For over a decade, the Los Angeles-based artist Mandy Lee has led acclaimed alt pop outfit MisterWives with her distinctly compelling vocal and commanding stage presence through four studio albums, a live album and a deluxe album, several tours and a run of the global festival circuit.
Earlier this year, Lee debuted her solo recording project Cherry Bomb with the attention-grabbing, upbeat banger “Never Be Me (M★ther★cker),” which sees the MisterWives frontperson boldly shaping a sonic universe that’s completely her own — while blending party bops with profundity.
Lee’s latest Cherry Bomb single “Digital Girl” is a slickly produced, rousingly anthemic bop anchored around glistening synth arpeggios that seemingly channels early Lady Gaga and Madonna while confessing a deep-seated frustration and annoyance with the hyper-connected social media world.
Directed by frequent collaborator Matty Vogel, the accompanying video for “Digital Girl,” evokes the constant overstimulation of the modern world with harsh contrasts, flashing images and impossible shapes crammed together– in the same frame.
“Who doesn’t want to smash their phone in 2026 and be met with confetti to celebrate?” Lee asks. “In this hyper-digital day and age, it’s near impossible to not fall down the algorithmic rabbit hole of comparison spirals, curated perfection, and infinite doomscrolling. I wanted to visually represent the tension that exists between conforming to the pressure or rebelling against it and what it feels like when the two coincide.”
Through “Digital Girl,” Lee sees Cherry bomb as a symbol of fiery resistance to the pressures of modernity. “I hope she is a much needed reprieve from the Digital World that lives in the palm of our hand.” She adds, “‘Digital Girl’ is my love/hate confessional to my dreams and the systems they exist within. An unsettling reflection of modernity and how much we sacrifice who we really are in response to who we are told to be.” As her first song she wrote for her solo project, the new track “ignited the spark and unapologetic energy that I needed for this project — a total rejection of the impossible shapes we are constantly pressured to bend to.”