Since the June release of her critically acclaimed album BratCharli XCX has appeared, exuding its titular ethos. While the concept of “brat” has always been a bit indefinable, all you had to do was look at XCX: her messy, chic black hair; pursed lips; and large sunglasses all embody the je ne sais quoi of someone who has been partying all night. So I was curious ahead of her hosting gig this week Saturday evening live: Would she let her brat mask slip at all?

She did. Although the British pop star started off with a rather pompous, brat-oriented monologue: “It’s an attitude; it’s a vibe,” she explained – proving she was more than just a game about getting rid of aesthetics in sketches. Her performances showed a range that those who know her for the most part can reach Brat The era may not know it yet: she can be awkwardly goofy and she can be a skilled impressionist.

Read: The legend of Charli XCX is growing

In “Babymoon” — a follow-up to the viral “Bridesmaid Speech” sketch during Ariana Grande’s episode earlier this year — XCX fit right in with a chorus of female cast members as they sang a parody of Chappell Roan’s synth-pop song “Hot to Go!” Again, the overarching joke was that these BFFs had written a funny song about how their friend Kelsey (Chloe Fineman) had cheated on her husband with a man named Domingo (Marcello Hernandez) – only now she was pregnant and they were singing to her baby shower. The returning skit’s charm lies in its wildly inappropriate revelations, but the real joy of last night’s version was watching XCX take part in the dorky dance moves, her limbs stiffly spelling out the words to the tune.

Later, XCX was an impressive impersonator in “Wicked Auditions,” a parade of celebrity impressions ostensibly doing screen tests for the upcoming Bad film. Performing as Adele, XCX enjoyed the fellow Brit’s distinct London accent, as well as her tendency to cackle at her own jokes. XCX then trotted out a version of her friend and tourmate Troye Sivan, imitating his Australian accent and affecting his laid-back demeanor. In a twist, she appeared with Bowen Yang, who himself was in costume as XCX.

Meanwhile, XCX starred in “Here I Go,” a digital short musical starring Andy Samberg, an eerily happy, pearl-wearing housewife who, along with her husband, enjoyed calling the police on other white people. XCX happily leaned into a Karen archetype, portraying her character’s supervisory tendencies with sinister glee. And for “Banger Boyz,” a sketch featuring a Joe Rogan-inspired podcast, She accurately captured the performative and casual tone of these types of shows, while at the same time standing out from the room of brethren; her voice suggested she was along for the ride, but her eyes suggested she knew they were ridiculous.

The versatility of the XCX shouldn’t really come as a surprise. As she mentioned in her monologue, she started performing when she was a teenager and has continued her career ever since, navigating the challenges of the music industry and the boxes it tried to (sometimes unsuccessfully) put her in. One of her first early hits was ‘Boom Clap’ The Fault in Our Stars soundtrack, which now seems silly with its tiny version of romance.

Brat exploded in part because it felt like the fullest expression of XCX’s ethos: a workhorse approach to songwriting alongside her 365-party-girl attitude to life. Her SNL episode suggested she’s ready to apply that zeal to her next act: in film. She is lined up for a number of films including I want your sexthe latest from queer provocateur Gregg Araki, and Sacrificeby French director Romain Gavras, starring Chris Evans and Anya Taylor-Joy.

But when XCX took the mic for the musical performances of her songs “360” and “Sympathy Is a Knife,” she of course donned her sunglasses again. As she stomped around the stage, she had the untouchable vibe of someone who truly embodies the cooler-than-thou energy she has created.