"The past year has been a wild rollercoaster. The world seemed bleak at some times, but music has been known to be a good coping mechanism. Thus, while stress invades our lives, good music is as important as ever. I’m going to do a deep dive into five of the best pop albums of the last year, including covering music videos, lyrics, and overall aesthetics. " -- AMara Deanes, 8th Grade
The past year has been a wild rollercoaster. The world seemed bleak at some times, but music has been known to be a good coping mechanism. Thus, while stress invades our lives, good music is as important as ever. I’m going to do a deep dive into five of the best pop albums of the last year, including covering music videos, lyrics, and overall aesthetics.
These albums were innovative, and unique. Each has their own clear aesthetic and vision. Despite less than savory reviews on The Life of a Showgirl and Addison Rae’s newness in the industry, all of these albums surprised me. That’s what makes a good album. New singers, new sounds, and an overall individuality in the industry.
1. The Art of Loving - Olivia Dean
These albums were innovative, and unique. Each has their own clear aesthetic and vision. Despite less than savory reviews on The Life of a Showgirl and Addison Rae’s newness in the industry, all of these albums surprised me. That’s what makes a good album. New singers, new sounds, and an overall individuality in the industry.
1. The Art of Loving - Olivia Dean
Olivia Dean is a 26-year old British singer-songwriter. Last year was a breakout year for her, with her hit single, “Man I Need.” She was also Sabrina Carpenter’s opener on her Short n’ Sweet Tour, which allowed her to reach an American fanbase. In 2026, she’s looking forward to headlining her own arena tour, which spans North America, Europe, and Australia.
The Art of Loving is Dean’s sophomore album. It has 12 tracks, and is accompanied by four music videos, for the lead singles “Nice To Each Other,” “Lady Lady,” “Man I Need,” and most recently “So Easy (To Fall In Love.)”
The album demonstrates her uniqueness in the industry and her music style. The combination of traditional jazz instruments and synth-pop elements create a fresh sound in today’s music landscape. She sings in such a tender and earnest way. In certain songs, you can almost hear her smiling as she sings. Her style is often referred to as a mix between bossa nova and jazz elements.
The overall theme of the album is well, the art of loving. The song, “I’ve Seen It,” which is the song that represents the overarching theme of the project, portrays this perfectly. “I've heard it laced in every song/and still the words all come out wrong.” The “it” she’s referring to is love.
On the last line of the song, she says the love she’s been searching for is inside herself. This self-love is represented all throughout the album. Romantic love songs tend to dominate the industry, and I like the new take on the topic of love in the modern age. This is most apparent on the songs “Baby Steps” and “Lady Lady.”
This duality is one of my favorite things about the album. She explores others and herself at the same time. “There'll be roses on the shelf/'Cause this house gon' love itself,” Dean sings earnestly on the second verse of “Baby Steps.” The metaphorical house is herself. The name alludes to the small steps she’s taking to love herself, even though it’s difficult.
She weaves this self-confidence throughout the album. Insisting that she is attractive on “So Easy (To Fall In Love),” doesn’t want a boyfriend on “Nice To Each Other,” and setting a standard for her relationships on “Man I Need.” It comes off as confident, rather than self-centered. It’s a difficult medium that Dean mastered.
The Art of Loving is Dean’s sophomore album. It has 12 tracks, and is accompanied by four music videos, for the lead singles “Nice To Each Other,” “Lady Lady,” “Man I Need,” and most recently “So Easy (To Fall In Love.)”
The album demonstrates her uniqueness in the industry and her music style. The combination of traditional jazz instruments and synth-pop elements create a fresh sound in today’s music landscape. She sings in such a tender and earnest way. In certain songs, you can almost hear her smiling as she sings. Her style is often referred to as a mix between bossa nova and jazz elements.
The overall theme of the album is well, the art of loving. The song, “I’ve Seen It,” which is the song that represents the overarching theme of the project, portrays this perfectly. “I've heard it laced in every song/and still the words all come out wrong.” The “it” she’s referring to is love.
On the last line of the song, she says the love she’s been searching for is inside herself. This self-love is represented all throughout the album. Romantic love songs tend to dominate the industry, and I like the new take on the topic of love in the modern age. This is most apparent on the songs “Baby Steps” and “Lady Lady.”
This duality is one of my favorite things about the album. She explores others and herself at the same time. “There'll be roses on the shelf/'Cause this house gon' love itself,” Dean sings earnestly on the second verse of “Baby Steps.” The metaphorical house is herself. The name alludes to the small steps she’s taking to love herself, even though it’s difficult.
