A perfectly executed ballet pirouette balances grace with power, delicacy with strength—which makes it easy to see why Model/Actriz chose the move as the title for their second album, released today. Each of the 11 tracks is a masterclass in controlled chaos: the driving kick drum and shimmering guitar momentum of opener “Vespers,” the percussive clatter and self-aware swagger of “Diva,” the swirling distortion and precise call-and-response of “Departures.” Like witnessing a ballerina nail a daring pirouette, the effect is breathtaking.

Frontman Cole Haden—whose magnetic stage presence and lyrics exploring queer identity have cemented the band’s reputation as a must-see live act—met drummer Ruben Radlauer and guitarist Jack Wetmore while studying at Berklee College of Music in 2016. After a two-year break, they reunited in 2019 with bassist Aaron Shapiro. Their 2023 debut, Dogsbody, was a blistering mix of punk, dance, and noise rock that gained traction through relentless touring. With Pirouette, they seem ready to break into the mainstream.

The album also signals a subtle shift, embracing pop sensibilities and Haden’s sharp, playful wordplay (“I’m such a fucking bitch, girl, you don’t even know / Just imagine me absolutely soaked, dripping head to toe in Prada Sport,” he sneers on “Diva”). Lead single “Cinderella”—accompanied by a video reimagining the fairy tale as a Brooklyn queer rave, with three bandmates playing the Ugly Stepsisters—showcased their new direction: merging their chaotic energy with infectious pop hooks (Haden cites Janet Jackson and Kylie Minogue as unexpected influences) and lyrics tackling sex, shame, and self-discovery with fresh honesty.

“With our sound, you might not guess how much Kylie inspired this record,” Haden admits. “But I revisited music that made me feel nostalgic and tender, because I wanted this to be deeply personal.”

Their Dogsbody tour—and the diverse fanbase it attracted—also shaped Pirouette’s vibe. “The live shows outgrew the darker themes and became more celebratory,” says Wetmore. “We wanted the recordings to match that energy.” The result is some of the year’s most thrilling, genre-defying music. While traces of Nine Inch Nails, Radiohead, and Bowie surface, everything gets filtered through Model/Actriz’s distinct lens.

Here, the band talks to Vogue about their sonic evolution, the album’s playful visuals, and the surprises they’ve planned for their summer tour.

Vogue: Your debut dropped just over two years ago, followed by nonstop touring. Pirouette feels so different—how did you find the time or space…Aaron Shapiro: We took a trip to Nashville for our first real writing session, and that week really set the tone for what we wanted Pirouette to be. We asked ourselves: What does Cole want to express? How do we evolve from our past work? The first song we wrote there was “Vespers,” and even though it took a while before we wrote anything else after that, that trip was my earliest memory of fully stepping into the world of Pirouette.

Cole Haden: What Aaron didn’t mention is that we were actually on tour for Dogsbody at the time. [Laughs.] So we were juggling two worlds—writing new material while also playing shows with completely different songs.

Shapiro: Yeah, that kind of sums up the challenge—trying to write something honest and real while being pulled in different directions. We had to stay committed to that sense of discovery and keep returning to it.

(Photo: Kane Ocean)

The songs this time feel more direct and personal—some, like “Cinderella,” even address your younger self. What new lyrical territory were you exploring, Cole?

Haden: On Dogsbody, the lyrics were more open to interpretation, and one of my biggest fears is being misunderstood. I’m proud of that writing, but for my own sake, I needed to be clearer about what these songs meant. This album is basically what I learned from the first one—reflecting on the experiences I had in those two years, and how they connected to the vision I had for myself as a kid. I’m talking to my younger self while also examining who I am now. What would that kid think of me today?

Where did the title Pirouette come from? It really fits the energy of the record.

Haden: I loved the idea of being on the edge of losing balance but needing skill to stay upright, like a ballerina. There’s something delicate yet athletic about it, which mirrors how we make music.

After working together for so long, do you feel that sense of synchronicity, almost like a dance ensemble? Listening to the record and watching you perform, it seems that way.

