Doechii draws a line between past and present on ‘CATWOMAN’
Doechii is back with the second instalment of her returning Swamp Sessions series, following the release of ‘BOMBS’ just over a week ago. And while her latest offering carries the familiar energy that first drew listeners into her world, ‘CATWOMAN’ feels like something more: a statement of evolution, a confrontation with the past and a glimpse into the artist she is continuing to become.
When Doechii returned with ‘BOMBS’, we highlighted how the revival of the Swamp Sessions represented more than a return to familiar territory. Alongside the release, the Florida rapper shared pages from her personal journal, offering an intimate look into her creative ambitions and the mindset behind this next chapter. One line stood out in particular: “My devotion now is to becoming the artist I wish existed when I was growing up.” With ‘CATWOMAN’, that sentiment takes on a whole new meaning.
The latest release feels like a direct continuation of ‘CATFISH’, which first emerged through the original Swamp Sessions series in 2024 before finding its place on her Grammy-winning mixtape, ‘Alligator Bites Never Heal’. The visual picks up where its predecessor left off, with Doechii returning in the same outfit, performing in the desert before a rocket launcher brings the scene to an explosive end. As the dust settles, we discover that it is not the Doechii we have been following who survives, but a new, CATWOMAN-inspired version of the artist herself.
What follows is a surreal passing of the torch, as this evolved incarnation dances over the remnants of her former self. It is a striking visual metaphor, one that gives the relationship between ‘CATFISH’ and ‘CATWOMAN’ greater significance. Where the former can be interpreted as a reflection on authenticity, identity and the pressures of adapting to the world around you, the latter feels like a declaration of independence from those expectations. The old version is no longer needed. In her place stands an artist who appears increasingly comfortable in her own vision, with no interest in shrinking herself to fit somebody else's idea of who she should be.
In that sense, Doechii's words from her journal feel particularly relevant. Becoming the artist she wished existed growing up is not simply an ambition to be fulfilled somewhere down the line. Through the music and visuals, she is actively building that world herself.
Co-directed by Doechii and James Mackel, the ‘CATWOMAN’ video brings this idea to life with a cinematic approach that balances surrealism, humour and spectacle. The explosive sequence, featuring a silicone model, gives the narrative a tangible sense of destruction, turning what could have been a straightforward performance video into a visual statement about transformation. It is bold, unconventional and entirely in keeping with the creative world Doechii continues to build around her music.
The evolution is just as apparent in the production. ‘CATWOMAN’ carries a similar intensity to ‘CATFISH’, but there is a noticeable shift in its texture. The sound feels darker, grittier and more assured, retaining the raw energy of its predecessor while pushing it into a slightly different space. It is familiar enough to establish a connection between the two tracks, yet distinct enough to underline how far the artist has travelled since the original Swamp Sessions first took shape.
Then there is Doechii herself. Her pen game, delivery, execution and charisma remain central to the experience, but there is a heightened sense of control in how she brings everything together. She understands the power of her own personality and knows how to translate it into music and visuals that feel unmistakably hers. The result is not a reinvention for the sake of it, but an evolution that builds upon everything that came before.
Following the success of ‘Alligator Bites Never Heal’, the question is no longer whether Doechii can command attention. It is how far she can take the creative universe she has established. The mixtape demonstrated the breadth of her artistry, while the return of the Swamp Sessions offers a space to experiment, sharpen her identity and explore new ideas outside the expectations that accompany mainstream success.
Both ‘BOMBS’ and ‘CATWOMAN’ suggest that this next chapter is being approached with a clear sense of purpose. Rather than simply recreating the formula that brought her here, Doechii appears determined to keep pushing forward, using each release to expand the possibilities of what her artistry can look and sound like.
If ‘CATFISH’ captured one version of Doechii, ‘CATWOMAN’ introduces another. The distinction is a reminder that growth sometimes requires leaving an old version of yourself behind. And if her devotion is to becoming the artist she wished existed when she was growing up, Doechii is making a compelling case that she is already on her way.
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