When King Arthur pulled Excalibur from the stone, it supposedly proved his divine right to rule Britain. When PinkPantheress samples Underworld’s “Dark & Long” or Basement Jaxx’s “Romeo,” it kind of feels the same way. No one else makes the past sound this fresh—or this distinctly British. Onstage, she’s more Cassie-from-Skins than club diva, letting out a gleeful “Wow, wow, wow!” like she just rewrote the rules of pop again. Alongside Oasis’ reunion and Olivia Dean’s ascendance, she’s made Britishness cool for the first time since Alexa Chung’s It ruled Tumblr. You can even hear it on Bladee’s remix of “Stateside,” where the Swedish rapper lists off UK regions like a travel vlogger in a trance: “Midlands, Highlands, Sussex, Yorkshire, Croydon, Knightsbridge.”
That’s the PinkPantheress effect. Since dropping her second mixtape Fancy That in May, she’s proved herself an expert at making the most aggressively normcore references sound impossibly chic. Her Glastonbury set—introduced by Louis Theroux and described by one friend as “Britain’s Got Talent-coded”—was among the festival’s best. Fans love to parody her prim, posh sensibility, but none of them are designing bags with Diane V and Dover Street Market.
Her new remix project, Fancy Some More?, doesn’t have the meta-conceptual bravado of Charli XCX’s Brat remix companion, but it radiates the same chaotic self-confidence. Across two discs—one vocal, one producer—it plays like a tour through Pink’s personal music library. The vocalist lineup alone reads like a transcontinental fever dream: SEVENTEEN and Yves from LOONA meet Oklou, Rachel Chinouriri, Ravyn Lenae, Bladee, and even Kylie Minogue. The producer side nods to both legacy and lineage—Basement Jaxx, Groove Armada, Joe Goddard—while spotlighting the new guard (Nia Archives, Leod, Kilimanjaro). There’s also Kaytranada, of course, who’s apparently contractually obligated to remix everything with a BPM. A final wave of Brazilian collaborators—Anitta, DJ Caio Prince, Adame DJ, and Mochakk—hint that Pink’s next world to conquer might be the dancefloors of São Paulo.
The results mostly slap. Nia Archives turns “Illegal” into a junglist drop so steep it might trigger vertigo. Kylie Minogue’s remix of “Stateside” feels like an instant classic—her whispered “Are you ready for me?” lands like a sly wink to every pop obsessive who’s ever wished for this exact crossover. The Sugababes cameo on “Nice to Know You” sounds like pop history coming full circle, a hi-fi echo of the very sample that powered the original track.
The best reworks completely reframe the originals: Basement Jaxx inflate “Tonight” into a pulsing, mirrorball-ready anthem, and Caio Prince with Adame twist the previously weightless “Stars” through baile funk and Miami bass. Oklou’s take on “Girl Like Me” is hauntingly spare, dragging the once-euphoric “Let it all go” into the realm of emotional triage.
Even the weakest moment—Kaytranada’s by-the-numbers “Girl Like Me”—can’t dull the project’s energy. Fancy Some More? never feels like the lazy, label-mandated remix set it could have been. It’s a flex: a celebration of taste, range, and cultural authority from an artist who seems to rewrite her country’s pop DNA every six months.
PinkPantheress understands that references aren’t a crutch—they’re a dialect. The point isn’t nostalgia, but fluency. Fancy Some More? collapses the distance between generations of club culture, proving that pop can be reverent and restless at the same time. For all its playfulness, the message is serious: The past isn’t something to escape. It’s what keeps the future dancing.
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