Madison Beer approaches her work with a level of control that shapes both her music and her public persona, something that becomes especially clear in conversation. Speaking with her in California, where she’s currently enjoying the sun, the exchange quickly moves from her new album Locket into more personal reflections on her career, her creative process, and how she navigates life in the public eye. Madison first rose to fame at just 12 years old after being discovered by Justin Bieber. More than a decade later, she speaks about that early exposure with a sense of distance that feels earned rather than defensive. “I definitely think I’ve grown a lot in how I handle stuff now,” she says. “When you start as a really young girl being in the public eye, it’s different.”
Today, she describes a clearer sense of identity, one that isn’t as easily shaken by outside perception. “Certain things still hurt, but I can detach a little,” she adds. The shift isn’t about ignoring criticism entirely, but about not letting it define her. That same sense of control is reflected in Locket, an album she describes as both creatively fulfilling and, at times, difficult to shape. Rather than presenting a single narrative, the project moves between themes of love, heartbreak, and self-reflection. “It represents memories, love, usually holding something close to you and being protective of it,” she explains about the title. “It wasn’t just a love story, it wasn’t just a breakup, it was everything in one.” The process of making the album, she says, came with the challenge of finding a new sound while staying true to herself.
What stands out is not just the result, but her awareness of the process behind it. She frames the work as something that required patience rather than urgency, an approach that contrasts with the often fast-paced expectations of the industry. “I’m okay with not being on this perfect rotation of tour, album, tour, album,” she says. “I just try to listen to myself and what feels right.” Her creative process also extends beyond music into directing, which she describes as a natural continuation of her work as an artist. For Madison, visuals are not an afterthought but part of the same storytelling process. Typically, a song comes first, followed by the visual interpretation, but not always. In some cases, like Tyler Durden, the inspiration began with a cinematic reference. “It gives me another creative outlet,” she says. “Once I make the song, I can make it visual.”
Madison also admits she doesn’t have a single favorite song. “Especially now that we’re in tour rehearsals, singing them all live and stuff, I really, really love them all.” One older track, however, is off-limits: “‘Say It To My Face.’ It’s impossible to sing, and every time I sing it live, I mess up my voice. It’s kind of like you’re a bit like screaming the whole song. And it’s not something that I will ever perform. So sorry to my fans out there who might love ‘Say It To My Face.’” While her career continues to evolve, Madison seems less concerned with external comparisons or expectations.
Asked about ongoing comparisons to Megan Fox, she responds with a lightness that suggests she doesn’t invest much energy in them. “Really? That’s a compliment, of course,” she laughs. At the same time, she resists the idea of shaping herself according to an image. “I try not to put that on myself. I am who I am.” Looking ahead, Madison is preparing for her upcoming tour in May, with stops including Berlin, Hamburg, Munich and Düsseldorf, cities she has visited before, though this time she hopes to experience them with more time to explore. “I’ve been there on tour, but this time I definitely need to explore more,” she says. “It’s gonna be really fun. I hope people can make it out and I’m really looking forward to seeing everybody.”