She weaves this self-confidence throughout the album. Insisting that she is attractive on “So Easy (To Fall In Love),” doesn’t want a boyfriend on “Nice To Each Other,” and setting a standard for her relationships on “Man I Need.” It comes off as confident, rather than self-centered. It’s a difficult medium that Dean mastered.
Olivia Dean in the music video for "Man I Need"
Of course, romance is another big theme on the album, as it is in many. She has a combination of romantic songs overflowing with confidence, and of melancholic and pondering. She’s always in control yet raw when it comes to her emotions. In the online age, emotional vulnerability is rare, and it’s refreshing to see this kind of maturity.
Her maturity is apparent in the visuals as well. She is seen strutting down a busy street as she acts as a match-maker in the music video for “So Easy (To Fall in Love).” She portrays herself as a confident woman in her mid-twenties, and owns her autonomy.
“I like the middle. What’s going to happen on the way? Who am I going to bump into?” said Dean in an interview for the December issue of Nylon magazine. She also expressed her disappointment in Los Angeles's lack of dance culture. “I’ve noticed it very severely when I’ve been [in LA],” she says. “Like, ‘Woah, guys, is anyone having fun? You know you’re allowed to have fun!’ There’s such a culture of being observed here, and I can’t live my life that way…”
You can see her personality in every creative choice she made. She’s seen dancing in a ballet studio in the visuals for “Lady Lady” and wandering around a set filled with men on “Man I Need.” You can see that she loves a simpler, more connected way of going through life.
All of the covers for this album also convey this. She’s always moving, never still to get a clear shot. It shows how free she is, not stopping just for a photo. Every cover for each single is in black and white as well. This is a big shift from her first album, Messy, which consisted of a bright, color photo of her. The visual shift is like going from the technicolor to black and white, but somehow it doesn’t feel any more dull. She’s smiling and happy, showing her artistic and emotional freedom.
I have some critiques though. On the first or second listen, the album kind of sounded the same. It was like I was flowing through one long song. After a few listens I can see the differences between each track. If you give it a true listen, then you can truly recognize the artistry of the songwriting.
In all, The Art of Loving is an amazing, experimental album. Through it, I got a sense of Dean’s music style and who she is. She’s on her way to becoming a household name, and this album only proves that.
2. Virgin - Lorde
Her maturity is apparent in the visuals as well. She is seen strutting down a busy street as she acts as a match-maker in the music video for “So Easy (To Fall in Love).” She portrays herself as a confident woman in her mid-twenties, and owns her autonomy.
“I like the middle. What’s going to happen on the way? Who am I going to bump into?” said Dean in an interview for the December issue of Nylon magazine. She also expressed her disappointment in Los Angeles's lack of dance culture. “I’ve noticed it very severely when I’ve been [in LA],” she says. “Like, ‘Woah, guys, is anyone having fun? You know you’re allowed to have fun!’ There’s such a culture of being observed here, and I can’t live my life that way…”
You can see her personality in every creative choice she made. She’s seen dancing in a ballet studio in the visuals for “Lady Lady” and wandering around a set filled with men on “Man I Need.” You can see that she loves a simpler, more connected way of going through life.
All of the covers for this album also convey this. She’s always moving, never still to get a clear shot. It shows how free she is, not stopping just for a photo. Every cover for each single is in black and white as well. This is a big shift from her first album, Messy, which consisted of a bright, color photo of her. The visual shift is like going from the technicolor to black and white, but somehow it doesn’t feel any more dull. She’s smiling and happy, showing her artistic and emotional freedom.
I have some critiques though. On the first or second listen, the album kind of sounded the same. It was like I was flowing through one long song. After a few listens I can see the differences between each track. If you give it a true listen, then you can truly recognize the artistry of the songwriting.
In all, The Art of Loving is an amazing, experimental album. Through it, I got a sense of Dean’s music style and who she is. She’s on her way to becoming a household name, and this album only proves that.
2. Virgin - Lorde
Lorde’s music was essential for the 2010's music scene. She invaded the minds of teens across the globe with her albums Pure Heroine and Melodrama. During that time, she was a teen herself, and wrote music that reflected her experiences. But ten years later, years past teenhood, what is her life like? To me, Virgin feels like a second puberty for her, as we see late 20s Lorde grappling with herself.
