Eartheater has never had much interest in choosing between the earthly and the divine. On Wasp In the Fig, a highlight from her latest album, Heavenly Body: If I’m the Bottle, You’re the Message, she makes motherhood sound like both biological fact and cosmic mythology—a transformation Andrew Thomas Huang now takes literally.
The new video opens above the Pennsylvania landscape surrounding the property where Alexandra Drewchin grew up, before locating her as a lone rider beneath a bruised sky. From there, the journey becomes increasingly unreal: red light cuts through the darkness, horses gallop with the urgency of the song’s restless beat, and Eartheater eventually merges with her mount, becoming a sci-fi centauress racing towards a distant star. Subtle? Absolutely not. But subtlety has never been the point when your emotional vocabulary includes heaven, insects, childbirth and Sodom and Gomorrah.
The image draws directly from the track’s central metaphor. A female fig wasp enters the fruit to pollinate it and lay her eggs, losing her wings and dying inside so that new life can emerge. Eartheater turns that brutal natural cycle into a love song to her daughter: tender, devotional and still unmistakably hers. Against propulsive percussion, her voice moves between intimacy and theatrical release, refusing the idea that motherhood must soften an artist into somebody more palatable.
Huang, who previously directed her 2023 video Crushing, understands that Eartheater’s surrealism works best when the body remains at its centre. The closing union between mother and child brings the fantasy back down to earth. After the armour, the hooves and the celestial spectacle, what remains is not self-erasure, but a new form of power.