7/10
It’s taken a long time for Dove Cameron to get here. Originally one of Disney Channel’s most famous actresses, Cameron has seemed serious about music for a while.
First it was her hit song “Boyfriend,” then her debut EP, Alchemical: Volume 1, which was released in 2023. But her album has always been illusive.
Until, finally, Final Girl. The pinnacle of a laborious career. While her previous projects have showcased a darker, gothic side, here, the music is slightly brighter, though still vulnerable and suspenseful.
With 11 tracks spanning 34 minutes, Final Girl delivers a message about enduring grief, confronting trauma, and reclaiming one’s own identity—the emotional embodiment of the horror movie final-girl. Throughout the album, Cameron redefines her own story as one of survival.
The album makes a memorable first impression with “silver screen baby,” built around a slow, captivating soft piano with mysterious soulful bass and electric guitar, allowing her to showcase her impressive vocal range. “I wanna be a silver screen honey / Immortalized, so time cannot touch me / Hand me a microphone / So I’ll never be alone,” she sings. The beautiful and clever lyrics reflect on her complicated feelings towards the entertainment industry and her disillusionment regarding the public’s perception of her.
Sapphic jazz and alt-pop control the second track, “emerald,” which expands the theme of idolization later revisited throughout the album. The song focuses on being deeply infatuated with someone toxic and out-of-reach, capturing a one-sided sense of adoration. “Diamonds are forever / Emeralds do it better,” Cameron sings. The track uses seductive, layered, and ghost-like echoes to create a unique and distinctive edge.
“When in rome,” released on Sep. 9 as the album’s lead single, is Final Girl’s most romantic track, written about Cameron’s then finance, Damiano David. She focuses on the pleasure of surrendering to love with synth pop and smooth vocals. “I think I love you so much, I wanna be you / Crush you into powder so that I can breathe you, ha,” she sings. Disappointingly, the song feels out of place after “silver screen baby” and “emerald,” coming across as charming but generic with its tempo and lyricism compared to the heavier songs from Cameron’s discography.
Similarly, “good on you” doesn’t hit as hard as it tries to. The song’s structured rhythmic pop leaves out any of the edges that make Cameron’s music feel enchanting. The song focuses on watching an ex-partner copying the same behavior to her own, evoking irony and empowerment. “Honey, I look so good on you,” she sings.
“Do the math” is one of the album’s sharpest singles, flipping back to a mysterious tone with a captivating cinematic feel and alternative pop. “And a million excuses why you’re never home / What’s the confusion? Yeah, you’re in delusion,” she sings. The track is sharp, calling out Cameron’s ex-partners who constantly avoid accountability for their actions.
Combining pop with elements of alt-rock, “hot girl” is the first jaw-dropping song of the album. Its infectious and hypnotic rhythm and reliance on a steady baseline and electronic elements make it one of Cameron’s most interesting. Her tone is confident and relevant to the mystery within her unique lyrics.
The emotionally evoking “skin over bone” focuses on struggles with self image and physical tolls of stress. The song’s theme is dark and the tempo starts off smooth but then jolts into an aggressive, punk vibe after the first chorus.
In comparison, “hands of man” is a masterpiece. Its direct lyrics and emotional depth dive into the themes of sexual violence and sexism. The emotionally provoking, raw tone adds to the tense and honest lyrics, easily making it the boldest song on the album. “And when a father doesn’t want a daughter / It’s ’cause he knows who he was when he was younger,” she sings. “Not all men, but too many / Not all men, but if I had a penny / I’d buy a house that was warm like honey / For all the girls who were bruised and bloodied.”
As a surprise single on Nov. 2, “breaks open” is notably one of the album’s best songs. A combination of alt pop production, cinematic strings, and symphonic layering create an escalating feeling. Cameron’s vocally appealing tone keeps you anticipating what comes next, while Cameron’s lyrics carry an emotional depth.
The album takes an unexpected emotional turn with the closing track, “maybe heaven is a jazz club,” a heartfelt tribute to her late father and her former Descendants co-star, Cameron Boyce. With a smoky piano and a light-hearted saxophone, the track reinforces the driven storytelling and themes of living through loss that Final Girl focuses on. “Baby, heaven is a jazz club / Promise me you won’t rush / Heaven is a jazz club / And I’ll save a seat for you when you come,” she sings.
Ultimately, while some tracks feel generic and fall short of emotional depth found elsewhere on the album, Final Girl lives up to expectations, sharing impactful subjects with Cameron’s appealing instrumentation and impressive vocals. After years of waiting for the album, Cameron proves to be more than just a Final Girl. She’s a force of her own.