“You could call Virgin a coming-of-age album for Lorde's late 20s. It's as if she's finally realized that to come of age is actually a messy, lifelong process — that as sturdy as you think your sense of self is, it'll keep snagging on things that unravel it,” describes NPR.
The 11-track album is doused in electronic beats overlaid with Lorde’s poetic lyrics. The sound of the album is nothing like I’ve heard before. It’s like a combo of synth-pop and electronic. Distorted vocals, screeching backing beats. You can’t pin down one sound or genre on the album. I would describe it as having a dance party and sobbing at the same time. It’s messy in the way that Charli xcx’s viral BRAT album was. Charli xcx said it herself, Lorde summer is next.
“If I listen to Lorde’s, it’s kinda like oh, I’m boutta start crying, screaming, start letting everything out, and running away from my house,” said 8th grade Literary Arts student Cece Burger. As a BRAT fan herself, Burger truly understands the messiness of both albums.
“You could call Virgin a coming-of-age album for Lorde's late 20s. It's as if she's finally realized that to come of age is actually a messy, lifelong process — that as sturdy as you think your sense of self is, it'll keep snagging on things that unravel it,” describes NPR.
The 11-track album is doused in electronic beats overlaid with Lorde’s poetic lyrics. The sound of the album is nothing like I’ve heard before. It’s like a combo of synth-pop and electronic. Distorted vocals, screeching backing beats. You can’t pin down one sound or genre on the album. I would describe it as having a dance party and sobbing at the same time. It’s messy in the way that Charli xcx’s viral BRAT album was. Charli xcx said it herself, Lorde summer is next.
“If I listen to Lorde’s, it’s kinda like oh, I’m boutta start crying, screaming, start letting everything out, and running away from my house,” said 8th grade Literary Arts student Cece Burger. As a BRAT fan herself, Burger truly understands the messiness of both albums.
Lorde and Charli xcx backstage at Madison Square Garden, New York
Lorde was even featured on a song with Charli xcx, “Girl, so confusing featuring lorde.” The song almost feels like a teaser for Virgin. It details both singers' confusion in being a young-woman in the music industry. Virgin is an extension of this song, except more personal.
Her genuine expression of her feelings is what makes this album so polarizing. Out of pocket lyrics like, “In the gym I’m exercising all my demons,” on “If She Could See Me Now,” and “Pink galaxy left undressed” on “GRWM.” Metaphors and dual meanings are weaved throughout the album. The “pink galaxy” mentioned could be in reference to her acne, uncovered by makeup. This is only one example of this, there’s whole article’s worth buried in the songs.
“The language is plain and unsentimental. The sounds are the same wherever possible,” said Lorde in an email statement about the album. I hardly noticed this detail. To me, every song sounds like something unheard of. “I was trying to see myself, all the way through. I was trying to make a document that reflected my femininity: raw, primal, innocent, elegant, openhearted, spiritual, masc,” she continued. The cover reflects her vision of the project.
“The most interesting album cover to me is Lorde’s,” said Burger, “It’s kinda like a statement almost. I dunno, maybe I’m seeing too much into it.”
The cover, and x-ray of Lorde’s pelvis, is indeed a statement. It’s representative of her bodily autonomy as a woman is the modern political landscape. On the x-ray, and IUD also appears, yet another political jab in the artwork. It’s almost like a portrait of her, yet you see deeper than skin. You see her social values, her physical bone, Lorde stripped bare. That’s the whole point of the project.
The music videos were interesting. It was a look into her conflicting thoughts. She seems to be in ecstasy and pain at the same time. Like laughing while your heart is ripped out. It’s all wild and confusing. There’s no clear aesthetic.
In the email statement to fans, she described the album’s color as clear. This is completely different then any album on this list. That is what makes it so special. It’s crazy and confusing, and despite the deep look into her feelings, I will never understand her, and that’s okay.
3. Addison - Addison Rae
Her genuine expression of her feelings is what makes this album so polarizing. Out of pocket lyrics like, “In the gym I’m exercising all my demons,” on “If She Could See Me Now,” and “Pink galaxy left undressed” on “GRWM.” Metaphors and dual meanings are weaved throughout the album. The “pink galaxy” mentioned could be in reference to her acne, uncovered by makeup. This is only one example of this, there’s whole article’s worth buried in the songs.
