Summer brings nostalgia for many people. Whether it’s going on vacation with family or attending summer camps with friends, memories of this time are often cherished. Another key point to this season is the music we listen to and what we deem our soundtrack for the summer. Every year the listening vibe changes based on artists and mood. Last summer it was the song “Ordinary” by Alex Warren, and the year before that it was “Espresso” by Sabrina Carpenter. These songs are very different from one another, but they still fall under the pop category. “Ordinary” is very emotional and is an outpouring of the singer’s feelings for his significant other, where “Espresso” is more of a fun and upbeat tune that makes people want to dance. With both of these exciting hits, what will the next Summer showstopper be?

Olivia Rodrigo’s new album “you seem pretty sad for a girl so in love” is set to be released on June 12, and is already showing a lot of promise. Rodrigo released a single titled “Drop Dead” from the album earlier this year and it grew in popularity quickly. With this single climbing the charts, and the success she gained from her last two albums, it is safe to assume she could have one of the leading sounds this Summer. It is also likely that the trends will stay consistent with the pop theme that has been present in previous years. 

My favorite album to listen to during the summer is Staying at Tamara’s by George Ezra. This album was released in 2018, and it has not failed me for a summer yet. The mood is slower with a more mellow feeling throughout the album. Ezra uses storytelling along with an acoustic sound to paint the listener a picture of a blissful time. My personal favorite to listen to with my windows rolled down on a nice summer outing is “Shotgun.” It talks about a simple life where the only thing the singer is worried about is riding in the front seat of a car on a beautiful day. This album is the perfect way to start a summer road trip or barbeque with friends and family. As I said before, summer brings many memories, and music holds a lot of memories as well. Therefore, instead of only playing the new hits this June, it might do us some good to hear from previous artists that have paved the way for new summer hits. All in all, when it comes time in a couple weeks, you better believe I will be riding shotgun and listening to my hit sounds for the summer.

Photo by Gustavo Spindula via Uplash.

Redesigning Pop 

At the core of this resurgence is how pop stars have fundamentally redesigned the genre, blending sounds and aesthetics from various subcultures and expanding its reach. Charli XCX, often regarded as a pioneer in this modern iteration of pop, has embraced chaotic, experimental elements to produce songs that are simultaneously mainstream and subversive. Her 2022 mixtape CRASH, often labeled “bratty pop,” challenged the polished image of female pop stars. Charli XCX’s blend of rebellion, humor and irony in her work offers a counter-narrative to the notion that female pop artists must conform to a certain image to succeed.

The concept of “brat summer” tied to Charli XCX’s work has become emblematic of a new kind of feminism in pop culture: one that embraces imperfection, loudness and a certain unapologetic messiness. Interestingly, the aesthetic and themes surrounding “brat summer” have also made their way into political campaigns. Politicians, especially women, have adopted elements of this rebellious, punk-like pop persona to stand out and challenge patriarchal norms in the political sphere. 

The Queer Pop Renaissance

The rise of openly queer pop artists has been another significant aspect of this pop resurgence. Singers like Renee Rapp and Chappell Roan are not only making waves in the industry but also creating spaces for queer identities to flourish in mainstream music. These artists embody a growing acceptance of fluidity in both gender and sexuality, pushing the boundaries of traditional pop narratives.

Renee Rapp, who started in musical theater, brings an emotionally charged authenticity to her pop music, blending personal stories of queerness with universal themes of love and heartbreak. Her music resonates with young listeners who are navigating their own identities, offering a sense of solidarity and empowerment. Similarly, Chappell Roan, known for her flamboyant performances and unapologetic queerness, brings joy and celebration to her music, making queer identity not just something to fight for but something to celebrate on grand stages.

These queer pop stars are flipping the script on how women, especially queer women, are perceived in the music industry. Historically, female pop stars have been hypersexualized and scrutinized under a misogynistic lens, but these artists reclaim their narratives, pushing against harmful stereotypes and asserting autonomy over their music, image and message.

Taylor Swift: A Global Force of Change

One cannot talk about the modern pop landscape without mentioning Taylor Swift, whose world tour in 2023 became more than just a musical event; it was a cultural phenomenon. What makes Swift’s resurgence so powerful is how she has managed to wield her platform to speak against misogyny and double standards in the industry. From reclaiming her master recordings to writing songs that address the public’s obsession with her dating life, Swift’s career has been a testament to perseverance in an industry that often seeks to tear women down. Her Eras Tour in 2023 became a symbol of empowerment, showcasing the various phases of her career. 

Swift’s influence also sparked conversations about gender disparity in the music industry. The fact that her tour became the highest-grossing by a female artist in history was not just a commercial success, it was a significant cultural moment that pushed back against the narrative that women in pop are disposable or merely trend-chasers.

