via @PopBase
How Addison Rae Pulled Off The TikTok-to-Pop Transition
In March 2024, Addison Rae aligned herself with a mastermind of contemporary pop: Charli xcx. By appearing on a remix of “Von Dutch” and performing alongside the British singer-songwriter at various concert appearances, Rae was able to re-introduce herself to a legion of pop fans looking to have a good time.
Charli’s “party girl” aesthetic, on full display with her brilliantly-marketed album Brat, was a smart fit for the self-proclaimed fame-seeking TikTok personality. The brash, unapologetic, and ultra-contemporary tone and vibe of Charli’s music matched Addison Rae’s own fun-loving personality—well, at least the aspects of her personality she wants us to see.
The difference, however, is that Charli xcx does make good pop music. Brat was a cultural moment that went viral, in part, because of the clever wit and attitude embedded in the music itself. From the simple yet effective marketing to the widespread critical acclaim, Charli earned that cultural moment. However, with Addison Rae’s album, it feels like we’re just handing the moment to her, even if the amount of work and effort put into the album feels subpar.
The Release and Reception of Addison
Addison (the album) is not without its few joys. “Diet Pepsi” and “Headphones On” have a bit more going on in them than other tracks on the album. The production is catchy, and while there is no unique perspective that sets Addison Rae apart from other pop stars, she brings a more vibrant energy to these two songs. Still, the rest of the album largely coasts on the sensual, dreampop vibes that other artists have handled better (Sabrina Carpenter, Dua Lipa, and the aforementioned Carly Rae Jepsen, to name a few).
Meanwhile, Rae’s vocals and lyrics are firmly (to quote “Diet Pepsi”), “in the backseat.” Footage from her few live performances thus far further confirms that the microphone is not on, or at the very least, it’s on very low. Of course, not every pop star has to be a good singer, but a memorable and distinctive voice can add personality, emotion, and lasting-power (just ask Taylor Swift!). Rae's lyrical content is similarly half-baked and superficial (“Have you ever dreamt of being seen? / Not by someone, more like in a magazine”). Sure, we shouldn’t expect literary genius from pointless pop music, but is this really the kind of music we should be applauding?
Apparently, the answer is yes. The esteemed music publication Pitchfork recently gave Addison a highly coveted 8.0 rating. For some context, that’s higher than Billie Eilish’s gorgeous magnum opus Hit Me Hard and Soft (6.8), Chappell Roan’s culturally resonant debut record The Rise and Fall of a Midwest Princess (7.2), and almost as high as Beyoncé’s Album of the Year-winning Cowboy Carter (8.4). When we heap that amount of praise on an album, it implies that there is more depth and originality to this record than there is. Don’t get me wrong: bubblegum pop should be praised from time to time, but it needs to be more authentic and original than what Addison Rae has failed to accomplish here.
Only time will tell if Addison Rae is truly committed to becoming a musician. It took years before Chappell Roan, Doechii, and Lizzo enjoyed mainstream success, and by the time they did, they had harnessed unique points of view in their music through effort, craft, and artistry that set them apart from other pop stars. Does Addison Rae deserve this kind of recognition with a rushed album that has little perspective outside of an unabashed hunger for being a celebrity? Some people seem to think so, but for me, until her vocals, lyrics, and artistic persona become more refined, I cannot accept that Addison Rae makes good pop music.