Lola Young I'm Only F**king Myself

Critic's Take

Lola Young leans into brash confession on I'm Only F**king Myself, with best tracks like “Walk All Over You” and “who f**king cares?” trading pain for wry power. The record, shaped by the success of her viral hit, turns bleedingly raw feelings into pop hooks that still feel jagged and personal. You hear catharsis in the gutsy melodies and razor-sharp lines, and it is that mix of vulnerability and bite that makes these songs the best tracks on I'm Only F**king Myself.

Key Points

• The best song, "Walk All Over You," pairs sweet steel with empowerment, making it the album's emotional anchor.
• The album's core strengths are sharp, confessional lyrics and cathartic pop songwriting that balances vulnerability with bite.

Themes

Critic's Take

Lola Young keeps her teeth bared on I’m Only F**king Myself, where the best tracks - especially “F**K EVERYONE” and “Spiders” - pair bratty bravado with bruised feeling. The review’s voice lingers on Young’s ripped-from-text lyrics and gooey alt-rock choruses, making clear why “Walk All Over You” and the stark “who f**king cares?” also stand out. There is a messy, candid charm here that turns confessions into hooks and makes these songs the best tracks on I’m Only F**king Myself.

Key Points

• “F**K EVERYONE” is the best song because its bratty wooziness and naked lyric set the album’s tone.
• The album’s core strengths are candid, text-bubble lyricism and sour-bubblegum alt-pop hooks that make confessions catchy.

Themes

Critic's Take

Lola Young arrives on I’m Only F**king Myself with a thrill-ride of self-sabotage and sharp hooks, where best songs like “F**K EVERYONE” and “Post Sex Clarity” showcase her brazen wit and pop instincts. Thania Garcia writes with a bracing, conversational snap that relishes Young’s audacity, praising how “F**K EVERYONE” bares its teeth while “Post Sex Clarity” offers the most radio-ready sheen. The review leans into the album’s blend of chaos and craft, making clear that the best tracks are the ones that pair ruthless confession with undeniable melody.

Key Points

• The best song, “F**K EVERYONE,” stands out for its brash lyrics and audacious delivery that marry shock value with melody.
• The album’s core strengths are sharp, self-aware songwriting and a willingness to weaponize chaos into polished alt-pop production.

Themes

Critic's Take

Lola Young’s I’m Only F**king Myself is at its best when she leans into sharp, self-deprecating comedy and jagged indie-pop hooks, especially on “d£aler” and “who f**king cares?”. The record thrives on messy candor and sex-positive provocation, making songs like “F**K EVERYONE” and “SPIDERS” feel deliberately confrontational rather than gratuitous. The standout moments - the sweaty sway of “One Thing” and the radiant mischief of “Walk All Over You” - show why listeners search for the best songs on I’m Only F**king Myself. Even when the album dips into familiar tropes, Young’s raspy, soulful delivery keeps those high points resonant and immediate.

Key Points

• The best song moments marry messy candor with sharp hooks, exemplified by "d£aler" and "who f**king cares?".
• The album’s core strengths are candid, comic self-deprecation and raw, raspy vocals that make its high points feel immediate.

Themes

Critic's Take

In his vivid, celebratory tone Ben Tipple places Lola Youngʼs I'm Only F**king Myself as a bruised triumph, arguing the best songs - notably “F**K EVERYONE” and “SPIDERS” - crystallise her mix of raw lyricism and pop instinct. He leans into her knack for pairing radio-friendly hooks with jagged emotion, highlighting “One Thing” as still-excellent while praising the acoustic sting of “who f**king cares?”. The narrative frames the album as an exploration of anger and addiction that nonetheless reaffirms her position near the top of UK pop.

Key Points

• SPIDERS is best for its affecting rock-ballad power and emotional honesty.
• The album’s core strengths are its blend of raw lyricism and radio-ready hooks that channel anger and vulnerability.

