Although PinkPantheress has technically already “materialized” this year via a collaboration with Shygirl and Isabella Lovestory (“True Religion”), “Tonight” marks the first instance of 2025 where she appears as a solo artist (side note: that means literally as well, for she didn’t bother to appear in the video for “True Religion” at all; though, for whatever reason, she opted to cameo in Jack Harlow and Dona Cat’s “Just Us”). And, thanks to some direction from Charlotte Rutherford (who will likely be making visual amends for Katy Perry’s “Woman’s World” video for a while), it’s been worth the wait to see PinkPantheress onscreen again. Particularly since she pulled out all the stops for a very “Bridgerton effect” (a.k.a. Regency era effect—but, of course, when non-white people are presented in such a setting, the automatic association now is with Bridgerton). Which she herself confirmed by taking to the former Twitter to remark, “We went Bridgerton mode tf.”
And, naturally, there’s also the association one makes with “Marie Antoinette life” in a context like this. Or, more specifically, Sofia Coppola’s Marie Antoinette. But again, it’s the Bridgerton vibe that shines through the most, and for good reason. For this is a song that’s all about breaking down the barrier of “being chaste.” The veneer of “civility” and the posturing around what one really wants (read: sex) beneath all the eyelash-batting and small talk. Which is why PinkPantheress only half-jokingly called out the fact that she has an aversion to even using a word as tame (to other people) as “sex” in her lyrics, having commented in the past, “Because I know my parents listen to my music, I never say anything too explicit because I always feel like they’re watching, I’m like, ‘They’re gonna hit me up about this song and be like what the hell are you talking about?’ It’s ‘cause I got the strict parents, Kenyan mom, African mom, you’re not getting away with a lot of stuff.”
However, PinkPantheress is clearly trying to “get away” with a lot more in the lyrics presented via “Tonight” (the title itself being automatically…evocative), being so bold as to declare, “Talk later, that’s why I’m goin’ tonight (like what?)/You’re hot, on fire, that’s why I’m callin’ tonight/Talk later, that’s why I’m goin’ tonight/Your sex on fire [how Kings of Leon], that’s why I like goin’ tonight.” Whether that means “goin’” to a party, a club or just anywhere that there might be an array of attractive people to appraise, PinkPantheress is providing the language that says what some of the more “prudish” (a.k.a. tasteful) types cannot—even if “Tonight” says practically just as little in terms of expressing desire.
As for the video, the dreamy opening notes to “Tonight” make it seem as though we’re witnessing just another idyllic carriage ride that some blue blood is taking to some other blue blood’s castle. But it’s only a matter of about ten seconds for the “real essence” of the song to start thumping (courtesy of co-production from PinkPantheress, askel arvid and Count Baldor) as the scenes become “beat-coordinated” to the rhythm (especially the horse pulling the carriage), with a number of courtiers running, cycling or generally careening outside to get to the castle.
As Rutherford starts to intercut those scenes with PinkPantheress (appropriately outfitted in a costume of the era she wishes to channel), we see her, at one point, in a boudoir with a four-poster bed, surrounded by other people (after all, it wasn’t uncommon, as a royal, to be observed by others while boning). This is followed by more intercut scenes of general merrymaking (think: the night of Marie Antoinette’s eighteenth birthday party [soundtracked to the tune of New Order’s “Ceremony”] in the movie of the same name). After which PinkPantheress goes into full-on “TikTok dance” mode with her slew of ladies in waiting. And, speaking of waiting, that’s a big theme in the song, as it was during Regency-era existence (particularly for women—just ask Elizabeth Bennett). Thus, PinkPantheress sings, “I waited all this time, now I guess this time I can hold ya/A million things I can say, but baby, I’ll wait some longer.”
There’s also mention of the worshipful kind of dynamic that most modern types recognize via the parasocial relationship between fan and celebrity, with PinkPantheress accenting her love and devotion to her romantic interest by saying, “I leave my bedroom with my posters of you up/I do this all because you’re my superstar/My superstar.” Apart from those lyrics giving The Carpenters, there’s also a dash of Ariana Grande-inspired innuendo (à la “34+35”) when PinkPantheress asks, “And how many hours can we stay up? You can ruin my makeup/Yes, it’s fine, you could even ruin my life.” So long as there’s an orgasm (or five) in exchange for one’s trouble.
Elsewhere, the various parenthetical interjections throughout the song also channel Britney/In the Zone-era Britney Spears, evidenced in the verse, “I look at you and I wonder why it’s so complicated (like what?)/You’re talking out to a crowd of people you thought you hated (c’mon, what?)/Anticipation makes me feel like throwing up (it’s like, ‘What?’)/But tonight, can you get ready? What’s goin’ on? (c’mon)/If you want sex with me? (uh-huh)/Come talk to me.”
The horny aura radiating from these lyrics prompts things to get so buck wild by the end of the video that paintings start to come alive, masses of feathers burst forth from pillows as the revelers turn orgiastic and guests start donning close helmets that, inexplicably, happen to be available (granted, that is a very “rich person’s accoutrement” to have lying around the castle).
However, it appears as though PinkPantheress remains among the only partiers who has yet to be approached by anyone as the night comes to a close (by way of dawn’s arrival). So it is that we see her sitting on the staircase in the final scene, still urging someone, anyone, “Do you want sex with me?/Come talk to me.” Or, you know, just wordlessly approach and guide a bia into a doorway (there’s lots of kissing in doorways in PinkPantheress’ reimagining of the Regency era—Shonda Rhimes would approve).
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