Anie Delgado: helpless
Anie Delgado Turns Vulnerability Into Power on New EP 'hopeless'
by Jack Rush
Miami-born, LA-based Cuban-American artist Anie Delgado has always written like she’s bleeding straight onto the page, but 'hopeless' takes that intimacy to a new level. The pop/dance singer-songwriter cracks open the manic highs and devastating lows of being a hopeless romantic and somehow makes heartbreak sound euphoric. It’s pop music with purpose: glittery, gut-wrenching, and self-aware enough to laugh through the pain.
At its core, Hopeless isn’t a breakup record; it’s a reckoning. Delgado dissects what it means to crave connection in an era where everyone’s half-present, caught between desire and detachment. Each track feels like a chapter in the diary of someone who’s loved too much, too fast, and still refuses to apologize for it.
The opener, “99¢ Jesus,” immediately sets the tone with bite. It’s Delgado’s satirical takedown of the male gaze and the false prophets of purity culture. With sharp lyricism and a confident strut, she dismantles the idea that a woman’s worth depends on a man’s approval. It’s equal parts rebellion and liberation, a spiritual breakup song for anyone who’s done with pretending to be small.
Then comes “1111,” a lush love letter to the kind of healthy relationship that feels like rebirth. Inspired by her real-life husband and the numerological symbol of new beginnings, it’s dreamy yet grounded, a rare pop love song that celebrates peace instead of chaos. Delgado’s ability to balance vulnerability with levity makes it a standout.
“down with you” dives straight into the toxicity that defined her past. Channeling a Bonnie & Clyde-meets-NYC indie romance energy, Delgado captures that irrational loyalty we all hate to admit we’ve felt. It’s cinematic, messy, and painfully relatable.
Her first Spanish track, “Mátame,” becomes the EP’s emotional gut punch. Sung partly in her native tongue, it’s where Delgado’s vulnerability hits its rawest. Translating to “kill me,” the song explores the desperation of being trapped in a toxic love and the metaphorical death that leads to rebirth. It’s haunting, and it cements her as a bilingual powerhouse unafraid to bare it all.
Finally, the title track “Hopeless” closes the loop. It’s not a happy ending, but it’s an honest one. Delgado knows she’s still the same hopeless romantic she’s always been, and that’s the point. Love, no matter how chaotic, is still worth the risk.
Hopeless is proof that pop music doesn’t have to play it safe to be addictive. Delgado brings color, chaos, and courage to a genre that often hides behind polish. In a world that tells women to tone it down, she leans all the way in, and finds freedom in the fallout.
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