Cara Delevingne released two new songs Friday, “I Forgot” and “Out of My Head,” pairing them with a short film directed by Jessica Lee Gagne. All of it arrived the same day. Both tracks are streaming now on all major platforms.
The Instagram announcement was brief: “I can’t believe we’re finally here!!” The double exclamation marks read less like promotional hype and more like genuine relief. She’s taken a long and public road to get here. The feeling seems earned.
What stands out is the structure of the release. Delevingne didn’t put out a single to test the water. She released two songs and a companion film at the same time. That kind of packaging is a deliberate choice. The music and the visuals were always meant to live together, not arrive one piece at a time.
Gagne’s credit as director gives the film real weight. Attaching a filmmaker’s name to the project signals real commitment. Both artists took the visual side seriously from the start.
This isn’t Delevingne’s first brush with music. She contributed to film soundtracks earlier in her career and has spoken about music in interviews for years. But a formal release with a credited director and two tracks dropping simultaneously carries more weight than a cameo or a cover. Friday’s release signals something deliberate.
Delevingne’s career has always moved across more than one lane. She became one of the most recognizable faces in fashion through the past decade. Then came acting. Roles in Paper Towns, Suicide Squad, and the Amazon series Carnival Row built out her presence in film and television. Music was always somewhere nearby. Friday’s release is the most direct she’s been about it.
The past few years have also been genuinely hard for Delevingne, and she hasn’t hidden that. She’s spoken publicly about mental health struggles and the slow, interior work of rebuilding herself. That kind of experience tends to find its way into creative work. An artist doesn’t always get to decide how much shows through. The song titles seem to know this. “I Forgot” and “Out of My Head” are both inward-looking. They suggest a preoccupation with memory and self-awareness. The titles hint at losing track of yourself, then finding your way back.
The companion film gives all of that somewhere to breathe. There’s a real difference between writing about a painful experience and shaping it into something an audience can sit with. The collaboration between Delevingne and Gagne seems to have aimed for the second thing.
This could be the beginning of a longer recording chapter. It could also be a self-contained creative statement. Two songs and a film that say what needed saying. Friday’s release doesn’t answer that question. But it arrives with real intention behind it: a director’s name, a visual frame, and two songs with an emotional core. Delevingne has been working toward this for a while. It’s good to see it land.