“The language is plain and unsentimental. The sounds are the same wherever possible,” said Lorde in an email statement about the album. I hardly noticed this detail. To me, every song sounds like something unheard of. “I was trying to see myself, all the way through. I was trying to make a document that reflected my femininity: raw, primal, innocent, elegant, openhearted, spiritual, masc,” she continued. The cover reflects her vision of the project.
“The most interesting album cover to me is Lorde’s,” said Burger, “It’s kinda like a statement almost. I dunno, maybe I’m seeing too much into it.”
The cover, and x-ray of Lorde’s pelvis, is indeed a statement. It’s representative of her bodily autonomy as a woman is the modern political landscape. On the x-ray, and IUD also appears, yet another political jab in the artwork. It’s almost like a portrait of her, yet you see deeper than skin. You see her social values, her physical bone, Lorde stripped bare. That’s the whole point of the project.
The music videos were interesting. It was a look into her conflicting thoughts. She seems to be in ecstasy and pain at the same time. Like laughing while your heart is ripped out. It’s all wild and confusing. There’s no clear aesthetic.
In the email statement to fans, she described the album’s color as clear. This is completely different then any album on this list. That is what makes it so special. It’s crazy and confusing, and despite the deep look into her feelings, I will never understand her, and that’s okay.
3. Addison - Addison Rae
To Gen-Z, Addison Rae is a familiar name. She first rose to fame in the early days of TikTok.
Her fame was attributed to her viral dance videos, which received millions of views. But how do you go from being a TikTok star to a pop star?
Rae began her music career in early 2021, releasing a single titled “Obsessed.” It wasn’t received very well, as comments on the music video detail fans' hatred towards the song. One user said “At this point the music industry is turning into a joke now.” Another claimed that the “aggressive dancing and facial expressions” made them question their existence.
Popdust even included the song in a list of the worst songs by social media stars and described it as, “a generic pop effort, with a lot of autotune in action in an attempt to disguise that the semi-melodic whispering Rae is doing is not in fact singing…”
“I always wanted more,” Rae sings on one of Addsion’s lead singles, “Fame is a Gun.” Her persistence in breaking out into the music scene is apparent. She’s self aware of her need for more fame on this track. The fact that the bad reception on “Obsessed” only made her go back to the drawing board shows this.
Due to this failure, Addison feels like a reintroduction. Rae seems to realize that a music career takes work, and dances on TikTok do not equate to a success in music. Her extensive work paid off. Her fans seem to have generally forgotten about her past failures.
“I've learned that growth takes time and experience takes time,” said Rae in an interview with the Grammys, “When ‘Obsessed’ came out, a lot of people were like, ‘Why are you releasing music? You haven't struggled in music, you haven't put in the years that it takes to become an artist!’ and I'm like, Well then, I'm gonna put in the years of the years of work!”
The lead single “Diet Pepsi,” released in mid-2024, went viral in early 2025, which is the best scenario for an artist releasing their first album. Through the song she maintains her almost whispery way of singing, although it doesn’t feel fake. It’s bright and electronic, and once again feels fresh. She knew what direction she wanted to take with the album, and the songs followed.
In 2024, Rae also got her start working with Charli xcx. Rae was featured on the remix of Charli xcx’s song “Von Dutch.” The song details speaking to the haters, saying that they are just jealous. This is an interesting parallel after the failure of “Obsessed.” Rae’s feature introduced her name into the electronic, dance music scene. She built a fanbase with xcx’s fans without even releasing an album.
Addison feels like one big lavish New York party. Rae carefully assembled who she wanted to be with this album. All the music videos show that. Consisting of Tate McRae style dance breaks, dripping in jewels, and bright colors. It’s like a flashback to early 2000s era music videos, taking a lot of inspiration from hit artists back then like Kate Bush. Plenty of dancing and partying. She even had fake money confetti raining down at the end of her concerts.
Her fame was attributed to her viral dance videos, which received millions of views. But how do you go from being a TikTok star to a pop star?
Rae began her music career in early 2021, releasing a single titled “Obsessed.” It wasn’t received very well, as comments on the music video detail fans' hatred towards the song. One user said “At this point the music industry is turning into a joke now.” Another claimed that the “aggressive dancing and facial expressions” made them question their existence.
Popdust even included the song in a list of the worst songs by social media stars and described it as, “a generic pop effort, with a lot of autotune in action in an attempt to disguise that the semi-melodic whispering Rae is doing is not in fact singing…”
“I always wanted more,” Rae sings on one of Addsion’s lead singles, “Fame is a Gun.” Her persistence in breaking out into the music scene is apparent. She’s self aware of her need for more fame on this track. The fact that the bad reception on “Obsessed” only made her go back to the drawing board shows this.
