Song Introduction
"Material Lover" is a bold, playful track by British singer-songwriter Sienna Spiro, released on May 1, 2026, as part of the official soundtrack for The Devil Wears Prada 2. The 20-year-old London-born artist, who broke out with her viral hit "MAYBE." and the chart-topping "Die On This Hill," joins an all-star soundtrack lineup that includes three new Lady Gaga songs, SZA, Dua Lipa, and The Marías. Spiro's contribution stands out as a cheeky, self-aware anthem about the joy of luxury and the complexity of wanting both material possessions and genuine human connection. Written during her meteoric rise—she has amassed over 800 million Spotify streams and was nominated for the 2026 BRITs Critics' Choice Award—"Material Lover" reflects Spiro's ability to blend soulful depth with pop sensibility. The song fits perfectly within the film's exploration of the fashion industry's excesses, offering a fresh generational perspective on what it means to love beautiful things while still craving something real beneath the surface.
Lyrics
[Verse 1]
Well, I like these things you can buy with money
On a day that's wrong, but a day that's sunny
Pick it up with my hands, put it out on sale
They can't do it like me-e-e, can't do it like me
When it's all going up like a burning fever
My feet on the ground like a super feeler, yeah
And I don't know much, but I know this one thing
[Pre-Chorus]
They can't do it like me-e-e
Can't do it like me, yeah
[Chorus]
I crave a real connection
I like to turn the page
With my hands and my nails
That match my summer shade
Some call that superficial
To wanna touch the cover
But I'm a material lover, yeah
A material lover, mmm
[Verse 2]
When I step outside and I see what's happening
It's not fair, not fair, not fair, it's a pattern
When I go too far, but come back quickly
[Pre-Chorus]
They can't do it like me-e-e
Can't do it like, they can't do it like me
[Chorus]
I crave a real connection
I like to turn the page
With my hands and my nails
That match my summer shade
Some call that superficial
To wanna touch the cover
But I'm a material lover, yeah
A material lover
[Post-Chorus]
I want a real thing now, mmm
I want a real thing now
I do, I do, I do-o-o-o
Material lover, yeah
[Outro]
Oh, tu-ru-ru, tu-ru, tu-tu
Oh-oh-oh
Materi-eria-al, say it when you don't want
I could give a real thing to you, oh
Materi-eria-al, say that you want more
I could give a real thing to you, oh
Lyrics Meaning
Verse 1: The Unapologetic Appetite
The song opens with a declaration that is both straightforward and defiant: "Well, I like these things you can buy with money." There is no apology, no justification—just an honest admission of pleasure in material possessions. The line "On a day that's wrong, but a day that's sunny" creates a fascinating paradox. The "day that's wrong" suggests external circumstances that are imperfect or troubled, yet the "day that's sunny" implies personal optimism or the ability to find joy despite chaos. This duality captures the escapist power of shopping and luxury—they offer brightness even when the world feels dark. "Pick it up with my hands, put it out on sale" reveals a hands-on, almost tactile relationship with material goods; the speaker doesn't just admire from afar but physically engages with her possessions. The repeated "They can't do it like me-e-e" introduces a competitive edge, suggesting that her relationship with material things is unique, more authentic, or more stylish than others'. The "burning fever" metaphor elevates consumer desire to the level of physical illness or passion—something uncontrollable and all-consuming. Yet "My feet on the ground like a super feeler" grounds this fever in sensory awareness; she is not deluded by her desires but deeply attuned to them. The final line—"And I don't know much, but I know this one thing"—sets up the pre-chorus as a moment of certainty amid uncertainty.
Pre-Chorus: The Signature Swagger
The pre-chorus functions as a mantra of self-confidence. "They can't do it like me-e-e" is not just about shopping or style—it is about the entire way the speaker moves through the world. The elongated "me-e-e" turns the phrase into a vocal hook, a signature that is as much about sound as meaning. This repetition creates an infectious, almost arrogant energy that defines the song's attitude.
