Only one alter ego could have done the job

LISA’s Alter Ego is more than just another album; it’s a vibrant showcase of five distinct characters (Roxi, Kiki, Vixi, Sunni and Speedi), each bringing their flair to the mix. It makes for a wild and busy ride that can be exciting or overwhelming based on your taste for chaos.

After leaving BLACKPINK and YG Entertainment, LISA set out to create a new identity for herself, and this debut solo album sends a bold message. Her five alter egos reflect different aspects of her creativity, each with a unique look and sound. The launch was well-planned, featuring a comic, several album covers and enough teaser videos to fill a miniseries. But when you get past the visuals, does the music deliver? 

Mostly, yes.

One of the album’s biggest strengths — and weaknesses — is its sheer range. LISA seamlessly shifts from hip-hop, electro-pop, R&B, rock and reggaeton, sometimes within the same song. One moment, she channels a Pink Friday vibe, then transforms into an indie dream girl, and before you know it, she’s pulling in some Y2K pop. While it’s impressive, it can also be a bit overwhelming. Instead of a clear artistic direction, she’s trying to show off her ability to change styles. And while it is entertaining initially, it ends up being a bit chaotic by the end of the album.

Sometimes, less is more. Bringing in talents like Doja Cat, Rosalía, Megan Thee Stallion, Future, Tyla and RAYE sounds excellent in theory, but it can be a little too much in reality. Rather than complimenting LISA’s voice, they often steal the spotlight.

For example, “Rapunzel,” featuring Megan Thee Stallion, does fall short of expectations, but Megan’s verse saves the day. “Thunder” relies too heavily on a repetitive hook (really, how many times can you say “Uh-huh-huh” before it gets old?), and “Elastigirl” falls into using an outdated beat that feels more like filler than a standout track. And then there’s “BADGRRRL,” a song that sounds tailor-made for a female-focused Marvel superhero movie. Dark, cinematic and pulsing with tension, it has that perfect slow-build intro before the beat drops into something massive. At the very least, it could be your next workout sound.

That being said, the album does contain some real treasures. “Born Again” (featuring Raye and Doja Cat) encapsulates the early 2000s girl-power vibe, making it perfect for those late-night hangouts with friends. “New Woman,” co-produced by Tove Lo and Max Martin, stands out as one of the top tracks, featuring LISA and Rosalía, trading verses on the challenges of pursuing their careers while staying true to themselves. “Moonlit Floor (Kiss Me)” takes inspiration from Sixpence None The Richer’s “Kiss Me” and transforms it into a dreamy ballad about a whirlwind romance with a mysterious French lover. And “Dream”? That’s sure to land in the next big Netflix rom-com.

What surprised me the most was LISA’s ability to switch personas. I watched her in the third season of The White Lotus, where she plays Mook — the quiet, intriguing presence amidst the chaos, and knew nothing about her K-pop past and BLACKPINK. I expected an album filled with moody R&B tracks to match that tone. Instead, Alter Ego bursts forth as a high-energy celebration of variety, revealing her impressive range. It’s one thing to change roles in music videos, but she manages to be so convincingly different every time that it almost makes you forget she’s the same person throughout.

In the end, while Alter Ego is a daring debut, it isn’t flawless. LISA shows she can handle many styles, but sometimes, we wish she didn’t feel the need to do all that. The genre shifts, an abundance of collaborations, and the attempt to present five alter egos all at once can feel a little overwhelming. Still, if the goal was to showcase every side of herself, she’s certainly done that — and then some.