I Hope You Don’t Remember Me
Baby Queen
Baby Queen’s I Hope You Don’t Remember Me is the second album by South African-born, London-based songwriter Arabella Latham, released through Insanity Records on July 24, 2026. The 11-track record shifts from the broader generational commentary of her debut, Quarter Life Crisis, toward an intimate account of love, rejection, ego, shame, and self-protection. Latham has described its narrator as unreliable, with a distorted idea of love; the title captures the record’s central impulse—to erase someone from memory after perceived rejection, while also wanting to disappear from theirs.
Musically, the album pairs Baby Queen’s sharp, self-aware writing with dream-pop atmosphere, piano-led melancholy, bright synths, new-wave grooves, and moments of buoyant alternative pop. “Abigail” opens in a somber register, mourning a lost same-sex relationship, while “Feel Something” supplies a more euphoric lift. Elsewhere, “Permanently Obsessed” turns emotional contradiction and desire into a catchy groove; “That’s Fine,” “Word Vomit,” and “Spite” use humor and bluntness to examine rejection, jealousy, and breakup fallout. “The Protagonist” is a more pointed ballad about a narcissistic partner, and the title track closes as a literal goodbye—to a relationship and, in a sense, to the listener. The result is a concise, emotionally unsettled pop album that makes its darkest feelings feel melodic, danceable, and painfully candid.
Baby Queen’s I Hope You Don’t Remember Me is the second album by South African-born, London-based songwriter Arabella Latham, released through Insanity Records on July 24, 2026. The 11-track record shifts from the broader generational commentary of her debut, Quarter Life Crisis, toward an intimate account of love, rejection, ego, shame, and self-protection. Latham has described its narrator as unreliable, with a distorted idea of love; the title captures the record’s central impulse—to erase someone from memory after perceived rejection, while also wanting to disappear from theirs.
Musically, the album pairs Baby Queen’s sharp, self-aware writing with dream-pop atmosphere, piano-led melancholy, bright synths, new-wave grooves, and moments of buoyant alternative pop. “Abigail” opens in a somber register, mourning a lost same-sex relationship, while “Feel Something” supplies a more euphoric lift. Elsewhere, “Permanently Obsessed” turns emotional contradiction and desire into a catchy groove; “That’s Fine,” “Word Vomit,” and “Spite” use humor and bluntness to examine rejection, jealousy, and breakup fallout. “The Protagonist” is a more pointed ballad about a narcissistic partner, and the title track closes as a literal goodbye—to a relationship and, in a sense, to the listener. The result is a concise, emotionally unsettled pop album that makes its darkest feelings feel melodic, danceable, and painfully candid.
Baby Queen’s I Hope You Don’t Remember Me is the second album by South African-born, London-based songwriter Arabella Latham, released through Insanity Records on July 24, 2026. The 11-track record shifts from the broader generational commentary of her debut, Quarter Life Crisis, toward an intimate account of love, rejection, ego, shame, and self-protection. Latham has described its narrator as unreliable, with a distorted idea of love; the title captures the record’s central impulse—to erase someone from memory after perceived rejection, while also wanting to disappear from theirs.
Musically, the album pairs Baby Queen’s sharp, self-aware writing with dream-pop atmosphere, piano-led melancholy, bright synths, new-wave grooves, and moments of buoyant alternative pop. “Abigail” opens in a somber register, mourning a lost same-sex relationship, while “Feel Something” supplies a more euphoric lift. Elsewhere, “Permanently Obsessed” turns emotional contradiction and desire into a catchy groove; “That’s Fine,” “Word Vomit,” and “Spite” use humor and bluntness to examine rejection, jealousy, and breakup fallout. “The Protagonist” is a more pointed ballad about a narcissistic partner, and the title track closes as a literal goodbye—to a relationship and, in a sense, to the listener. The result is a concise, emotionally unsettled pop album that makes its darkest feelings feel melodic, danceable, and painfully candid.