Due to this failure, Addison feels like a reintroduction. Rae seems to realize that a music career takes work, and dances on TikTok do not equate to a success in music. Her extensive work paid off. Her fans seem to have generally forgotten about her past failures.
“I've learned that growth takes time and experience takes time,” said Rae in an interview with the Grammys, “When ‘Obsessed’ came out, a lot of people were like, ‘Why are you releasing music? You haven't struggled in music, you haven't put in the years that it takes to become an artist!’ and I'm like, Well then, I'm gonna put in the years of the years of work!”
The lead single “Diet Pepsi,” released in mid-2024, went viral in early 2025, which is the best scenario for an artist releasing their first album. Through the song she maintains her almost whispery way of singing, although it doesn’t feel fake. It’s bright and electronic, and once again feels fresh. She knew what direction she wanted to take with the album, and the songs followed.
In 2024, Rae also got her start working with Charli xcx. Rae was featured on the remix of Charli xcx’s song “Von Dutch.” The song details speaking to the haters, saying that they are just jealous. This is an interesting parallel after the failure of “Obsessed.” Rae’s feature introduced her name into the electronic, dance music scene. She built a fanbase with xcx’s fans without even releasing an album.
Addison feels like one big lavish New York party. Rae carefully assembled who she wanted to be with this album. All the music videos show that. Consisting of Tate McRae style dance breaks, dripping in jewels, and bright colors. It’s like a flashback to early 2000s era music videos, taking a lot of inspiration from hit artists back then like Kate Bush. Plenty of dancing and partying. She even had fake money confetti raining down at the end of her concerts.
The faux money confetti with Rae's face on it that fell at the end of her shows.
Speaking of, her debut concert tickets were sold out when they were released. She even added more shows to her Los Angeles run at the Greek Theatre.
“I compare my life to the new it girl/Jealousy's a rip tide, it pulls me under,” she complains on the “Headphones On.” This references her annoyance about her earlier music career failures. Recently though, she has been the it girl.
I can almost feel her vulnerability on some of the tracks. Still, sometimes it feels like a facade. That’s my only complaint about this album. Oftentimes, her feelings feel like something preplanned on a moodboard. Since much of the album probably was, that sometimes translates in the final product. It’s such a minor thing that barely changes the overall project.
Visually, the album is a masterpiece. Her rebrand is a masterclass in marketing. She successfully became a popstar equipped with pop influences in one hand and a Pinterest board in the other. I think the aesthetic of the album is what made it successful.
“I had found shades of colors that I liked, and I printed them out and put them in a binder. It was this pretty aqua, then it was hot pink, super sunshiny yellow, a tone of green, and then a really beautiful vibrant blue,” said Rae in an interview with the Grammys, “That told me that I wanted the album to be a lot of different things and not just one thing, and so that gave me a weird sense of guidance.”
Her stylist, Dara Allen, also helped her through the fashion aspect of her rebrand. Allen is a well known stylist among celebrities, styling the likes of Hunter Shafer and Teyana Taylor for magazine covers. The model turned stylist styled Rae for the 2024 VMAs, multiple music videos, and most recently, the Grammys.
“I compare my life to the new it girl/Jealousy's a rip tide, it pulls me under,” she complains on the “Headphones On.” This references her annoyance about her earlier music career failures. Recently though, she has been the it girl.
I can almost feel her vulnerability on some of the tracks. Still, sometimes it feels like a facade. That’s my only complaint about this album. Oftentimes, her feelings feel like something preplanned on a moodboard. Since much of the album probably was, that sometimes translates in the final product. It’s such a minor thing that barely changes the overall project.
Visually, the album is a masterpiece. Her rebrand is a masterclass in marketing. She successfully became a popstar equipped with pop influences in one hand and a Pinterest board in the other. I think the aesthetic of the album is what made it successful.
“I had found shades of colors that I liked, and I printed them out and put them in a binder. It was this pretty aqua, then it was hot pink, super sunshiny yellow, a tone of green, and then a really beautiful vibrant blue,” said Rae in an interview with the Grammys, “That told me that I wanted the album to be a lot of different things and not just one thing, and so that gave me a weird sense of guidance.”
