By admin 
HangupsMusic.com – New York, The pursuit of pop stardom, long shrouded in an aura of mystique and manufactured glamour, is undergoing a profound transformation. Today’s most compelling artists are no longer content to merely inhabit the role; they are dissecting, questioning, and boldly redefining what it means to be a pop star, often doing so within the very music and narratives they create. This shift from passive anointment to active declaration is powerfully embodied by artists like Tinashe, MNEK, and Adéla, who, through their latest musical offerings, are asserting their claims to the throne with unprecedented transparency and conviction.
For British singer, songwriter, and producer MNEK, the journey back to the spotlight has been one of hard-won self-acceptance. Eight years ago, following the release of his debut album, Language, he recalls feeling utterly exposed, as if every critic and industry observer were mocking his aspirations. “I felt like everyone was laughing at me,” MNEK revealed in a candid Substack essay published recently. “Like, ‘aw Uzo wanted to be a popstar.’ It just confirmed all the self-doubt I already harbored.” This period of vulnerability led to a near-decade-long hiatus from front-and-center artistry, a time spent regrouping and re-evaluating his relationship with an industry that often demands conformity.
Now, with his second album, Bulldozer, released just days before his revealing essay, MNEK, 31, sits in a Soho House in New York, projecting a newfound sense of ease. The sting of past criticisms has faded, replaced by a robust understanding of his own ambitions. “Everyone needs to understand their motivations,” he tells Hangups Music, underscoring a belief that genuine success stems from an internal compass, not external validation. He now recognizes that a career in pop demands an almost defiant self-belief, a thick skin, and a theatrical sense of self that borders on the grandiose. The era of artists shying away from their starry-eyed dreams is over; instead, they are deliberately weaving their aspirations and critiques of the system into the very fabric of their art.
Bulldozer serves as MNEK’s definitive statement of intent. The album’s thesis arrives prominently in "The Wall," a pulsating, choir-infused dance track that champions the audacity of taking up space. “I’m not asking for permission, make some room,” he proclaims, before playfully jabbing at the gatekeepers who once stood in his path: “My shit is fire, I’ve got these industry white men on my waiting list / Gotta be my own hype man, I rate my own shit.” This resolute stance is further cemented on "Reverse," a potent club anthem designed to coax even the most reserved individuals onto the dance floor, urging them to move to his infectious rhythms.
“There’s a deliberate element of voyeurism and provocation in that,” MNEK explains, reflecting on his lyrical choices. “I want to challenge the status quo. There’s a level of confidence I hope my music inspires in others, but fundamentally, it’s for me. It’s about feeling empowered to enter spaces that are often heteronormative and rigid, to not only belong there but to dominate and leave a significant mark.” He speaks of the inherent barriers constructed to exclude artists who don’t fit the industry’s narrow definition of a "pop star" – those whose creative identities are deemed too complex, too unpredictable, and therefore, too difficult to market.
This sentiment resonates deeply with Tinashe, another artist meticulously carving out her own space. After more than a decade navigating the fickle currents of pop, experiencing both viral surges and prolonged periods of quiet, she’s made her declaration unmistakable. Her eighth studio album is unequivocally titled Popstar. From her breakout hit “2 On” to her recent track “Nasty,” a full ten years separates these moments of widespread recognition, a testament to her enduring dedication. “I started from a very pure place, imagining my life as this beautiful journey,” Tinashe shared with Hangups Music. “But as the industry and business elements crept in, the glamour faded, and the rose-colored glasses came off.”
The title track, "Popstar," captures this internal conflict: “Don’t fall in love with a pop star / Didn’t know we’d get so far,” she sings, posing the poignant question, “Tell me, is it everything you thought it’d be?” This persistent tension permeates the album. On "Too Easy," she confronts skeptics who doubt her star power, declaring, “I know that I’m a superstar / They hate to see I’ve come so far.” The vulnerability of this journey is laid bare in "Empty Stadiums," a haunting recounting of a nightmare where she sings endlessly to an empty arena, waiting for applause that never materializes.
