Cher lloyd grow up song3/13/2023 ![]() Still, one song from 2010’s three-part Body Talk, “Dancing on My Own,” found its way into a high-profile spot on the first season of HBO’s Girls. There, she wrote theme songs for outsiders and misfits that made her a cult favorite long before Katy Perry, Lady Gaga and Kesha (formerly Ke$ha) unleashed It Gets Better anthems championing self-acceptance. After having bubblegum-pop hits as a teenager in the late 1990s, Robyn retreated to her native Stockholm, where, unhappy with her label, she founded her own Konichiwa Records to release the edgy electro-pop she longed to make. With a very young, very female fan base as devoted as hers is, she has a sizable core audience already in place-as long as they grow up with her.Ĭompared with Carey and Lloyd, Robyn maintains the biggest cool factor, mostly because she tries so hard not to be cool. (She comes very close on “Sirens” and the uplifting “Human.”) But then again, she may not need to. Though Lloyd has access to some of the top producers in pop (Shellback, Max Martin), she hasn’t delivered the kind of inescapable hit required for her to be added to the A list. She ditches the rapping for more power ballads in the vein of Pink-whose mix of punky personality and poise offers Lloyd a career blueprint-but reprises the unintelligible grunts and cheeky humor of her sole Top 20 single, “Want U Back.” “I wish I had style, I wish I had flash/ Wish I woke up with a butt and a rack,” the petite star yearns on “I Wish,” which features rapper T.I. Though it’s odd to hear an artist who’s not yet 21 sing about the pains of getting old, Sorry I’m Late abandons what made her polarizing without losing what makes her interesting. But on her sophomore effort, Sorry I’m Late, Lloyd decided to do just that. ![]() At times, her coquettish persona sounded obnoxious and grating as she sang about never growing up. ![]() On her 2011 debut, Sticks & Stones, Lloyd incorporated Top 40 guitar pop, dubstep and Nicki Minaj’s hip-hop theatrics. During her stint on the show, where she placed fourth, Cowell affectionately called her a brat, and the name stuck-both for better (her hyperloyal, social-media-savvy fans call themselves Brats) and for worse (it cemented her drama-queen reputation, which Lloyd now admits wasn’t far off). ![]() singing competition The X Factor, covering Jay Z and rapping over Coldplay. She got her start in 2010 as a teenage contestant on Simon Cowell’s U.K. Lloyd is a kind of pop act that didn’t exist a decade ago. Call her Mariah, the original chanteuse-a diva with staying power.Īt the other end of the spectrum is Cher Lloyd, who is half Carey’s age and currently trying to prove that she too is capable of longevity. Critics may hail newcomer Ariana Grande as “the new Mariah,” but Carey remains an icon. 15 on the Billboard Hot 100 chart, was still certified platinum. Nowhere on the record do Carey and her five-octave voice sound desperate to please, though nothing reaches the soaring heights of 2005’s “We Belong Together.” Carey hasn’t had a Top 10 hit in five years, but even when she (relatively) underperforms, her numbers are nothing to scoff at. (At least it comes courtesy of Stevie Wonder.)Ĭarey often references the past-the title is from a childhood drawing, while the disco-inspired “Meteorite” quotes Andy Warhol’s “15 minutes of fame”-but she doesn’t dwell on it. I Am Mariah … the Elusive Chanteuse, is so fabulously over the top, it could almost be a joke her young children with husband Nick Cannon are featured artists, credited as “DemBabies” one song has a hashtag for a title, while another- gulp-prominently features a harmonica. After a number of delays and false starts, her 14th studio album resembles a ploy for attention-at first glance. Of the three singers dropping new songs on May 26 and 27-veteran American star Mariah Carey, British reality-show alumna Cher Lloyd and Swedish underdog Robyn-Carey has weathered the most ups and downs (remember Glitter?) while chasing the relevance she had in the ’90s and reclaimed in the mid-2000s. The latest evidence: three new releases from female pop artists-all issued within a two-day period, all operating outside radio’s Top 10-highlight paths to fulfilling careers that don’t require Hunger Games–style death matches to reach the top of the charts. In the current pop market, there’s no wrong way to be a diva.
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