Her stylist, Dara Allen, also helped her through the fashion aspect of her rebrand. Allen is a well known stylist among celebrities, styling the likes of Hunter Shafer and Teyana Taylor for magazine covers. The model turned stylist styled Rae for the 2024 VMAs, multiple music videos, and most recently, the Grammys.
Rae in a hand painted dress made by Allen for the release of Addison
“Rae’s looks are more pop culture forward—playful, bold, and designed to make a statement—but she’s incredibly involved and always comes to the table with references.” said Allen in an interview with Ssense. She really is a pop star in her own right. [...] It’s about amplifying the talent’s unique energy, taking what’s already there and turning the volume up.”
Allen did this successfully. Her styling gave Rae the popstar look. If you look the part, then people will take you seriously. Her “Obsessed” looks don’t give popstar. It looks more like a Tik Toker attempting to be a singer.
This album is also the last one that would be released under the name Addison Rae. She’s dropping the Rae in her name, and going by Addison. Thus, the title of the album explains itself. This is who she will be for her music career. Simply, Addison.
4. A Matter of Time - Laufey
Allen did this successfully. Her styling gave Rae the popstar look. If you look the part, then people will take you seriously. Her “Obsessed” looks don’t give popstar. It looks more like a Tik Toker attempting to be a singer.
This album is also the last one that would be released under the name Addison Rae. She’s dropping the Rae in her name, and going by Addison. Thus, the title of the album explains itself. This is who she will be for her music career. Simply, Addison.
4. A Matter of Time - Laufey
Laufey first went mainstream with her viral 2023 song, “From the Start.” The self-depracting song about having a crush, that many young people can relate to. The 26 year-old Chinese-Icelandic singer is known for her classical jazz elements. A Matter of Time strays away from her past music. She’s earnest, and slightly snarky on the album. Yet, she maintains her emotional vulnerability.
“She flows between more reserved, longing lyrics, reminiscent of her older work, and daringly playful lyrics that speak to phenomena such as performative men and fluctuating beauty standards,” described
Washington Square News.
Somehow, the album successfully changes my expectations of what her music sounds like. On the closing track, “Sabotage” is the most shocking song on the album. “So prepare for the impact, and brace your heart/For cold, bloody, bitter sabotage,” she warns on the chorus of the song. This warning is foreshadowing for the shocking cacophony of violins backed by longing vocals. The sabotage she’s referring to is her tendency to ruin her relationships by not believing in her lover’s affections.
Another unique thing about the album is the “Cuckoo Ballet - Interlude.” The interlude is a mix of all instrumental versions of the songs up to that point. In my opinion, instruments aren’t highlighted very much on modern pop albums. Her use of classical instruments is something that’s hard to find in the pop landscape. Her individuality in music style is one of the reasons that fans might be drawn to her.
The most interesting song on the album is “Forget-Me-Not.” It’s a love letter to her home, Iceland. She left it to chase her dreams of being a singer. “Love you forever, don't let go of me/I left my own homeland to chase reverie.” She also sings in Icelandic on the song, which is something that is surprising for a mainstream popstar to do.
The silver and blue aesthetic is weaved throughout the whole album and its visuals. When I attended the A Matter of Time Tour, I felt the clock and time motifs everywhere. Even the stage had a clock embedded into it.
“She flows between more reserved, longing lyrics, reminiscent of her older work, and daringly playful lyrics that speak to phenomena such as performative men and fluctuating beauty standards,” described
Washington Square News.
Somehow, the album successfully changes my expectations of what her music sounds like. On the closing track, “Sabotage” is the most shocking song on the album. “So prepare for the impact, and brace your heart/For cold, bloody, bitter sabotage,” she warns on the chorus of the song. This warning is foreshadowing for the shocking cacophony of violins backed by longing vocals. The sabotage she’s referring to is her tendency to ruin her relationships by not believing in her lover’s affections.
Another unique thing about the album is the “Cuckoo Ballet - Interlude.” The interlude is a mix of all instrumental versions of the songs up to that point. In my opinion, instruments aren’t highlighted very much on modern pop albums. Her use of classical instruments is something that’s hard to find in the pop landscape. Her individuality in music style is one of the reasons that fans might be drawn to her.
The most interesting song on the album is “Forget-Me-Not.” It’s a love letter to her home, Iceland. She left it to chase her dreams of being a singer. “Love you forever, don't let go of me/I left my own homeland to chase reverie.” She also sings in Icelandic on the song, which is something that is surprising for a mainstream popstar to do.
