Maddy Hicks and Peter McPoland prove they are the future of pop music

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As a seasoned music enthusiast with years of listening under my belt, I must say that the recent releases by Peter McPoland and Mae Hicks have truly stood out among the sea of pop music. Having grown up on a diet of classic tunes, I can attest to their unique flair that sets them apart from the crowd.

As a gaming enthusiast, I can’t help but notice that when a game becomes an unstoppable hit, it’s inevitable for others to follow suit, trying to capture that same magic. It reminds me of a small-town garage band in the 60s, studying Mersey Beat so they could imitate the Beatles. Or young Brits in the early 2000s, attempting to replicate Amy Winehouse’s style. This trend seems to go way back, even before recorded music. A trend takes off, and everyone jumps on board, mimicking it until a few manage to put their own unique spin on it again.

Currently, many pop music artists – particularly women – are aiming to emulate distinct styles in their performances, hoping to gain recognition in discussions featuring Billie Eilish (for her breathy delivery), Olivia Rodrigo (for her edgier sound), or perhaps even early Taylor Swift (for her country-inspired twang).

The boys haven’t been popular for a while, so they don’t have as many icons to imitate. You could try the high-pitched style of Charlie Puth. If that’s too mainstream for your taste, you might aim for Bruno Mars. And if you happen to be playing guitar, you might find yourself emulating early John Mayer.

Maddy Hicks and Peter McPoland are the voices of a new generation of musical greats

(For the record, “Taylor” and “Mayer” can be rhyming words, in case anyone wants to set the last two paragraphs to some pop tune.)

It’s perfectly fine to mimic others, and artists like Gracie Abrams, Chappel Roan, Teddy Swims, and Noah Kahan are ones I admire and follow. I’m curious about their future paths. However, too much imitation can result in a flood of similar music that risks becoming just another noise in the sea of content. Noah Kahan’s rise to fame illustrates the boundaries of imitation. When he attempted to fit the mold of a typical pop star, he faced difficulties.

As I delved into infusing my personal artistic flair into the game, it transformed into “Stick Season.” Just returning from a week-long trek through Vermont’s scenic landscapes, I can vouch that this tune strikes a chord with me. (I’m not so sure my fellow hikers would concur.)

Essentially, copying Swift or Styles could limit you to performing at smaller clubs. To reach new heights, you need your unique flair. With that thought, I’d like to quickly mention two outstanding pop albums from 2024 by emerging artists. These musicians have masterfully put their own spin on today’s popular pop sounds.

Hall of Shame by Maddy Hicks

For the past six years, Hicks has been residing in Nashville. At just 24 years old, the singer-songwriter who honed her skills at Belmont has three impressive albums under her belt. Her debut album, “The Bliss You Missed,” released when she was only 19, carried a sugary yet somewhat predictable youthful pop vibe, both in its themes and music. However, she made a significant stride forward with her second album, the 2021 release titled “Reclaiming.

Nevertheless, one of her most popular tracks from the album, titled “For My Next Trick”, seemed indistinguishable from many other pop songs produced during the pandemic. In contrast, her latest album, Situationships, maintained a similar pattern – a more distinct sound could be heard in songs such as “Kind of Over It” and “Sleeping With Anxiety”, whereas tracks like “Picture You Naked” and “I Don’t Need To” retained that generic feel that I personally detected.

Currently, she has released her most comprehensive work – a five-song extended play titled “Hall of Shame“. This composition showcases her unique talent for blending infectious pop melodies with unexpected rhythmic shifts that add an edge to her smooth vocals. This is particularly noticeable in the introductory track, where we hear a languid recitative that transitions into a more upbeat chorus.

On the second track, titled “Told You,” she employs a comparable musical style. This track is one of the standout singles of the year and earns a place in the hall of fame for great revenge songs. In this piece, Hick’s exceptional lyrical skill shines – “I’m sure she loves the way you pamper her – I’m sure you love dating a toddler” – exemplifies sharp wit and brevity. Moreover, the way she injects a small, high-pitched exclamation into the build-up to the chorus is what truly distinguishes Hicks’ music from being merely an excellent Olivia Rodrigo imitation, giving it a unique style all its own.

The last three songs carry a significant impact. “Roster,” with its rolling, introspective nature, and the unquestionably sweet “untitled” explore themes of self-doubt and insecurity. On the other hand, “Don’t Look at Me” starts off with the intriguing question, “Will this lipstick make you think of my lips – Or prevent you from hearing any of the words I say?” Both versions convey the same meaning but aim to provide a more natural and easy-to-read paraphrase.

For a less confident artist, these tunes might get lost in the sea of popular music. However, Hicks, who’s already a seasoned player in Nashville at a young age, shows resilience. Her songs may be pop, but they’re making their way to the front, demonstrating an upward trajectory.

Friend by Peter McPoland

Similar to Hicks, Peter McPoland is also 24 years old and has several releases already. He possesses the melodious, youthful voice typical of young pop singers, and he can convey that post-emo emotional sensitivity often found in pop music. However, I must admit that the excessively dramatic piano ballad “Let Her Remember” from his debut EP struck me as entirely generic. Furthermore, I wasn’t particularly fond of the rest of the Slow Down album.

As a gamer, just like Hicks back in 2023, I found myself veering away from the typical pop sound on his second release, titled “Piggy”. It was grunged up and tougher, which was cool, but sometimes it felt a bit forced, especially on tracks like “Digital Science” that leaned heavy into aggressive rock. Despite this, it was still enjoyable to listen to, but I must admit, I yearned for a tad more of the softer side that his debut album had offered.

In the world of gaming, I’ve got to say, McPoland really hit the mark with his latest release, “Friend”. It’s got the charm of his debut, but there’s a grittier edge now, thanks to the lessons learned from his follow-up. The opening track, “Gruhguhguh”, is an upbeat melody that delves into the complexities of memory. It’s not just a sweet tune; it’s got a surge of energy, a hint of distortion, and some seriously cool guitar work. This track might remind you of Dave Edmunds’ territory, but McPoland has his unique twist – he’s not all about that jangle rock sound.

In “Dig Your Man,” McPoland initially treads on territory that recalls Eric Carmen’s “All By Myself.” However, as the song unfolds, McPoland’s authentic voice surfaces, making it worth your while to tune in. At the point where it seems like he might slip into sentimental “I love you” lyrics, McPoland switches gears, delivering a high-energy outburst that could be reminiscent of Ted Leo.

On the album “Friend“, Hicks’ seven tracks maintain a captivating consistency, dancing along the border of conventional breezy pop without losing the grit needed to set his tunes apart from others in the crowd.

McPoland and Hicks are exceptionally gifted songwriters who have made significant strides early in their careers. However, it’s important to note that there are many other promising young artists as well. On their recent works, they demonstrate a refusal to blend into the common mold of today’s pop music, which often mimics the sound of the current chart-topping superstar. Instead, they are actively shaping their unique takes on contemporary pop music, and it’s thrilling to see this creative process unfold.

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2024-12-11 17:00