Filmed by “E.G.” goes the “warning,” of sorts, at the beginning of Ellie Goulding’s latest video following the March release of “Worry About Me” featuring Blackbear. In contrast, “Power” offers far less production value in keeping, of course, with the self-quarantine “trend” (but rather, necessity) of 2020. Looking increasingly like a young version of Celine Dion, Goulding romps around in various states of undress while ruminating on where she “lost the magic” with an ex. After all, quarantine gives one plenty of time to think on the failures–the overall ruin–of their life.
Projections of her silhouette against the wall superimposed over her face lend the DIY flair that has been popularized these past few months, most notably by Charli XCX with her record, How I’m Feeling Now, and music videos such as “Forever” and “Claws.” In Goulding’s case, the production value feels slightly more “designer” in terms of her lingerie collection alone (at times, it could almost double for a Victoria’s Secret advert, back when Victoria’s Secret was still a thing). The dichotomy of her carefully curated appearance (despite attempting to look effortlessly casual) plays into her comment about the song itself, having stated, “[It’s] a preview into the world of the new record that’s coming really, really soon. It’s about relationships in the 21st century, and how they can now be dictated by social media, superficiality and material things. The girl in the song is disillusioned by love, and the good-looking, self-obsessed people she keeps ending up with.”
To that point, it’s no wonder Goulding uses the line, “I’m not a material girl,” subverting the very thing Madonna touted in the 80s (while also sardonically negating the statement with her accompanying music video for the single) as she adds, “Everything in your world just feels like plastic/Wearing your crown, it’s pulling me down/You just want the power/You’re not really down for love.” Indeed, it so often feels as though couples are forming “alliances” instead of relationships based on how it will look on their various “platforms.” This phenomenon intensifies tenfold when it comes to the alternate reality of the celebrity world.
Bored and disillusioned by the meaninglessness of these types of so-called romances, Goulding demands, “Take me higher or this will expire/Your self-obsession’s boring, sorry if I’m ignoring/Mindless actions, lead to destruction.” Trying to extricate herself from this toxicity (which, yes, quarantine helps with), Goulding’s confessions about what she wants and doesn’t want leads to the kind of vulnerability that ultimately builds up one’s strength–one’s power. The more she admits to herself that the experiences she’s had with lovers past are hollow and lacking in any intellectual substance (“beautiful lies on a Friday night”), the closer she gets to not only knowing what she really wants, but also comfortable with the notion of being alone until someone who actually fits the bill comes along (seemingly, for Goulding, that would be Caspar Jopling).
For many still adhering as faithfully as they can to the practice of quarantine (thanks to most shops and other sources of entertainment being closed or extremely restricted as countries gauge how best to slowly reopen), this is an important skill to acquire in the essential new path toward self-sufficiency. Especially when it comes to eradicating codependency for the sake of merely “having someone.” Such a mode of thinking now more of a liability than ever…despite the fact that people are turning to even the most shallow forms of it in this time of “genuine connection” paucity.
