Haute & Freddy have officially thrown open the doors to Big Disgrace, their 13-track debut album and a full introduction to the theatrical world the Los Angeles alt-pop duo have spent years constructing. Out now via Atlantic Records, Haute & Freddy’s Big Disgrace brings vintage decadence, underground club culture and synth-driven pop together in a celebration of everything too strange, glamorous or excessive to keep hidden.
Comprised of Michelle Buzz and Lance Shipp, Haute & Freddy have built their identity around spectacle without sacrificing the songwriting underneath it. Big Disgrace takes that philosophy to its natural extreme. Across tracks including “Anti-Superstar,” “Scantily Clad,” “Freaks,” “Shy Girl,” “Fashion Over Function” and “Sophie,” the pair turn individuality into something worth putting center stage.
The duo describe the record as a display of the eccentric, over-the-top pieces of themselves they once felt pressured to hide. That philosophy runs through the album’s 13 tracks, giving Big Disgrace the feeling of a world with its own rules rather than simply a collection of songs.
Haute & Freddy’s Big Disgrace Keeps the Show Going
Alongside the album, Haute & Freddy released the official music video for “Showgirl At Heart,” directed by Sam Hayes. The track acts as both the album’s focus single and another extension of the duo’s elaborate visual identity.
At its center sits a familiar question: What happens when someone starts wondering whether their chance to chase a dream has already passed? Haute & Freddy answer by creating somewhere else to go. In the song’s world, that place becomes the Velvet Hall, an imagined space where fear disappears and the crowd cheers you on. Even if that freedom only lasts for one night, the duo argues that the experience still counts.
That sentiment fits naturally within Big Disgrace. Beneath its extravagant styling, the album repeatedly returns to freedom, belonging and the confidence to take up space. “Showgirl At Heart” gives those ideas a stage of their own.
Watch the official music video for “Showgirl At Heart” here.
The arrival of Big Disgrace also follows a steady rise for Haute & Freddy. Their 2024 debut “Scantily Clad” introduced their collision of period-inspired aesthetics and modern alt-pop before songs like “Anti-Superstar,” “Fashion Over Function,” “Shy Girl” and “Sophie” expanded the world around them.
More recently, “Freaks” pushed that philosophy further with a maximalist celebration of joyful rebellion and individuality. Along the way, Haute & Freddy have earned attention from Rolling Stone, SPIN, PAPER, People and Billboard while developing a fan community fittingly known as “The Royal Court.”
Still, Big Disgrace feels less like the culmination of that momentum and more like the moment all of its pieces finally occupy the same room. Baroque-inspired imagery, ’80s-flavored synths, club culture, theatricality and pop songwriting no longer exist as separate pieces of the act. On the debut, they become Haute & Freddy’s language.
Enter Haute & Freddy’s world and visit their official website for tour dates, tickets and more.
Big Disgrace Leaves the Ballroom
Now, Haute & Freddy are bringing that universe onto the road with Haute & Freddy’s Big Disgrace Tour. The run includes dates across the U.K., Europe and North America alongside an extensive festival schedule.
After shows in London, Paris and other European stops, the duo’s North American dates take them through Toronto, Montreal, Boston, Brooklyn, Atlanta, Nashville, Denver, Phoenix, San Diego, Los Angeles, Philadelphia, Detroit and more. Festival appearances include Lightning in a Bottle, Hinterland, Outside Lands and Capitol Hill Block Party.
The expanding tour gives Big Disgrace exactly the kind of next chapter it calls for. Haute & Freddy have created a record rooted in spectacle, community and uninhibited self-expression. Now, they get to build that world in front of the people who have joined their Royal Court.
With their debut album officially out, Haute & Freddy are not toning anything down. Big Disgrace makes excess the point, weirdness the dress code and pop music the invitation.
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