Pioneered by artists like Kesha and 3OH!3, recession pop was a genre of music characterised by self-indulgent lyrics, thumping drums and synth-led production. Recession pop originated in the years following the 2008 Great Recession, as people across America sought an escape from the financial stress of the time. Listeners found that escape in recession pop, a genre solely focused on fun, glamour and self-indulgence. Now, over 15 years later, people are using the genre for the same escape.
According to Financial Reserve History, the 2008 financial crisis was one of the largest in American history, disrupting countless lives. Many people could no longer afford the same luxuries they used to. Themes of luxury in pop music have always been present in songs like Gwen Stefani’s “Luxurious,” Zara Larsson’s “Lush Life,” or Ariana Grande’s “7 rings.” However, as luxury became unattainable to the average consumer, recession pop arose. While music popular at the time was glossy, expensive and thoughtful, the universe of recession pop is raw, gritty and self-indulgent. Whether it was partying, drinking, or intimacy, recession pop presented a new venue for indulgence, where money was never an issue.
The financial crisis of the era shaped recession pop. In Kesha’s 2009 hit “TiK ToK,” she sings “Ain’t got a care in the world, but we got plenty of beer / Got no money in my pocket, but I’m already here” over sharp instrumentals. Kesha’s earnest declaration of happiness, fulfillment, and success despite her lack of money or resources made “TiK ToK” completely different from any pop hit of the time. While previous pop hits mainly focused on romance, money and beauty, “TiK ToK” abandoned those principles and replaced them with themes of self-love, freedom and celebration. “TiK ToK” became the most popular song of 2009 and the thesis statement for recession pop.
However, in the early to mid-2010s, the pop landscape shifted again, as clean, glossy pop returned to mainstream. While recession pop hits like The Black Eyed Peas’ “My Humps” or 3OH!3’s “My First Kiss” were specific and often sexually charged, the mainstream pop norms that followed shifted to vague and relatable lyrics. Focused again on love, luxury and emotionally driven storylines, hits became big, chorus-led and more family-friendly than ever. When listening to Kesha’s “TiK ToK”, as opposed to Katy Perry’s “Roar,” it’s hard to believe that the two songs were released only two years apart from each other. While the musical difference is huge, it can be explained by the economic shift that took place between the two hits. As the economy emerged from recession, the escapist fantasy appointed by recession pop became unnecessary.
After 2012, the majority of chart-toppers remained glossy, polished and clean. However, midway through 2024, recession pop began to return to the public eye. 2024 ushered in another state of financial strife for America. According to the national Census, 35.9 million Americans were living below the poverty line, and a whopping 771,800 Americans were homeless throughout 2024.
On Independence Day 2024, Kesha released “JOYRIDE.”, which served as the lead single for her sixth album “. (Period)”. “JOYRIDE.” was fast, jubilant and marked the return to Kesha’s recession pop roots. The single reached viral success, peaking at number 27 on the Billboard Airplay chart, her first top-40 hit on the chart since 2019. By returning to recession pop amid the financial stress of the time, Kesha achieved her greatest hit in years. On the other hand, Katy Perry’s 2024 album “143” was a critical and commercial failure, which ultimately couldn’t replicate the same success of her late-2000s and early-2010s releases. This conventional pop release followed suit with the rest of Perry’s discography. While her cheerful, hooky songs like “Dark Horse” were hugely successful in the early 2010s, in today’s economic state, the same songs feel “disingenuous,” as described by the Massachusetts Daily Collegian. While “JOYRIDE.” was celebrated for its creative narrative and return to Kesha’s recession pop roots, “143” was panned by fans, critics, and everyday people alike.
While pioneers of recession pop like Kesha or 3OH!3 have returned to the genre, many newcomers have created their own niche within the genre. On the singles from her forthcoming third album, alt-pop musician Slayyyter creates a more socially conscious form of recession pop, taking into account not only the economy but also other social strifes of our time. Her song “BEAT UP CHANEL$” is centred around a darker, grimier “beat up” version of luxury. Slayyyter described the song to Rolling Stone as being “about things I can’t afford,” whereas Katy Perry or Gwen Stefani’s version of luxury was real and palpable.
Slayyyter’s recession pop is uniquely and specifically American. Whether it’s posing with a ribbon reading “WORST GIRL IN AMERICA” in the “CRANK” music video, or standing in the bed of a pickup truck, clutching an American flag, Slayyyter centralizes America as the location and the source of her troubles.
Ultimately, the return of recession pop shows that people everywhere need an escape from their everyday lives. Whether it’s from financial strife, political unrest or simply the state of everyday life in America, recession pop can provide an escapist fantasy for anyone who needs it.