I Hope You Don’t Remember Me
Baby Queen
Baby Queen’s I Hope You Don’t Remember Me is the second album by South African-born, London-based songwriter Arabella Latham, released through Insanity Records on July 24, 2026. The 11-track record shifts from the broader generational commentary of her debut, Quarter Life Crisis, toward an intimate account of love, rejection, ego, shame, and self-protection. Latham has described its narrator as unreliable, with a distorted idea of love; the title captures the record’s central impulse—to erase someone from memory after perceived rejection, while also wanting to disappear from theirs.
Musically, the album pairs Baby Queen’s sharp, self-aware writing with dream-pop atmosphere, piano-led melancholy, bright synths, new-wave grooves, and moments of buoyant alternative pop. “Abigail” opens in a somber register, mourning a lost same-sex relationship, while “Feel Something” supplies a more euphoric lift. Elsewhere, “Permanently Obsessed” turns emotional contradiction and desire into a catchy groove; “That’s Fine,” “Word Vomit,” and “Spite” use humor and bluntness to examine rejection, jealousy, and breakup fallout. “The Protagonist” is a more pointed ballad about a narcissistic partner, and the title track closes as a literal goodbye—to a relationship and, in a sense, to the listener. The result is a concise, emotionally unsettled pop album that makes its darkest feelings feel melodic, danceable, and painfully candid.
Baby Queen’s I Hope You Don’t Remember Me is the second album by South African-born, London-based songwriter Arabella Latham, released through Insanity Records on July 24, 2026. The 11-track record shifts from the broader generational commentary of her debut, Quarter Life Crisis, toward an intimate account of love, rejection, ego, shame, and self-protection. Latham has described its narrator as unreliable, with a distorted idea of love; the title captures the record’s central impulse—to erase someone from memory after perceived rejection, while also wanting to disappear from theirs.
Musically, the album pairs Baby Queen’s sharp, self-aware writing with dream-pop atmosphere, piano-led melancholy, bright synths, new-wave grooves, and moments of buoyant alternative pop. “Abigail” opens in a somber register, mourning a lost same-sex relationship, while “Feel Something” supplies a more euphoric lift. Elsewhere, “Permanently Obsessed” turns emotional contradiction and desire into a catchy groove; “That’s Fine,” “Word Vomit,” and “Spite” use humor and bluntness to examine rejection, jealousy, and breakup fallout. “The Protagonist” is a more pointed ballad about a narcissistic partner, and the title track closes as a literal goodbye—to a relationship and, in a sense, to the listener. The result is a concise, emotionally unsettled pop album that makes its darkest feelings feel melodic, danceable, and painfully candid.
Baby Queen’s I Hope You Don’t Remember Me is the second album by South African-born, London-based songwriter Arabella Latham, released through Insanity Records on July 24, 2026. The 11-track record shifts from the broader generational commentary of her debut, Quarter Life Crisis, toward an intimate account of love, rejection, ego, shame, and self-protection. Latham has described its narrator as unreliable, with a distorted idea of love; the title captures the record’s central impulse—to erase someone from memory after perceived rejection, while also wanting to disappear from theirs.
Musically, the album pairs Baby Queen’s sharp, self-aware writing with dream-pop atmosphere, piano-led melancholy, bright synths, new-wave grooves, and moments of buoyant alternative pop. “Abigail” opens in a somber register, mourning a lost same-sex relationship, while “Feel Something” supplies a more euphoric lift. Elsewhere, “Permanently Obsessed” turns emotional contradiction and desire into a catchy groove; “That’s Fine,” “Word Vomit,” and “Spite” use humor and bluntness to examine rejection, jealousy, and breakup fallout. “The Protagonist” is a more pointed ballad about a narcissistic partner, and the title track closes as a literal goodbye—to a relationship and, in a sense, to the listener. The result is a concise, emotionally unsettled pop album that makes its darkest feelings feel melodic, danceable, and painfully candid.