‘Alter Ego’ Album Review: Introducing the World to a New Woman

Lisa has never asked for permission — she doesn’t need to. With her debut solo album “Alter Ego,” she doesn’t just step into the spotlight, she sets it ablaze. This artist certainly isn’t the Lisa the world met in BLACKPINK — the K-pop girl group that catapulted her into global stardom. She is now a woman who has shed expectations, taken the reins, and emerged with a voice louder than ever. If her past was a carefully curated image, “Alter Ego” is the sound of its undoing and rebuilding on her own terms.

The album presents five distinct personas — “alter egos,” as Lisa dubs them — each capturing a different side of who she is: rockstar Roxi, angelic Sunni, chill Kiki, rebellious Speedi, and confident Vixi. But rather than compartmentalizing herself into just one of those avatars, Lisa instead portrays herself as a combination of them all across the album’s 15 tracks. Lisa is versatile and capable of creating the unexpected on this journey of self-discovery.

Lisa sets the tone early with “Born Again,” featuring RAYE and Doja Cat. The song is an anthem of resilience and reinvention. Over an atmospheric synth-driven beat, she sheds the weight of a lover who failed to recognize her worth. “If you tried just a little more times / I would’ve made you a believer / Would’ve showed you to the light,” she sings assertively but with a cool detachment. The layered harmonies give the track a dreamlike quality, but the production is sharp, keeping it from drifting too far into melancholy. Doja Cat’s line, “You’ve bitten from the fruit but can’t give back,” references Adam and Eve, reinforcing the song’s rebirth motif.

The energy shifts dramatically with the next song, filled with power and defiance. “Rockstar,” with its electrifying explosion of trap beats, glitchy synths, and punchy bass lines, portrays Lisa at her most unfiltered and untouchable as she flexes her influence: “Been on a mission, boy, they call me catch-and-kill” — a clever nod to her ability to navigate the perpetual media storm. The production contrasts her reverbed, melodic vocals with crisp, unfiltered rap sections, highlighting her duality as a performer. For all its strengths, “Alter Ego” is not without its weaknesses. Though her performance quality shines, the lyrics at times verge on overindulgence, feeling more like a gloating victory lap than an artistic statement.

This relentless bravado continues into “Elastigirl,” where she likens herself to the flexible and formidable superhero from “The Incredibles.” The syncopated percussion and resounding bass drums evoke an almost African-inspired rhythmically engaging soundscape. Unlike other more heavily processed songs, Lisa’s vocals here are more articulate, allowing her charisma to shine through: “Oh, baby, this ain’t a performance, it’s a show / I can be so unforgettable / You be calling me Ms. Incredible,” a reminder that she has always been a performer first. While it’s a solid track, it doesn’t push boundaries, and by this point, the self-congratulatory tone starts feeling repetitive.

Thankfully, “Thunder” offers a refreshing contrast, dialing down the snare drum line and leaning more into the reverberations of the bass drums and synths. Alongside more vocalization than rap, the beat pulses simulate Lisa strutting down a high-fashion catwalk, mirroring her “thundering” presence. “Now look at me, I’m so high / You wanna know what it feels like” revels in her success while subtly throwing shade at critics. The confidence is intoxicating, enhanced by the autotuned vocal layering and overall hypnotic bass.

The most compelling parts of “Alter Ego” arrive when Lisa pushes past surface-level flexing and taps into something deeper. “New Woman,” featuring Rosalía, marks a turning point so that the focus is less on material wealth and more about evolution. “Focus on my mind, takin’ my time / I’m a new woman, woman” reflects on Lisa’s growth as an artist since her 2021 singles “Lalisa” and “Money.” There is a newfound openness here, a willingness to step beyond the rigid confines of K-pop.

A few songs later, there is “Moonlit Floor (Kiss Me),” the first slower song of the album, and it comes as a breath of fresh air after all the back-to-back high-energy songs so far. With its slow, atmospheric production and smooth, honey-like vocal layering, it feels more intimate, vulnerable, and cinematic, as Lisa sings, “Kiss me under the Paris twilight / Kiss me out on the moonlit floor.” Whether it was intended or not, the track reads like a love letter, perhaps a nod to her rumored romance with LVMH Watches CEO Frédéric Arnault. It is a beautifully tender moment that stands out not because it boasts power but because it embraces vulnerability.

By the time we reach “Lifestyle” and “Chill,” the wealth flexes start to lose their charm. In “Lifestyle,” Lisa raps about “Fast cars, drop tops and tank tops / Diamonds on my TikTok,” but this theme of lavish living and glitzy achievements has already been explored multiple times in the album. The production remains tight with engaging staccato percussion and slick synths, yet the lyrics beg for more introspection and depth. Similarly, “Chill” offers a slightly new angle with its icy, detached delivery, but ultimately, it feels like an extension of what’s already been said.

The issue here isn’t confidence, but repetition. Lisa shines when she’s proving her artistry, not just her affluence. The best moments of “Alter Ego” showcase her versatility, creativity, and emotional range, while the weaker ones risk blending into the background as they lean too heavily on flexes that don’t reveal much beyond the surface.

Fortunately, the final moments of the album redeem some of those ineffective elements. “Dream” slows things down with a wistful, stripped-down ballad, showing a side of Lisa listeners rarely see. The soft synth pads and minimal instrumentation allow her vocals to take center stage, and the lyrics offer a rare moment of vulnerability. The song is unexpected and almost out of place – but that’s what makes it work, reminding us that Lisa’s alter ego isn’t just about dominance, but about emotional complexity.

Lisa’s “Alter Ego” is truly a bold and daring debut, successfully staking her claim to the music industry. It is an album full of high-energy anthems, razor-sharp raps, and fearless experimentation that highlight her artistic growth. Yet, it is also an album that occasionally leans too hard into self-affirmation at the cost of depth and with the risk of coming off as arrogant. Lisa’s fire is exhilarating, but it loses some of its magic when it starts feeling repetitive. Still, it is clear that Lisa is only just getting started, and if “Alter Ego” is her first step, then audiences better be ready for what comes next.