Kris Kolls Fragments Identity Across Three Scenes on “Get Out”
Kris Kolls builds songs the way filmmakers build scenes — every element serving a larger emotional architecture.
The emerging pop artist blends cinematic atmosphere with contemporary pop, electronic production, and R&B textures, drawing from classical piano training and years of live performance. Her influences, BANKS, Tinashe, The Weeknd, surface in layered vocals and modern synth work. But Kris Kolls treats each release as something more than a single. She approaches every track as a cohesive concept combining music, visual identity, and performance, constructing a strong artistic identity and a growing international audience along the way.
That conceptual rigor shapes her latest single “Get Out.” The track doesn’t dramatize the breakup or the aftermath. It captures the paralysis before movement becomes possible — the suspended state when someone knows what needs to happen but hasn’t yet found the nerve to make it real.
The specificity reflects lived experience. Kris Kolls drew the song from a prolonged period in her own life, a state she describes as foundational to understanding herself. The full emotional spectrum ran wider, layered with internal conflicts and competing thoughts. But avoiding that specific paralysis would have meant avoiding the truth of where everything began.
The accompanying music video fragments identity across three distinct visual presentations. A little black dress with a microphone positions her as storyteller — the version closest to how she currently experiences the world. A black lace top in library settings signals elegance, intellectual solitude, and the kind of silence where answers get sought in books rather than people. A silver outfit with black gloves in elevator sequences introduces gloss as surface — something to hide behind, even when the elevator doesn’t stop at the right floor.
Each look represents a chapter of lived experience. For Kris Kolls, style and space function as language. The process of creating those visual layers remains what she enjoys most — different parts of the same story, told simultaneously.