For years, The Aces have had a permanent spot on my hyperfixation playlist. “Daydream” from their 2018 debut When My Heart Felt Volcanic still makes me want to drop everything and dance, and “Solo” from 2023’s I’ve Loved You For So Long is one of those songs I will never skip, no matter my mood. They have a knack for building tracks that stick in your head and your heart, mixing sharp pop instincts with rock, funk, and indie edges in a way that feels both timeless and fresh. Oh yeah, not to mention that Staged Haze started writing about these women back in 2016—nine years ago.
The Aces hail from Provo, Utah, and are made up of vocalist and guitarist Cristal Ramirez, guitarist Katie Henderson, bassist McKenna Petty, and drummer Alisa Ramirez. Over the past several years, they have built a devoted fan base through their blend of infectious hooks, tight musicianship, and unapologetic queer storytelling. Their sound has evolved from their early days into a polished yet personal style that manages to be both intimate and stadium ready, all while maintaining the easy chemistry and lifelong friendship that fuels their music.
With Gold Star Baby, released via SoundOn, the Utah quartet step fully into their pop era but it is pop on their terms: self produced, WLW centered, and brimming with the glittery escapism of a perfect night out. The press release describes it as “a metaphorical club in every city, if you know you know,” a place where the bass is heavy, the drinks are strong, and the heartbreak does not stop you from dancing until sunrise. Think Pussycat Dolls meets Spice Girls with a modern disco pop twist, for fans of MUNA, King Princess, FLETCHER, and Renée Rapp. Throughout the album, there is a clear thread of confidence and unapologeticness, a refusal to dim their shine or soften their presence, whether they are delivering a swaggering disco anthem or a slow burn groove.
The record opens with “Welcome to Gold Star Baby,” a playful, theatrical invitation into the world they have built. A mock club MC sets the scene (“this album’s gonna put a dip in your hips… if you don’t like it, there’s a hole in your soul”), and the harmonies slide over a disco groove that makes it impossible to stand still. It is a mission statement: check your baggage at the door, because you are here to dance. From there, “Jealous” hits with a strut worthy bassline and instant confidence. “I know you’re jealous when I walk in the room,” they sing, fully embracing the idea of commanding attention without apology. “The Magic” keeps that energy going with more disco bass and hooks about being magnetic (“we look so good it’s so unfair”). Both tracks are pure serotonin shots.
The title track “Gold Star Baby” shifts into a slightly more romantic lens, still wrapped in dance floor shimmer. Lyrics like “you get a gold star, baby, when you’re good for me” turn flirtation into reward. “You Got Me” leans into Madonna inspired territory with funky guitar licks, a buoyant groove, and unabashed devotion (“Game Over / I’m All Yours”). Even the interlude, “The Girls,” adds to the album’s storytelling, framed as a phone call between friends plotting a night out at the club, complete with the dread of potentially running into their exes. It is the kind of worldbuilding that makes the whole record feel like a night you never want to end.
“She Likes Me” and “Stroke” bring in tropical and beachy flavors. The former is about the thrill of being the one she chose (“Pilates at 6, breaking your heart at 10”), while the latter turns sexual innuendo into an ego boost. “Twin Flame” is another standout, weaving a little Spanish into its disco beat while wrestling with the inextinguishable pull of a past love. “Fire in the Hole” is pure drama, a sweet opening melody that quickly twists into something more explosive (“I’m feeling the heat”), while “Spending the Night” slows the pace without breaking the spell, a sultry slow jam that still carries a beat for swaying. It is a reminder that even in the club, the ache of an avoidant lover can creep in. The closing track “I’m Sweet (I’m Mean)” is a playful wink, mixing a hint of country pop with the push and pull of personality (“you’re making me mean, you cut me so deep”). It is the kind of ending that leaves you wanting the night and the record to loop right back to track one.
What makes Gold Star Baby so satisfying is that it feels like a culmination of everything The Aces have been circling for years. The funk, the bass, the confident storytelling, the queer joy are all here, but tighter, shinier, and more self assured than ever. The fact that it is largely self produced only adds to the sense that this is them at their most liberated. Last year, they opened for Chappell Roan at Kentucky Pride, and this summer they will hit the stage at All Things Go. But today, Gold Star Baby is finally out in the world, ready for you to hear in full. So whether you are dressing up for a night out or dancing in your kitchen, put the album on, turn it up loud, and let the bass line take over.
Gold Star Baby is out now.
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