POP music is always thought to be fun and light-hearted. Listeners could turn to it for reliable comfort, pleasure and good times. In recent years, however, the genre seemed to have receded in popularity.
Dance-pop, for one, no longer dominates the music charts as it used to in the 2010s. But we might be on the cusp of seeing its resurgence thanks to Tate McRae.
The 21-year-old Canadian singer, who is among today’s hottest rising stars, channelled pop’s fun and risque nature in her latest album So Close to What.
Capturing her experience growing up, McRae conveys the introspective journey through infectious pop and dance-pop melodies.
Igniting old flame
The album could not have arrived at a better time. Considering the nostalgic longing among music enthusiasts, So Close to What offers a sweet escape to the late 2000s and the 2010s.
While the album retains its own identity, the dance influence from those decades is strong. Tracks such as Dear God, Sports Car and Miss Possessive are reminiscent of hits from Britney Spears (whom McRae is a fan of) and The Pussycat Dolls.
The infectious tracks evoke the same feeling of edginess and sassiness, ideal for accompanying you on the dance floor.
Seamless transition
Heading in this sonic direction is a smart move on McRae’s part – it plays to her strength as an artiste.
She is at her best with upbeat tempos. One can easily determine this upon listening to the dance tracks on the album. Sports Car, It’s OK I’m OK and 2 Hands were rightfully picked to be singles from the album. The dancing in the singles’ music videos further strengthens their potency.
But McRae does not abandon her emotional roots. Residues of You Broke Me First, the ballad that catapulted her to fame, can be found in Means I Care and Siren Sounds. They would make good singles.
Still needs work
That said, the album does not have much substance to it. While there are a few memorable tracks to bop to, the majority of the album’s offerings do nothing for McRae’s pop credibility.
At best, they are serviceable but nothing more. The hooks, melodies, lyrics and concepts do not make for an artistic statement for McRae. They merely position her as a generic pop artiste.
She could, however, turn things around. After all, this is only her third studio album. Some of the best pop artistes only reached their peak at their fourth or fifth one.
McRae, in the meantime, should try to find a musical identity outside of Ryan Tedder’s productions – though his work here is the album’s saving grace.
Producers such as Max Martin, Shellback and Ester Dean could stretch her musical capabilities and enrich her sound. Maybe then, McRae can finally rise up as this generation’s pop icon.
