restrained fury, as though on the verge of “rioting”, a sentiment she goes on to openly express. Yet, the song concludes with a defiant statement: “I’ll choose a life that is mine”. Here, Slater reclaims her agency and vows to live beyond these oppressive expectations.

As a collection of music examining patriarchy industry ‘Love Me Please’ succeeds in exploring every layer. ‘We’re Not The Same’ shifts the focus from corporate level and overarching societal expectations to the more intimate day-to-day interactions with male artists, producers, and management. The track narrates a relationship with a male artist of whom carries a perpetual arrogance in everything they do and say: “I swerve another one liner, that he stole from a screen” / “Oh so you like Tarantino? I’ve never seen that film, what’s it called again? [..] Could you tell me the plot again?”. The frustration brought about by these interactions is palpable throughout the music, with an eye roll in the delivery of each line, and anger woven into every beat of the chorus.

The final song, ‘Imposter’, captures the emotional fallout of these feelings, experiences, and systems – alienation and emptiness. In the pursuit of ideals Slater has struggled to maintain relationships and look after herself. This is a struggle which resonates with not just those in the arts, it is a struggler which resonates with anyone who works and studies. It is a universal truth, sometimes we all just give that bit too much of ourselves to something which doesn’t deserve it. Without question, it is the seaside singer’s most poignant
performance to date, with raw emotion harnessed by the hauntingly beautiful vocals and tear-jerking melody.

‘Love Me Please’ is only Chloe Slater’s second EP and us, alongside many others, are gagging for more. It will come as no surprise that her UK tour this month is sold out, she is one of the best examples of the plethora of young artists which give hope of a bright future for alternative music.