If you’re on the hunt for a new album to blast on your way to class, look no further. Pop sensation Tate McRae released her new album “So Close to What” this past Friday. McRae has been making waves with her distinct sound, pulling inspiration from early 2000s aesthetics while adding her own modern edge. As an artist, she perfectly blends dance-driven pop with raw, emotional storytelling, proving once again why she’s one of the most exciting voices in pop today. With 31.7 million streams on its first day on Spotify (half of which were my contribution), McRae continues to solidify her place in the industry.
McRae never fails to showcase her ability to produce hit after hit, actively filling the spot of past pop princesses like Britney Spears (minus the scandals). Spears, during the beginning of her whirlwind career, captivated audiences of the late 90s-2000s with dance moves and vocals that I could only execute behind the safety of my shower curtain. Spears’ ability to merge highly choreographed performances with catchy hooks and just the right amount of personal intrigue made her the defining pop star of her time. She thrived as pop’s ultimate performer, carefully crafting bangers that kept the pop genre alive. Much like Spears, McRae is stepping (or should I say, dancing) into this lane alongside her predecessor for this generation. McRae isn’t breaking the mold—she’s owning it. In a time when pop music is struggling to find its identity, maybe that’s exactly what the genre needs. She’s keeping the heart of pop beating, taking those innovations from Spears and claiming her rightful place in the spotlight. This album effortlessly plays like a love letter to 2000s pop, with shimmering production and a tight track list built for replayability.
But don’t get it twisted: McRae isn’t just a carbon copy of past pop stars. She modernizes the formula by blending Y2K nostalgia with a Gen Z perspective, creating a sound and image that feels both familiar and fresh. McRae has a unique tone that people want to listen to, her vocal delivery—breathy yet powerful, intimate yet anthemic—sets her apart, leaving the audience always wanting more. Her lyricism is reflective of the generation: the anxieties of social media-driven relationships and lyrics that put complicated “situationships” into song. Fans don’t just hear her music; they see themselves in it. Beyond the music, her visuals lean into contemporary fashion aesthetics with a twinge of Y2K, making her presence feel distinctly of-the-moment. Low-rise silhouettes, sporty-chic ensembles (in other words, a fabulous, bedazzled hockey uniform) paired with glowy, showstopping makeup making her effortlessly cool. Whether she’s performing on stage, starring in a music video or casually going to Pilates with Jake Shane and Glen Powell, McRae’s brand feels unmistakably her own. McRae is also bringing to the table what the pop scene has been lacking: she’s a performer, a distinction that separates true pop stars from fleeting viral sensations. Her background as a dancer gives her a unique performance edge, something many modern pop stars have abandoned. Her sleek ability to translate emotion into movement, paired with clean pop production, makes her one of the most exciting mainstream acts today.
It’s also important to note that pop has been needing a new It-Girl. With the rise of social media platforms, anybody thinks they can break into the industry now. I see it all over my For You page: over-autotuned TikTokers begging for streams on their less than mediocre songs. McRae is proving that there’s still a place for the classic pop star—someone who can dominate radio, sell out arenas and deliver performances that feel larger than life. Her trajectory suggests she could be one of the defining voices of this era, not because she’s the most experimental, but because she understands pop’s most essential rule: people want songs they can sing, dance, and cry to—all at the same time.
This creates an important distinction between her and other pop artists, because while McRae thrives in refining the pop formula, others are focused on reshaping it entirely. For example, artists like Billie Eilish and Charli XCX have taken a more avant-garde approach to pop, pushing boundaries with unconventional production choices and genre-blurring experimentation. Eilish, with her hushed vocals and minimalist beats, challenges the idea that pop must be high-energy to be impactful. Meanwhile, XCX leans into hyperpop, crafting distorted, chaotic soundscapes that feel like the future of the genre. These artists offer an alternative to McRae’s sleek, nostalgia-infused style, proving that pop is far from rigid.
But here’s the thing: pop needs both. Innovation and consistency are what keep the genre alive. Too much experimentation and pop loses its accessibility; too much repetition and it risks growing stale. McRae thrives because she understands the foundation of pop music—memorable hooks, danceable beats and universal themes—while artists like Eilish and XCX ensure the genre keeps evolving. This balance is what makes pop one of the most dynamic and enduring genres in music history.
With this no-skip album, McRae effectively takes major inspiration from the early 2000s. The album features three of her singles, “It’s ok I’m ok,” “2 Hands” and “Sports car;” high-energy hits that each have their own cinematic music videos that transport audiences to that era. One of my favorites has to be “Purple lace bra,” with its orchestral intro, captivating beats and a bridge that I’ve mentally created choreography to. Safe to say, it’s been on repeat since Friday.
Overall, as a rapidly emerging artist, McRae makes statements about the staying power of pop music. She is constantly bridging the gap between nostalgia and modernity, proving that the genre doesn’t need reinvention to be exciting—it just needs artists who understand its essence. McRae reminds us why we fell in love with pop in the first place: its ability to make us feel something, to move and to relate. Whether you’re belting out the lyrics in your car, getting lost in the choreography or finding pieces of your own life woven into her songs, McRae’s music is here to stay. Pop isn’t dead—it just found its new leading lady.