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In the future, when looking back at pop music in 2023, it will likely be known as the Year of Taylor Swift. It’s difficult to recall a time in recent pop history when a single artist had such a strong hold on music sales and media attention, especially for an artist who has been in the industry for 17 years and released 10 albums. In July, she had 11 albums on the US chart, with four of them in the Top 10 and one at No. 1. Her current Eras tour has made history by surpassing $1 billion in revenue, and the accompanying movie is now the highest-grossing concert film ever.
In an article honoring Swift’s selection as Time magazine’s person of the year, singer-songwriter Phoebe Bridgers compared her fame to that of Beatlemania and Thriller. Vogue praised her as a symbol of unimpeded progress in America. A British tabloid newspaper even enlisted the help of a “renowned celebrity psychic and wiccan priestess” to predict when Swift would be taking a break (it is uncertain whether the psychic was genuinely concerned for Swift’s well-being or simply tired of hearing about her).
However, despite the emergence of Swift, defining music in 2023 has proven to be a challenge. While there were notable achievements, such as Noah Kahan, Tate McRae, Fred Again, Rema, Central Cee, and Mitski gaining more international recognition, and K-pop artist Jung Kook establishing himself outside of BTS, no new artist skyrocketed to the top of the pop industry. The most recent artist to join the ranks of Swift, Harry Styles, Drake, and others was Olivia Rodrigo two years ago.
Similar to the previous year, musicians appeared to be focused on creating albums meant to be experienced in their entirety, despite the popular belief that streaming has reduced the significance of individual tracks in the world of pop music. While it is possible to select songs from Lankum’s exceptional Mercury-nominated album False Lankum and add them to a playlist, doing so would mean overlooking the emotional ups and downs of the album, particularly highlighted by its instrumental “fugues” in between tracks. However, there was not an abundance of grand concept albums like those seen in 2022, such as Beyoncé’s Renaissance, The Weeknd’s Dawn FM, or Kendrick Lamar’s Mr Morale & the Big Steppers. There were various emerging micro-trends in music, with a recent US web article mentioning dark plugg, sigilkore, sextrance, and murderdrill among several new subgenres that may sound made-up, but clearly have a following on the internet. However, there was no dominant musical trend that could not be ignored due to its widespread adoption by countless artists. It seems as though music culture continues to become more homogenized each year as it spreads out across the internet.
When examining the most highly praised albums of 2023, a recurring theme became apparent. Many of these albums directly address loss and its impact, specifically death and the grieving process. For example, Everything But the Girl’s Fuse is influenced by Tracey Thorn’s deceased mother, while Julie Byrne’s The Greater Wings serves as a tribute to her late collaborator and former partner Eric Littman. Additionally, Sufjan Stevens’ Javelin can be interpreted as a commentary on a deteriorating relationship, but upon its release, Stevens revealed it was actually dedicated to his late partner Evans Richardson who passed away in April. Another album, Anohni and the Johnsons’ My Back Was a Bridge for You To Cross, reflects on the death of a friend by suicide and the passing of Lou Reed, as well as the simple joys of life amidst the inevitability of death. This album suggests that death may be preferable to living in a world plagued by climate change and discrimination. Similarly, False Lankum’s opening track “Go Dig My Grave” and closing track with the chorus “mourn, it’s the only way we’ll make a sound” both touch on death, along with other themes such as wrongful executions and human sacrifice.
Some other albums did not directly focus on death, but still had a sense of sadness. The release of Blur’s album, The Ballad of Darren, was an unlikely choice to mark their temporary return. It was subtle and had a melancholic tone, featuring songs about broken friendships and reflections on the band’s past. There was a strong feeling of nostalgia for their younger days, but also a realization that things had permanently changed, and not necessarily for the better. It later came out that Damon Albarn wrote the lyrics during his marriage falling apart, expressing sentiments like “I have lost the feeling that I never thought I’d lose” and “furthermore, I think it is just too late”.
In 2023, artists were not limited by age when it came to feeling certain emotions. Olivia Rodrigo, despite being young, released her chart-topping album, “Guts,” which was filled with themes of regret and the passing of time. Similar to songs like “Teenage Dream” or “Making the Bed,” it conveyed the idea that fame had taken away her youth and was accompanied by self-hatred for seemingly not appreciating it. Mitski’s album, “The Land Is Inhospitable and So Are We,” tackled the difficult relationship she had with fame and her past declarations of retirement. She reached a compromise with her celebrity status, although it required acknowledging the sacrifices and losses that come with it. In the song “I Love Me After You,” the artist portrays herself as alone, finding solace in solitude because living a “normal” life is no longer an option.
Apart from personal losses, other albums suggest that we are currently living in a time defined by loss. This theme is evident in Anohni and the Johnsons’ album, as mentioned before. Young Fathers’ Heavy Heavy portrays 21st century Britain as a place where common sense and decency have been replaced by self-interest and greed (“I want to win, I saw what I saw, I keep walking the line”). The songs about hedonism, excess, and love on Jessie Ware’s That! Feels Good! and Caroline Polacheck’s Desire, I Want To Turn Into You are presented as an escape from a bleak world. The former’s lead single is titled Free Yourself, while the latter features songs called Welcome to My Island and AWOL on a Thursday. A similar sentiment can be found in the title track of Yaeji’s With a Hammer, as it yearns for “a restart button to life” and a way to escape from the present moment. The lyrics express a need for rest and healing, but the reality is that it’s already time to wake up from the dream.
The reason for the prevalence of loss as a theme in popular culture in 2023 is a topic of much discussion. It may be linked to the aftermath of the pandemic, where life has mostly returned to normal but there is a lingering feeling that things are not quite the same as before. Despite this, the news suggests that things have not necessarily improved. The impact of the climate crisis, with its existential concerns overshadowed by ongoing conflicts and human weaknesses, will inevitably find its way into artistic expression. While these albums centered around loss may not define the year 2023, the theme is unmistakably present.
Source: theguardian.com