The silver and blue aesthetic is weaved throughout the whole album and its visuals. When I attended the A Matter of Time Tour, I felt the clock and time motifs everywhere. Even the stage had a clock embedded into it.
Laufey on the A Matter of Time Tour
“The concert and other visual elements all display motifs from various songs. Clocks, horses, carousels, castles, silver and blue branding, and clouds are all a part of the many songs in the album,” described 8th grade Visual Arts student Anissa Deanes.
My favorite thing about the album is her snark. She fully shows her personality. Laufey opens the song by singing, “Bet you think you're so poetic/Quoting epics and ancient prose/Truth be told, you're quite pathetic.” She sings it with such seriousness, but the tongue-in-cheek lyrics make it silly. I can truly sense the “patheticness” of the man she’s describing. This is something she did not do on her past albums.
“I prefer it to some of her other albums because you can tell that Laufey let herself be raw and unfiltered in her songs,” said Deanes. “They also show how much she has matured through her music. Her previous songs were more about experiencing first relationships and romances.”
I can find very little faults on the album. My only complaint would be that on the first listen the album tends to drag on. The more you listen, the more you learn to appreciate everything about it.
Overall, I like the new, older Laufey. The pop centric sound combined with her older, classical approach creates a new sound. I can’t wait to hear more. It’s only a matter of time.
5. The Life of a Showgirl - Taylor Swift
My favorite thing about the album is her snark. She fully shows her personality. Laufey opens the song by singing, “Bet you think you're so poetic/Quoting epics and ancient prose/Truth be told, you're quite pathetic.” She sings it with such seriousness, but the tongue-in-cheek lyrics make it silly. I can truly sense the “patheticness” of the man she’s describing. This is something she did not do on her past albums.
“I prefer it to some of her other albums because you can tell that Laufey let herself be raw and unfiltered in her songs,” said Deanes. “They also show how much she has matured through her music. Her previous songs were more about experiencing first relationships and romances.”
I can find very little faults on the album. My only complaint would be that on the first listen the album tends to drag on. The more you listen, the more you learn to appreciate everything about it.
Overall, I like the new, older Laufey. The pop centric sound combined with her older, classical approach creates a new sound. I can’t wait to hear more. It’s only a matter of time.
5. The Life of a Showgirl - Taylor Swift
Taylor Swift needs no introduction. She was practically inescapable during her record breaking Eras Tour over 2023 and 2024. With her recent engagement to Travis Kelce last year, she seems to only get more popular over the years. But what is her life like on the inside? Well, The Life of a Showgirl was supposed to answer that.
On the lead single “The Fate of Ophelia” she details how her current love saved her from the fate that her past lovers doomed her to. The song’s beat is plucky and traditional pop forward. She reunited with producers Max Martin and Shellback, who helped produce her most notorious 2010’s pop albums, 1989 and reputation. You can see her reclaiming her past music through the album.
“She handpicks elements from all of her eras, just as she did on tour, and combines what. works best… The glitzy sheen across these glitter-gel-pen songs doesn’t mean she’s skimping on her signature detailed storytelling,” wrote Rolling Stone. She continues her metaphorical descriptions on every line of the tight 12-track album. That’s one of the things she does best, even though this is not her best lyrical work.
On the title track, she and Sabrina Carpenter describe the faults of being a pop star. While you listen to the song you can visualize the dressing room that they’re singing from. Pearls slung around Carpenter and Swift’s necks, as they recount the tale of a fictional showgirl named Kitty to a younger showgirl.
Her almost maternal attitude is weaved throughout the album. On the tracks “Father Figure,” “Eldest Daughter,” and “Ruin the Friendship,” she seems to be warning the listener of her mistakes. Saying that she protects other, younger artists. This plays into the online rumors of Gen-Z singers (Olivia Rodrigo, Sabrina Carpenter, Gracie Abrams, etc.) being Swift’s “children.” These singers have often been inspired by her in one shape or way.
On the lead single “The Fate of Ophelia” she details how her current love saved her from the fate that her past lovers doomed her to. The song’s beat is plucky and traditional pop forward. She reunited with producers Max Martin and Shellback, who helped produce her most notorious 2010’s pop albums, 1989 and reputation. You can see her reclaiming her past music through the album.
“She handpicks elements from all of her eras, just as she did on tour, and combines what. works best… The glitzy sheen across these glitter-gel-pen songs doesn’t mean she’s skimping on her signature detailed storytelling,” wrote Rolling Stone. She continues her metaphorical descriptions on every line of the tight 12-track album. That’s one of the things she does best, even though this is not her best lyrical work.
