Pop music is in a fun crisis. The top 40 charts are currently filled with songs trying to be deep and failing by simply sounding miserable. Every singer-songwriter wants to be Folklore era Taylor Swift and is horribly failing, including Taylor herself! All of the new artists at the top are there thanks to TikTok and are the embodiment of what Rolling Stone dubbed “Voice Audition Artists”. They make nothing but belting ballads about heartbreak, love, or a combination of the both. The few good tracks making an appearance on the top 40 are both somewhat depressing and not from this year. 

Given the current state of the world, music fans have been anticipating the next batch of “recession pop” songs. For those unaware, “recession pop” is a term to describe feel-good music with high BPMs, catchy yet simple melodies, and simple but charming lyrics that give you a break from the impending doom of the political and financial world. Early 2010s recession pop was defined by the divas of that era: Lady Gaga, Kesha, Katy Perry, Carly Rae Jepsen, and even Pitbull. But when the kids who listened to that era of music are now grown up, who among them will become the next generation of recession pop divas?

The simplest answers can be found with who is saving us from the “fun music crisis” dubbed earlier. Could Sabrina Carpenter or Chappell Roan have risen the way they did without the return of recession pop? Both artists were able to stand out in this era of music by having the most fun and playful songs on the charts. Similarly, the rise of Charli xcx and brat can be partially attributed to our deep desires for intentionally vapid hyperpop

that allowed us to be “bumpin’ that” instead of “stressin’ about that political climate”. And though “brat summer” may be over, that need for songs that appear meaningless but are endlessly danceable remains. 

Enter Addison Rae, who is effortlessly the best new artist to appear on the charts. In 2020, you might’ve heard about her and laughed when you saw her doing a TikTok dance to a Drake song that you didn’t like. And yes, that’s where she got her start. However, there was a disconnect between the songs Addison made TikToks to and the songs she actually listened to. Rather than frat rap or generic EDM, Rae’s spotify account was flooded with songs from hyperpop pioneer SOPHIE and alternative pop legends like Arca, Björk, Death Grips, and Caroline Polachek. When she noticed she was being embraced by fans of these artists, she slowly but surely dropped her preppy brand to become the girl she had always wanted to be. After that, it was only a matter of time before she had an EP with a Lady Gaga demo on it and a Charli xcx feature.

Flash forward a few years and Addison has just released her self-titled album. She has once again become a bit of an internet sensation, but instead of being popular with bored teens on TikTok she blatantly tried to appeal to, she is embraced by people who adore her superb curation of vibes. Addison, at the end of the day, is an album that relies entirely on its aesthetics and energy. It is all the better for it, and positions Addison as pop music’s perfect Barbie doll.

Every Barbie is made unique thanks to the outfit, accessories, and individual style. Yet at the end of the day, it’s still clearly a Barbie doll. Addison does something very similar in Addison, as she creates a distinct persona for every song with its own signature production and even pop subgenre. “Diet Pepsi” has a Lana Del Rey-inspired Americana-core energy while dipping into R&B and sensual pop sensibilities. “Aquamarine” leans into the seductive house pop mermaid of it all. “New York” gives us a 365 Partygirl version of Addison with its clear Charli xcx inspiration. “Fame is a Gun” is reminiscent of “Paparazzi” by Lady Gaga, with Addison becoming a true hyperpop diva in this track. But even if every song feels like a new addition to the Addison Rae Doll Collection, they’re all distinctly her thanks to the running theme of infectious synths, colorful production, and a cool attitude that turns her purposely simple lyricism into it girl behavior. 

When listening to an Addison Rae project, it’s your own fault if you expected Fiona Apple lyricism. She’s not that girl and she doesn’t want to be! She’s made it clear she wants to be the newest member of the nonchalant it girl squad featuring Charli xcx, Lorde, Rosalía, Arca, and Troye Sivan. Her vibe is intentional vapidness, playful coyness, and a tongue-in-cheek frame of mind that reminds you that a girl can and should have fun, even when times get tough. “Headphones On” touches on her parents' divorce, but the hook of the song is just to ignore it with the music. Addison’s signature point of view even extends to her music videos. In the “Headphones On” music video, she listens to her own song and imagines herself as a pink haired diva dancing through the Icelandic landscapes and focusing on the rhythm instead of her problems. It’s clear this is what she wants the listener to be doing with her own music. When her songs’ production is this ethereal, it’s hard not to.

Truly, Addison’s biggest feat outside of sheer vibe curation is its searing, hypnotizing production from Elvira Anderfjärd and Luka Kloser. Despite the current faces of pop music being beautiful women, the producers are largely still the same men who were producing 10 years ago. But Addison is an album all about having fun as a young girl, so it’s only fitting that elite female producers were responsible for its sound. It’s hard to imagine this album with anyone else behind it, as its consistent loud synths mixed with dazzling strings are crucial to its atmosphere. The project thus feels cohesive, modern, effortless, and just cool. 

It’s been almost a year since “Diet Pepsi” dropped, which remains a clear highlight. It’s unfortunate that most of the best tracks on the album are the pre-release singles, since I can’t imagine what the experience of hearing “Headphones On” or “Fame is a Gun” for the first time that night would have felt like. Addison is a visual artist who was curating her aesthetic ahead of time, but it is a bit disappointing that the album tracks feel minor compared to the phenomenal singles. Nonetheless, there is not a single “bad” song in this album by any means, just songs that stand out less than others.

So, what’s next for Addison? Allegedly, she is dropping the “Rae”, leaving Addison as the first and last album by Addison Rae. However, Addison seems to just be getting started in her music career, having the co-sign from everyone from Lana Del Rey to Hayley Williams. She has a whole life ahead of her and a long list of pop subgenres to explore. Until then, I’d love to see her and her eye for addicting music videos expand Addison into a visual album. I cannot wait for the tour she just teased or for her to continue bringing back fun to an otherwise abysmal year for pop.

8/10