Rising Voices, Challenging Norms

Olivia Rodrigo and Sabrina Carpenter represent another facet of pop music’s resurgence. Rodrigo’s debut album SOUR was a massive success, largely because of its raw, unfiltered portrayal of teenage angst, heartbreak, and identity. Rodrigo’s songwriting taps into the universal experiences of young women, amplifying voices that are often dismissed as “hormonal” or overly emotional. By doing so, she challenges the industry’s tendency to devalue the voices and stories of young women.

Sabrina Carpenter, often caught in the media whirlwind surrounding Rodrigo, turned the attention into an opportunity to showcase her own talents and complexities. Carpenter’s music has evolved from her Disney roots to something more mature, reflecting the struggles young women face when trying to carve out their own identities in a world that seeks to define them.

Both Rodrigo and Carpenter navigate the complexities of modern femininity and womanhood, using their music as a platform to confront misogynistic tropes. Their success underscores a broader trend in pop music where young female artists no longer feel the need to adhere to industry expectations. Instead, they are shaping their own paths, with full control over their voices and images.

Pop Music in Economic Uncertainty  

Another aspect that has pushed forward this pop resurgence is the idea of pop as “recession music.” Pop music, compared to other forms of entertainment, is relatively affordable and accessible. Even in difficult financial times, people can listen to music on the radio, through streaming services or via social media. This low-cost access to music makes pop a go-to form of entertainment during recession.

In times of economic uncertainty, people often turn to accessible forms of entertainment to escape the stresses of daily life. Pop music, with its infectious hooks, glittering production and uplifting energy, offers an immediate sense of relief.

Conclusion

The resurgence of pop stars and the redesign of pop music during the current economic recession reflects both cultural and economic realities. Pop stars like Charli XCX, Taylor Swift, Olivia Rodrigo and queer artists like Renee Rapp and Chappell Roan are not just dominating the charts—they are redefining what pop music can be in a time of crisis. Their ability to blend themes of empowerment, escapism and rebellion with accessible, emotionally resonant music has made pop the perfect soundtrack for a generation grappling with economic uncertainty, societal shifts and personal challenges.

“When am I gonna stop being wise beyond my years and just start being wise?,” 20-year-old artist Olivia Rodrigo asks on “teenage dream”, the final track of “GUTS,” her newest album, which was released last month. After all, it’s not every day that one’s 2021 debut album wins three awards at the Grammys, including one for Best New Artist. “GUTS” seems to pick up right where “SOUR,” Rodrigo’s debut album, left off. Rodrigo takes her audience through a journey of breakups (“vampire”), rebounds (“bad idea right?”) and mental health struggles (“lacy” and “making the bed”).

Rodrigo keeps the same style in “GUTS” that made her famous for “SOUR,”  switching between punk and pop ballad several times throughout the album and, occasionally, in the same song. “all-american bitch,” for example, goes from screaming in the bridge to a calm ending, before jumping right back into the bass-heavy “bad idea right?”. When I listened to the album straight through, the ambient sounds in the ending of one song rolled straight into the start of the next one. I love hearing small details like that in an album. 

When “SOUR” was released in 2021, I claimed—and still believe—that there’s not a bad song on the album. That statement continues for “GUTS”. Every song on the album is good. Below are some of my favorite tracks with the musical bits that make them wonderful:

Track 1: “all-american bitch”

I’m not in the target demographic for this song, but I like how it addresses societal expectations. In an interview with Apple Music, Rodrigo said she was trying to express “the feeling of…trying to be put into a box as a girl.” Favorite line: “I’m the eternal optimist / I scream inside to deal with it…”

Track 2: “bad idea right”

Musically, this song is one of my favorites. Right after the line “I cannot hear my thoughts,” the bass ramps up and makes everything feel chaotic.

Track 5: “ballad of a homeschooled girl”

As someone who grew up in a small, religious school and came out with questionable social skills, this track hit me like a ton of bricks. My favorite line in this one is “I made it weird, I made it worse / Each time I step outside…”

Track 6: “making the bed”

This is the best track on the album, by far. In this song, Rodrigo writes about anxiety— how people can turn themselves into the victims and take everything as a sign that people hate them. The desperation is palpable, and my favorite line in the album is here: “They’re changing my machinery, and I just let it happen / I got the things I wanted, it’s just not what I imagined.”

Track 8: “get him back!”

The wordplay here is stellar. We’re either talking about revenge or wanting to get back together, and Rodrigo weaves those two threads beautifully in this track. The bridge is second-to-none.

At this point, I’m going to trust my guts (pun absolutely intended), stop rambling, and unequivocally recommend this album. Whether you like upbeat and energetic or slow and thoughtful, this album has something for everyone.