Pop music has been quietly battling an epidemic for far too long now. You might’ve heard of it… It’s called “country.” When the girls (plus Role Model and Post Malone) get to strum an acoustic guitar, slip on their cowboy boots, and utter a few yeehaws, they just can’t get enough. Using that faux southern twang for a few songs hypnotizes them into thinking they belong at the CMAs instead of the VMAs. They start to think ~three chords and the truth~ is the key to securing their next Grammy, but they use “c*ntry” instead of “country” to assure us fans that their new music is a cool, Gen Z, liberal take on the genre. It’s ironic, it’s daring, it’s spicy.
And ya know what? I’m exhausted. Imagine three chords are playing… Now, here’s my truth: Bring back pop! The country gals have country covered, I promise. I love me some Kacey Musgraves, some Maren Morris, and some Dolly Parton. But I need more pure, electric pop that makes me feel alive and ready to dance, bop around a city like a main character, or just sob about a failed situationship. I need some goddman catharsis. And I’m not alone in this thinking!
I’m just a girl… standing in front of the pop girls… asking them to please stop going country. Allow me to make my case.
Unfortunate Examples Of Pop Girls Going Country Recently
How many times have you listened to “The Giver” by Chappell Roan on Spotify (or Apple Music if you’re a loser)? Exactly. Sure, we all thought the song was fun when she served country drag queen glam and divine vocals on Saturday Night Live. But personally, I haven’t listened to the song more than once or twice since it came out, and I’m guessing you can relate. “The Giver” is a musically solid and lyrically clever country tune, for sure, but it’s just not what I want from the Midwest princess! I want high-voltage, life-changing pop songs like “Naked in Manhattan” and “Red Wine Supernova.”
There’s a reason why fans also had a lukewarm reaction to Sabrina Carpenter’s latest single, “Manchild.” It’s another Jack Antonoff-produced country-pop record, complete with an accompanying line dance and several “amens.” Sabrina’s musical roots are pop and R&B, and she doesn’t have a southern accent off the mic, so her country-infused songs feel more like a costume than a genuine expression of her artistry. That being said, I do actually love several of Sabrina’s country-pop tracks, like “Slimpickins” and “Already Over.” I just don’t think you can wear a costume forever. Sue me, I want OG Sabrina back. (That’s a Sabrina reference for the new fans.)
And of course, Tate McRae recently got flamed for her extremely unfortunate collab with Morgan Wallen, “What I Want.” (Ironically, no one wanted this.) Before the song came out, Tate received backlash for working with a generally problematic dude. But when “What I Want” finally did come out, I was even more baffled by the choice — why would she tarnish her squeaky clean reputation for a song that sounds like it was generated by AI? “What I Want” is nothing short of an atrocity, I’m sorry.
Because of this country superiority trend in the industry, Beyoncé FINALLY won Album of the Year at the Grammys with Cowboy Carter. It’s a beautiful and complex album with a powerful message, yes, but her earlier work is undeniably more deserving of the title. Renaissance was a remarkable cultural phenomenon and flawless piece of sonic art that I still stream on repeat… Apologies, but I will die on the hill that Renaissance should’ve won that award in 2023, not Cowboy Carter in 2025.
The Pop Girl Music That’s Resonating The Most Right Now
Repeat after me: Pop is a sophisticated art form in and of itself. It doesn’t always need a cowboy hat. It’s no mystery why Olivia Rodrigo, Lorde, Charli XCX, and Addison Rae are the pop artists generating the most excitement in this moment.
Lorde’s showing up with Melodrama-esque “generational bangers” like “Favorite Daughter” and “Shapeshifter” — songs that automatically make us move our bodies, but also trigger deep emotions and reflection. Olivia’s serving pop punk superstardom with her iconic Glastonbury headline show and string of other electric festival performances. The energy, the female rage, the breathtaking sparkly fits, the powerful pop hooks, and commanding stage presence…. It’s all there. And the people are eating it up, as they should!
Charli XCX is still glowing in her BRAT era, because we’re clearly not done craving her messy, emotional, euphoric party music. And Addison-Fucking-Rae is Britney Spears’ daughter, but some of you aren’t ready to have that convo! With her eccentric, hyperfeminine aesthetic, glossy Swedish-produced pop bangers, glittery-deep lyrics, and sexy choreo, she’s more than holding her own.
What do these girls have in common? They’re passionate about great pop music, and they’re wildly gifted at delivering just that. This is what the people want! My professional advice for the A-list pop stars in their country era: Let’s leave the twang to the Nashville girls and fly to Sweden (or Dan Nigro) for a few sessions.
