Tony Lio has never been easy to pin to one genre, growing up on a mix of rock, pop, soul, and indie, and “Imperfect,” out July 3rd, keeps that hybrid instinct going. It’s his third collaboration with longtime friend and producer Zack Miranowic, following 2023’s “Evangeline” and 2024’s “Beautiful Chloe,” and Lio has described the song as a direct response to how narrow modern standards of “perfect” have become, built loud and defiant on purpose.
What’s interesting is that despite the alternative-rock framing, the song sounds more like dreampop than straight-up rock, and that’s a great thing. It actually makes perfect sense given how many different genres Lio pulls from; the hazier, more atmospheric textures underneath the track give it a different weight than a straightforward rock anthem about self-acceptance would have, something closer to drifting than shouting. That softer sonic approach ends up matching the song’s message better than pure aggression would have, since the whole point of the lyrics is embracing what doesn’t fit a rigid mold rather than forcing a defiant, chest-out delivery.
Miranowicz’s guitar solo is a highlight: a genuinely great tone, warm and full without tipping into anything harsh or overly distorted, and it sits well against the dreampop-leaning production instead of fighting it for space. It’s the kind of solo that adds color rather than just volume, which fits a song more interested in atmosphere than raw power.
The accompanying video, directed by longtime collaborator John Hasbrouck and shot in the middle of Times Square, leans into the same tension the song is built around, using one of the most manufactured, hyper-polished corners of New York City as the backdrop for a song about embracing imperfection. Dancer Naomi, returning from Lio’s 2024 video for “Nyx,” adds a physical, expressive layer to the visuals that matches the song’s emotional register well.
“Imperfect” plays like Lio stretching his creative muscles rather than repeating a formula, and the dreampop lean is the most interesting choice of the three he’s made with Miranowicz so far. It’s a good sign for where his sound might keep drifting from here.
