Charli’s music has always been fun, but since 2016’s Vroom Vroom EP – four tracks of rubbery, nihilistic party pop produced by Sophie – it has taken a deep plunge into the sesh. Now her music is less the sort of thing you could imagine playing over a montage of your best Glastonbury memories, and more the sort of thing you could imagine thumping through the walls as you spin out in the club toilets. Like the 90s eurodance or 00s pop that feeds into it, Charli XCX’s recent output – “After The Afterparty”, “Trophy” and “3AM”, for example – is music that creates emotions, creates memories. And now that things previously viewed as vapid or throwaway are being approached with ever-increasing consideration by the media – GQ presenting Kim Kardashian as the business behemoth that she is, Harry Styles being given the same profile treatment as a traditional rock star in Rolling Stone – there’s also less resistance to pop’s place among the ranks of more historically acclaimed types of music. But for Charli, art and partying have always been integral to one another.