Savages frontwoman Jehnny Beth has officially joined forces with Faith No More vocalist Mike Patton for her new track, “Look At Me“. The collaboration follows the release of her 2025 solo album, You Heartbreaker, You, a record deeply influenced by Patton‘s legendary ability to shift seamlessly between atmospheric whispers and soaring vocals.
Discussing the creation of the distorted, aggressive track alongside her collaborator Johnny Hostile, Jehnny Beth explained how the song took shape and praised the Faith No More singer’s massive contribution to the final product.
“When Johnny [Hostile, collaborator] and I wrote ‘Look At Me‘, we had this idea of a song in two parts,” she explained.
“When Mike sent his vocals, it was like choosing candy in a candy store; he had a million ideas, it was mind-blowing.”
Thematically, the song takes aim at the modern landscape of online influencers and manipulative figures who exploit their audiences for personal gain.
“It’s about the modern sellers of truth, who share their opinion online on how to ‘better oneself’, giving an illusion of control – but all they really want is to be the centre of attention,” she continued.
“‘Look At Me‘ is a song about deceivers and the effect they have on those susceptible to the sinister luring of misleading ideology.”
To accompany the single, Jehnny Beth directed a striking official music video heavily inspired by Martin Scorsese‘s 1976 cinematic classic, “Taxi Driver.” She detailed the visual concept and the dynamic between the characters portrayed by herself and her guest vocalist.
“I represent [Robert] De Niro’s character who embodies this lonely outcast who doesn’t have a place in the world,” Jehnny explained.
“Mike is the preacher who changes my outlook on the world, and our two characters merge together towards the end.”
Exploring the dark underbelly of humanity, the video focuses on individuals “who say a big f**k off to the world”. To achieve this specific look, the singer merged multiple artistic influences, resulting in a visual style that combines “the hyper-real photo-aesthetic of Martin Parr with Gregg Araki filmography.”