Shapiro: When it’s working, absolutely. Nothing’s ever perfect, and we’re not aiming for perfection. But there’s this theme of elegant machinery—like a hot, dancing robot.

Jack Wetmore: The word pirouette has a delicacy that doesn’t reveal the athleticism behind it. We’ve always tried to bring beauty to heavy music, so the title feels like our thesis in a lot of ways.

Shapiro: Funny enough, it was actually a title we considered for the last album. We thought, That’s a great word—it really captures us—but it didn’t fit then. This time, it came up early and just stuck.

The visuals for this album feel more ambitious. What was the idea behind the “Cinderella” video, and how was filming it?

Haden: Our friend Nathan [Castiel], who’s done most of our videos, was the obvious choice because we wanted a narrative approach. At first, I didn’t think we’d retell Cinderella, but I wanted to… (continued)We wanted to include choreography in the video, so we brought in our friend Kevin Zambrano to handle it. I knew I wanted to borrow elements from high-budget pop videos as the foundation for a song that might not be as instantly catchy but still has its own appeal. Incorporating those flashy elements into our world of heavy music isn’t exactly groundbreaking, but it does feel rebellious in a way. It’s important to me that the queer themes in my lyrics and identity are front and center in the performance—visible on camera—because it’s still rare to see a frontman of a band fully embracing that.

It’s also refreshing to see a band in this space having fun and not taking itself too seriously.

Haden: Absolutely. Even if the music itself isn’t overtly political, just existing in this way feels political by default. But more than anything, it was a blast. Making this video was like throwing the party I’ve always wanted. Maddie, who plays the Fairy Godmother, and Matt, who plays Prince Charming, are two of my closest friends, so getting to be ridiculous with them for two days was half the fun.

On Live Performances & Touring:

You’ve built a reputation for intense live shows. What can fans expect from the Pirouette tour? Do you ever feel pressure to keep raising the bar?

Shapiro: If we started performing just to meet expectations, it wouldn’t feel genuine anymore. There have been times on past tours where we sensed people expecting something wild, and that made me want to do the opposite—just stand there and play. But the truth is, the three of us naturally get dramatic onstage. Sometimes we’ll tell ourselves, Tonight, I’m just going to play well, no theatrics, and then afterward we’re like, Why did I hold back? [Laughs.] We have fun, but we also take it seriously.

Radlauer: Early in the Dogsbody tour, we got caught up in this internal competition—Jack was throwing his guitar, I was tossing drums around—and it got exhausting fast. This time, we’ll still push things further… just in ways you haven’t seen yet.

On Touring & Burnout:

How do you manage the grind of touring? Are you approaching it differently this time to avoid burnout?

Haden: Well, during Dogsbody, we basically set out to find our breaking point. And when we hit it, we still had six months of shows left. [Laughs.] But at least now we know our limits—like how many shows in a row I can play before my voice gives out.

Shapiro: Now, when offers come in, we’re more intentional about scheduling. We ask ourselves, Will we actually want to do this when the time comes?

Haden: Sometimes we’ll have a day off planned, and then someone dangles an offer we can’t resist—suddenly, that day off vanishes, and we’re playing seven straight shows. Now we know better… unless the offer’s too good to pass up.

Radlauer: One thing that really drained us last time was not having new material to play. We’ve learned that keeping fresh music in rotation is key to staying energized.Keeping the rotation going keeps things fresh and exciting, even when we’re exhausted.

Haden: Someone in Chicago tweeted, “Seeing them for the sixth time tonight. I’d watch the same show again, but I hope they play something new.” We’d be touring a city for the third time without any finished new material to share. It started feeling a little shady.

Radlauer: You can only eat the same meal so many times before you get sick of it.

What can you tell me about the new elements of the show this time? For the fan who’s seen you six times—what will surprise them?

Haden: I’ll be wearing costumes. This tour is about welcoming people into a new era, so expect some wardrobe surprises.

Will the rest of you bring back the Ugly Stepsister outfits from the “Cinderella” video?

Shapiro: That’s a secret!

Wetmore: I can’t actually drum in a skirt.

Haden: Well, not that skirt.

Wetmore: Okay, then find me a different one. Stay tuned.