Album Review: ‘Happiness Is Going To Get You’ by Allie X

With her new release, Allie X continues her career today as an indie pop artist, hoping to harmonize dark aesthetics with serious subject topics. 

Alexandra Hughes, debuting with the name Allie X in 2014, has since worked with notable pop artists such as Marina, Troye Sivan, and Charlie XCX, using her song-writing skills to turn lyrics into real, vulnerable moments that audiences can relate to. 

Her new release, Happiness is Going to Get You, takes her audience on a journey of perseverance through 12 tracks. She gets vulnerable, and reveals the struggles of simply existing. However, the creepy aesthetics and imagery conceal the record’s ultimate focal point — the possibility of happiness. 

The opening track “Is Anybody Out There?” effectively juxtaposes up-beat pop production with ominous lyrics. And this is a common pattern audiences see throughout the record. Hughes uses lyricism to create sensations of vulnerability and helplessness. The artist’s casual mentioning of her co-worker’s suicide is a notable moment, followed by reflection of the unfairness that is human life. 

This creates a relatable atmosphere for listeners who have witnessed similar horrors, and yet are still forced to carry on with daily responsibilities. Despite its compelling story-telling, the track faults with its bland production, uninteresting chorus, and basic couplet rhyme scheme. Making it an underwhelming initial taste of the record. 

“7th Floor” does a better job in regards to production, accompanied by catchy-lyrics and a quick beat. It continues the story of “Is Anybody Out There?,” but adds an element of stagnation. It uses imagery of an elevator to convey the inability, and perhaps unwillingness, to leave. Hughes accurately depicts sensations of being “stuck” in life and experiencing floods of anxiety as it appears those around her are advancing quicker. 

Track three, “Down Season” is the first ballad-esque song of the record. Hughes finally demonstrates her vocal ability. She uses lyricism to paint “down season” as a period of anxiousness created by society. She forges an internal headspace of incredulity.

Alongside its lyrical strengths, the album allows pure production to shine through the interludes “A Glitch in Marie” and “It Gets Better (It’s Worse Than Ever).” The latter specifically ignites a disturbing feeling of paranoia where Hughes’ voice is uniquely morphed into something nostalgic of early horror films. 

The title-track is overall the best track. Hughes allows her vocal talents to melodically blend in with eye-catching writing. The artist discusses happiness through a lens that frames it as a vengeful spirit. She describes it as an almost horror-like figure that will find its way to every individual. 

Over the course of the song, a creepy backing track begins to grow louder, foreshadowing the moment when happiness has caught its victim. This paradoxical personification of happiness reflects the nature of contemporary society. Happiness is often a luxury, and individuals often believe they are undeserving of it. And this results in happiness having to find the individual rather than vice versa. 

The second half of the album often carries the same messages as the initial tracks. Track seven, “I Hope You Hear This Song,” is notable in its arbitrariness in terms of the vulnerable yet semi-hopeful themes. Hughes pettily reminisces on a past relationship. And she confesses the desire of wanting the other person to know about her radio success. The lyrics, as well as production, are generic and make this track feel like filler rather than purposeful. 

The emotional climax of the record is “Learn to Cry.” She assures listeners that their pain is valid, as she herself struggled with ideals of conformity. And she imagines a reunion with her past self where she is free from societal ideals. Hughes encourages listeners to break out of molds that they believe they must fit into. This track’s vulnerability and catharsis make it a standout of the record.

Overall, Happiness is Going to Get You does not fall into the category of revolutionizing music of 2025.

The record would benefit from more moments where Hughes can showcase her vocal talent, instead of a reliance on generic production. The strength of this record lies in its storytelling. It creates an atmosphere that is relatable, especially for young listeners, who actively experience hardships regarding identity. She ends the album with “It’s Just Light” — harmonizing the misfortunes of life with its beauty, promising audiences that happiness is indeed, going to get them.