On the title track, she and Sabrina Carpenter describe the faults of being a pop star. While you listen to the song you can visualize the dressing room that they’re singing from. Pearls slung around Carpenter and Swift’s necks, as they recount the tale of a fictional showgirl named Kitty to a younger showgirl.
Her almost maternal attitude is weaved throughout the album. On the tracks “Father Figure,” “Eldest Daughter,” and “Ruin the Friendship,” she seems to be warning the listener of her mistakes. Saying that she protects other, younger artists. This plays into the online rumors of Gen-Z singers (Olivia Rodrigo, Sabrina Carpenter, Gracie Abrams, etc.) being Swift’s “children.” These singers have often been inspired by her in one shape or way.
Swift for the "Fate of Ophelia" music video
The sole music video (to date) of the album is for “The Fate of Ophelia.” The many scenes and visuals in the video make up for the lack of other visuals. You can really get a sense for her vision for the album in the video. The glitz and glamour of a pop star is fake. In the video, Swift seems to be on a set the whole time. It’s purposeful. Even though the jewels, dancers, and costumes look fun, it’s not real.
I suppose that was the point of the album. She’s laughing when no one else is. Some tracks feel like an attempt to laugh with the haters. Especially with the Charli xcx diss track rumors for “Actually Romantic.” Sometimes I can’t tell if she’s being sarcastic or serious.
The lyrics can get a bit cheesy. Such as “Every joke’s just trolling and memes/Sad as it seems, apathy is hot,” she sings on “Eldest Daughter.” As well as the lyric, “I have been afflicted by a terminal uniqueness,” on the same song. To me, that lyric is very oblivious to who is in the public eye. Her music is regarded as ‘white girl’ music, and thus, not unique. This may differ in her private life, but it doesn’t land when you look at her public persona.
Yet, on the same song she sings “Every eldest daughter is the first lamb to the slaughter.” The writing is extremely inconsistent.
Perhaps she’s too inspired by Carpenter’s notorious snark in her writing. It almost feels like it was written with haste. She was simply trying to get her thoughts down without thinking of any creative direction.
Similar to Rae, visually, the album was extremely successful. Every alternate cover and visual conveyed the point of the album. Swift pulled out all the stops when it came to the costuming. Bejeweled bodysuits and feather headdresses were weaved throughout all the media.
Overall, The Life of a Showgirl is a surprising release from Swift. For a smaller artist, this might have been a smaller Extended Play (EP) for them to release for fun. I think fans have too much riding on her releases. It’s a fun pop album, and that’s enough.
Honorable Mentions
I suppose that was the point of the album. She’s laughing when no one else is. Some tracks feel like an attempt to laugh with the haters. Especially with the Charli xcx diss track rumors for “Actually Romantic.” Sometimes I can’t tell if she’s being sarcastic or serious.
The lyrics can get a bit cheesy. Such as “Every joke’s just trolling and memes/Sad as it seems, apathy is hot,” she sings on “Eldest Daughter.” As well as the lyric, “I have been afflicted by a terminal uniqueness,” on the same song. To me, that lyric is very oblivious to who is in the public eye. Her music is regarded as ‘white girl’ music, and thus, not unique. This may differ in her private life, but it doesn’t land when you look at her public persona.
Yet, on the same song she sings “Every eldest daughter is the first lamb to the slaughter.” The writing is extremely inconsistent.
Perhaps she’s too inspired by Carpenter’s notorious snark in her writing. It almost feels like it was written with haste. She was simply trying to get her thoughts down without thinking of any creative direction.
Similar to Rae, visually, the album was extremely successful. Every alternate cover and visual conveyed the point of the album. Swift pulled out all the stops when it came to the costuming. Bejeweled bodysuits and feather headdresses were weaved throughout all the media.
Overall, The Life of a Showgirl is a surprising release from Swift. For a smaller artist, this might have been a smaller Extended Play (EP) for them to release for fun. I think fans have too much riding on her releases. It’s a fun pop album, and that’s enough.
Honorable Mentions
Man's Best Friend - Sabrina Carpenter
I Barely Know Her - sombr
Midnight Sun - Zara Larsson
In the end, 2025 had some unique albums. A new sound from Laufey. A traditional pop return from Swift. The jazz elements of Dean. The electronic fun from Rae and Lorde. It was all unexpected, and we need more of that in music.