MNEK champions Tinashe’s bold move: “Tinashe calling her album Popstar is genius, especially with all the talk about her influencing K-pop stars and setting a template for so much,” he remarks. “If that isn’t pop music, then what is she supposed to call it? She is a pop star. She’s a Black woman crafting pop music infused with diverse influences – dance, R&B, electronica. Yet, someone will inevitably look at her and say, ‘She’s not a pop star.’ And you have to demand an explanation for that prejudice.”
When MNEK envisions a pop star, his mental roster includes everyone from Rihanna to Beyoncé to Drake. “The meaning of the word has evolved because monolithic culture has changed,” he posits. “So, ‘pop star’ must be open to individual interpretation.” He defines it less by genre and more by an insatiable desire: to perform for vast audiences, to achieve household name status, to connect. He often uses “pop star” as a verb, an intentional act rather than a bestowed title.
“That is how you pop star,” MNEK asserts, referencing Adéla, a rising star who, at 22, leads with her deepest desires. “You declare, ‘This is my unique space, and no one can take it from me.’” Adéla’s debut album, Prima, released earlier this month, has already yielded viral hits like "Nicole Kidman," where she proudly proclaims, “That’s why I put pop princess on my license plate.” Her wistful singalong, "Ain’t In LA," made her the first Slovak artist to appear on the Billboard Hot 100. “I admire Adéla’s fearlessness and her blatant desire to be a pop star,” MNEK notes, recognizing a recurring theme throughout Prima—a quest for both status and a protective armor.
“I wanna pop off so these big mouths can’t say shit,” Adéla spits on “KGB,” a defiant anthem. Yet, her most incisive commentary on the pop star experience comes on “Therapy,” where she strips away all pretense. She candidly recounts endless meetings with individuals who “hold the keys to my future” but seem to lack any genuine understanding of her vision. “They are old white men,” she drawls through auto-tune, “And they’re so annoying.” This "removal of the rose-colored glasses," as Tinashe describes it, appears to be a necessary rite of passage. The actual performance aspect of pop, whether on stage or in the studio, constitutes a fraction of the job; the majority involves relentless self-advocacy and meticulous curation of one’s public and visual identity.
MNEK has endured countless such meetings, both as an artist and a prolific collaborator for acts like FLO and Zara Larsson. He recalls biting his tongue, thinking, “You’re just talking. You know nothing about music.” He’s encountered similar sentiments from pop fans. After Bulldozer’s release, he dove into online forums, particularly a thread questioning why he doesn’t receive the same level of support as artists like Troye Sivan. “I read the answers. They had all sorts of things to say. They’re like, ‘Troye makes better music,’ or ‘MNEK is ugly,’” he recounts. “But that’s the reality, that’s how they evaluate this stuff. A pop star is expected to be attractive, to fit all these molds. But no one is going to tell me I’m not.”
This unwavering conviction and self-assurance are precisely what are transforming pop stardom into a tangible reality for these artists. It’s the transparent act of “pop star-ing,” as MNEK aptly puts it. He witnessed this firsthand with Zara Larsson, whose fifth album, Midnight Sun, marked a significant breakthrough. Prior to that, maintaining the illusion of pop stardom without consistent, substantial results beyond fleeting viral moments for older tracks was increasingly difficult. “This was the album where everyone felt we needed to see a real jolt, a shift in direction,” says MNEK, who contributed as a songwriter and producer. “Everyone knew this album had to move the needle.”
He highlights one particular track, “The Ambition,” where Larsson sings, “I’m never satisfied ’cause I want number one, doesn’t everyone?… My dreams so big, they’re supersized, I chase them like I chase the light.” MNEK describes it as “a direct commentary on her standing as a pop star,” noting she was in a “make or break position.” She continued this self-aware narrative on PinkPantheress’s “Stateside” remix, reflecting on her opening slot for Tate McRae and her evolving perception of the American dream. “That could only happen as a result of all the ‘pop star-ing’ she was doing,” MNEK concludes. By openly embracing and articulating their starry-eyed dreams, these artists are not just reaching for the stars; they are actively shaping their own constellations. The deliberate act of “pop star-ing” is undeniably yielding results.
