High, in the Best Possible Sense

Deep into an Alison Wonderland set—surrounded by people who have given up on coherent thought for the rest of the evening—the music stops being sound and starts being pressure. Bass in the chest. Melody pulling you somewhere lateral. It’s designed for altered states and it knows exactly what it’s doing.

Her track High with Trippie Redd doesn’t overthink what it is. The video isn’t cinema and doesn’t pretend to be—it’s a delivery mechanism for a message Alison and Trippie communicate with complete clarity: they want to get high with you, right now, and they have no further agenda. That’s the whole pitch.

Some songs carry weight. A love story, a political statement, a lyric that makes you reassess something you thought you knew. And then there are songs that exist entirely to soundtrack a specific Friday night—the right people, a bottle of red, some pizza, nothing that needs to happen until tomorrow. High is that song. It doesn’t ask to be anything else. In not asking, it earns exactly what it wants.