Chorus: The Duality of Surface and Depth
The chorus is where the song's true complexity reveals itself. It opens with a seemingly contradictory statement: "I crave a real connection." After establishing herself as someone who loves material things, the speaker admits that possessions are not enough. This craving for authenticity exists alongside, not instead of, her material desires. "I like to turn the page / With my hands and my nails / That match my summer shade" beautifully merges the physical and the intellectual. Turning the page suggests reading, learning, growing—yet it is done with manicured hands that match a seasonal aesthetic. The song argues that one can be both intellectually curious and aesthetically conscious; the nails do not diminish the act of reading. "Some call that superficial / To wanna touch the cover" directly addresses the judgment the speaker faces. Society often dismisses those who care about appearances as shallow, but the song reframes this desire. "To wanna touch the cover" is about appreciating beauty, craft, and presentation—not ignoring content but valuing form as well. The proud declaration "But I'm a material lover, yeah" reclaims the label, turning potential criticism into a badge of honor. The "mmm" that follows adds a sensual, satisfied quality, as if the speaker is savoring the taste of the words.
Verse 2: The Pattern of Excess and Return
The second verse shifts to external observation. "When I step outside and I see what's happening" suggests a moment of clarity where the speaker recognizes broader patterns beyond her personal desires. The repetition of "It's not fair, not fair, not fair" builds frustration, but the addition of "it's a pattern" transforms complaint into analysis. The speaker sees inequality and systemic repetition in the world around her. "When I go too far, but come back quickly" suggests a cyclical relationship with excess—she pushes boundaries, indulges, but always returns to herself. This is not addiction but controlled exploration, a testing of limits with the knowledge that she can retreat when necessary.
Post-Chorus: The Cry for Authenticity
The post-chorus intensifies the emotional stakes. "I want a real thing now, mmm" repeats the chorus's craving for connection but with greater urgency. The "now" implies impatience, a sense that time is running out or that superficiality has reached its limit. The stuttered "I do, I do, I do-o-o-o" resembles wedding vows, suggesting that this desire for something real is a commitment, a promise to herself. The repetition of "Material lover, yeah" reminds the listener that this craving for authenticity does not negate her identity—it exists within it.
Outro: The Seductive Offer
The outro transforms the song from personal declaration into direct address. The playful scatting "Oh, tu-ru-ru, tu-ru, tu-tu" creates a light, flirtatious atmosphere before the word "Materi-eria-al" is broken apart and stretched, as if the speaker is tasting the word, exploring its texture. "Say it when you don't want" suggests that "material" is a word others use to dismiss or criticize her, but she invites them to say it—to acknowledge what she is. "I could give a real thing to you, oh" is the song's most vulnerable moment. It reveals that beneath the confident exterior, the speaker has something genuine to offer, but only to those who can see past the surface. The final repetition—"say that you want more / I could give a real thing to you, oh"—frames the song as an invitation. The speaker is willing to share her authentic self, but only with someone who desires more than just her glamorous exterior.
Conclusion
"Material Lover" is Sienna Spiro's clever, confident contribution to The Devil Wears Prada 2, a song that understands the fashion world it soundtracking better than any simple critique could. At just 20 years old, Spiro demonstrates the wisdom of an artist who has already navigated viral fame, chart success, and industry recognition—including her 2026 BRITs Critics' Choice nomination and over 800 million Spotify streams. The song refuses the false dichotomy that says one must choose between loving beautiful things and being a person of depth. Instead, it argues that the aesthetic and the authentic can coexist, that manicured nails can turn the pages of meaningful books, and that craving a "real connection" does not require renouncing the pleasures of the material world. In the context of a film that explores the decline of traditional fashion media and the reinvention of power in the industry, Spiro's perspective feels essential. She represents a generation that has grown up with social media, influencer culture, and the democratization of luxury—yet she insists on her humanity within that world. "Material Lover" is not a confession or an apology; it is a manifesto. It says that one can be a lover of things and a lover of people, a collector of beautiful objects and a seeker of genuine souls. In a soundtrack dominated by established superstars like Lady Gaga and SZA, Spiro holds her own with a song that is simultaneously lighter than air and surprisingly heavy with meaning. The "real thing" she offers in the outro is not just a romantic promise—it is the song itself, a piece of pop music that looks glossy on the surface but reveals surprising depth to those willing to look beyond the cover.
