Club culture and its constant adjustment to social development have been one of this year’s most discussed trending topics. With the gentrification monster taking over our beloved cities and benefiting the rich and famous instead of those who actually get the party started, the misrepresentation of women, trans, non-binary and people of color in our dancefloors, and the progressive shutdown of underground cultural institutions, it seems only natural to have an overviewing analysis and to criticize the imminent collision course we’re moving towards.

For her new and fourth album, Working Class Woman, Montreal-based electronic musician Marie Davidson picks up the parts of her past year and dwells on her own experience. Berlin, famously known for its hedonistic and, let’s say, (very) lively underground club scene, was Davidson’s home before returning to Canada. Living in Berlin is an experience on its own, where each and every one of us interprets in their own way, according to the path we individually take when immersed in the electronic music void.

Davidson never had a problem with being outspoken. In fact, her usage of spoken-word techniques is one of the most interesting aspects of her music and creative process. In a world where there is a progressive necessity of being vocal, regardless of cause-effect, she uses Working Class Woman as a critic of club culture, its consequences, mental health issues, the unconventional dynamics in the music industry and also as a tool of self-reflection and incisive banter.

Picking up the remaining elements of Adieux Au Dancefloor, her previous album, she kept the coordinated usage of snappy hi-hats and pounding bass drums while dissecting the rotted nightlife protocol. Opening track ‘Your Biggest Fan’ exposes the irony in the blatant club communication between audience and artist. Shortly after, ‘Work It’ serves as an anthem to self-value and a public service announcement of proactiveness and achieving, as the fierce annunciation of “You wanna know how I get away with everything? I work, all the fucking time.”

Delirium and dissociation have been recurring topics on Davidson’s work, in particular in this year’s Essaie Pas album New Path. ‘The Psychologist’ picks on those topics and satirically deconstructs doctor-patient conversation into idiocy and incomprehension, as does ‘The Tunnel’ and its rambling bilingual inner rant. As Marie Davidson puts it, Working Class Woman is “an egotistical album – and I’m okay with that.” Single ‘So Right’ feels cynical but with intent, combining soft-synths with pounding techno beats - a proper club anthem ridiculing itself. And we’re ok with that.

There is a thin line between what's acceptable and what’s not in our current society. As those lines begin to blur, the need to call out the bullshit is necessary. Marie Davidson, doing what she knows best and is most powerful at, was able to produce a record that ticks every necessary box towards making an impactful change while not taking herself seriously, yet being very serious and precise with her intent.