KARACHI:
Pop music is having a moment. The transformation of the genre in 2024 has been seismic, and it’s impossible to ignore that this year belongs to the women who are reshaping what pop stardom means. For years, critics and industry insiders alike have bemoaned the decline of the pop star, questioning why the genre’s brightest talents no longer seemed to ignite like they once did. But 2024 is proving those skeptics spectacularly wrong.
The pop landscape today is a stark contrast to the grim predictions of yesteryear. Only a year ago, the music industry seemed resigned to the notion that the “pop star” as we knew it was a relic of the past. Billboard and Vulture blamed fragmented attention spans, risk-averse labels, and the ephemeral nature of TikTok trends as barriers to the rise of new stars. But those concerns feel laughable now. In 2024, we’re inundated with irresistible pop records, explosive streaming numbers, and the kind of cultural dominance that makes it clear: the pop girls are here, and they’re not going anywhere.
The pop girl renaissance
This isn’t just a case of a few breakout stars hitting the jackpot; 2024 has ushered in a tidal wave of women who are reshaping the pop landscape on their own terms. From Chappell Roan’s glitter-drenched queer anthems to Sabrina Carpenter’s sultry, chart-topping hits, the pop girlies of 2024 are climbing to the top. But why now?
Part of the answer lies in timing. Apart from Sabrina and Gracie Abrams opening for Taylor Swift for the highest grossing tour in the world, after years of cultural fatigue, people are desperate for something joyful, something communal. The world has endured political chaos, social upheaval, and a lingering pandemic hangover. In times like these, pop music offers an escape – a chance to feel good, to dance, to scream the lyrics to a song that just gets you.
These women are tapping into something deeply authentic. They’re no longer trying to fit into a glossy, prepackaged mould. Sabrina, once a Disney child star, to this day, is expected to adhere to the modesty that was so apparent on the channel. The girl wasn’t allowed to wear something sleeveless without a tee underneath. But the Espresso singer now refuses to conform – in fact she does the opposite. In what feels like a move of sheer defiance, she creates tracks with the most jaw-dropping vulgar lyrics that are great fun to belt out with friends. On the other hand, Gracie, the poster-girl for modern day sad pop, gets on stage and performs with the kind of contagious smile that causes your cheeks to hurt after a few minutes.
The feminist undercurrent
It’s impossible to talk about the pop girlies of 2024 without acknowledging the feminist energy that permeates their work. At a time when the rights of women and the marginalised are under attack – politically, socially, and culturally – these artists are pushing back in their own ways. One of the most thrilling aspects of this renaissance is the way pop stars are rejecting outdated notions of femininity and its place in pop. In the ’90s and early 2000s, labels churned out female pop stars like assembly-line products, crafting personas that prioritised marketability over individuality. Think Britney Spears, Christina Aguilera, and Jessica Simpson – iconic, yes, but often pigeonholed into narrow archetypes. They were also pitted against each other for publicity. If you’re old enough to remember the Britney-Christina feud, you’ll realise that it would never fly in today’s scene. Like they say: “There’s a special place in hell for women who bring down other women.” And today’s pop girlies follow that mantra like their lives – more importantly their careers – depend on it.
They also refuse to be boxed in. Billie Eilish and Charli XCX have proven that you can dominate charts while breaking every conventional rule of pop. You don’t have to be on stage in a glittery, skintight leotard or a miniature bodysuit to be labelled a pop star anymore. You can do it in whatever you’re comfortable in. Billie’s endless supply of designer button downs and shorts are proof, and so is Charli’s perpetual disheveled look.
Their success has paved the way for newcomers like South African singer Tyla to carve out their own unique niches. The diversity in sound, aesthetic, and perspective has not only made pop more exciting but has also forced critics to reevaluate their long-standing dismissal of the genre as “shallow” or “mindless.”
Take Charli’s Brat, for example. The album, hailed as a critical triumph, blends hard-hitting beats with introspective lyrics about insecurity, jealousy, and the messy reality of modern womanhood. Similarly, Chappell’s The Rise and Fall of a Midwest Princess uses vivid storytelling to explore queer identity, heartbreak, and self-discovery, all while disguised under the name of pop.
TikTok has played a significant role in this year’s globalisation of pop. The platform’s ability to catapult songs – and their creators – into the zeitgeist overnight has democratised the industry in ways previously unimaginable. Artists like Addison Rae, who transitioned from TikTok dancer to bona fide pop star, represent the blurring of lines between social media influencer and musician. And while skeptics may cry “industry plant,” the success of these artists speaks to something undeniable: people are listening, and they like what they hear.
This year, the pop girlies have reminded us why the genre matters. At its core, what makes 2024 such a landmark year for pop is the sheer joy these artists bring to the table. Pop has always been about creating moments – whether it’s the euphoric high of a perfect chorus or the communal experience of screaming your favourite lyrics in a crowd.