Themes

Critic's Take

Helen Brown writes with a blunt, evaluative eye, praising the best tracks on I’m Only F**king Myself for their hooks and emotional candour. She singles out “D£aler” as a brave take on breaking up with dealers and highlights the contrast between the basement grunge of “F*** Everyone” and the pop craft of “One Thing”. Brown’s tone is admiring but cautious, noting that the hooks are “grade A” even as the messiness sometimes calls for an intervention. This is a review that answers which are the best songs on I’m Only F**king Myself by pointing to the album’s strongest moments - “D£aler”, “F*** Everyone” and “One Thing” - where Young’s vocal daring and songwriting land hardest.

Key Points

• “D£aler” is best for its brave subject matter, catchy arcade-game beat and status as a standout single.
• The album’s core strengths are bold, messy honesty, strong hooks, and an intriguing blend of pop, grunge and vulnerability.

Critic's Take

Written in the reviewer's candid, conversational voice, the best tracks on I’m Only F**king Myself are the ones where Lola Young strips everything back and lets the hurt and swagger collide. Lola Young sounds most electrifying on “d£aler”, a pared-back '80s pop cut that pulsates with self-destructive yearning, and on “F**K EVERYONE”, an anthemic opener that channels bratty, no-nonsense defiance. The grunge-rock howl of “SPIDERS” and the fragile confession of “why do i feel better when i hurt you?” emerge as other standout moments, balancing full-throttle fuck-you energy with necessary vulnerability. This album’s best songs prove her voice is an emotional powerhouse, and they explain why listeners searching for the best songs on I’m Only F**king Myself keep returning to these tracks.

Key Points

• The best song is "d£aler" because it is described as the album's "jewel in the crown" and pulsates with self-destructive yearning.
• The album's core strengths are Lola Young's raw, chatty honesty and vocal power that balance bratty defiance with vulnerable confession.

Themes

Critic's Take

Lola Young returns on I’m Only F**king Myself with the same brutally candid voice, and the best songs - notably “One Thing” and “who f**king cares?” - crystallize her strengths. The record reads like a confessional diary, with tracks such as “F**K EVERYONE” and “Walk All Over You” cutting through with gritty directness and sunlit guitar-pop respectively. Vocally and emotionally the album peaks when she strips back, which is why “who f**king cares?” lands as the most emotive moment, while “One Thing” is the most immediate pop highlight. Overall, the LP balances rawness and craft, making clear why listeners ask which are the best songs on I’m Only F**king Myself.

Key Points

• The best song, ‘who f**king cares?’, is the album's emotional apex due to its stripped acoustic arrangement and raw lyricism.
• The album's core strengths are its candid confessional lyricism and Lola Young's soulful vocals which handle themes of sex, toxic relationships, and addiction with blunt honesty.

Themes

Critic's Take

Lola Young's I'm Only F**king Myself finds its clearest victories in tightly drawn, bracing moments like “F**K EVERYONE” and “One Thing”. Lana Williams writes with a fond, precise eye for contradiction, celebrating how “One Thing” brazenly admits desire while “Post Sex Clarity” pulls back with fragile guitar-led reflection. The record's best tracks - especially “F**K EVERYONE” and “One Thing” - feel like statements of control, while pairings such as “d3aler” and “Not Like That Anymore” map a believable arc from self-sabotage to recovery. This is an inward, sometimes raw album whose strongest songs make its contradictions sing rather than stumble.

Key Points

• The best song works because it asserts control and unapologetic tone, making it a memorable statement.
• The album’s core strengths are frank lyricism, thematic cohesion around self-sabotage and recovery, and contrasting sonic moods.

Themes

Critic's Take

Lola Young sounds at her most immediate on I'm Only F**king Myself, where the best tracks - “D£aler” and “One Thing” - deliver breezy, hooky pop that sticks. The reviewer notes that “D£aler” and “One Thing” are the album's strongest, most immediate hits, even if Solomonphonic's production sometimes overwhelms Young's voice. Elsewhere, heavier cuts like “SPIDERS”, “CAN WE IGNORE IT? :(” and “F**K EVERYONE” reveal where Young feels most at home, lending the record more personality. The album can feel all over the place, but that scattershot ambition tees up plenty of excitement for what comes next.

Key Points

• The best song(s) are hooky, immediate singles like 'D£aler' which combine sharp lyrics with irresistible pop craft.
• The album's core strengths are its adventurous pop textures and heavier tracks that reveal Young's personality and vocal strengths.

Themes