After a long first quarter of 2026 without many memorable pop releases, we are finally moving into a more consistent season as more artists release music. Friday was a particularly stacked day for pop music releases. Here are my thoughts on five of them.
“drop dead” by Olivia Rodrigo
Olivia Rodrigo’s musical return was, to me, the star of Friday’s stacked releases. “drop dead,” the lead single from her upcoming third album “you seem pretty sad for a girl so in love,” is a jubilant, swooning soft-rock track about the enormous and often nausea-inducing feeling of falling for someone and wanting to know everything about them.
In comparison to the songs on “SOUR” and “GUTS,” “drop dead” feels like a natural evolution of Rodrigo’s signature sound. The track leans into more mellow, softer sonic territory than the angsty pop punk sounds of her first two records. It sounds familiar to what we’ve heard from her before, but lighter and with a more mature edge.
This song sounds distinctly like the wistfulness of a summer abroad. The music video, shot in the actual Palace of Versailles, perfectly captures the song’s girlishness and whimsical sound. This was a great lead single, and I’m excited and hopeful for the album’s June 12 release.
Although something I love about Slovak singer Adéla is her provocative, deliberately off-putting act, I didn’t find that totally resonating with me in her newest single “KGB.” The lyrical concept and nod to her Slovak heritage is clever, but I don’t find the hook very catchy or gratifying. Maybe this song needs a little more time to settle with me, but I don’t foresee it becoming one of my favorite Adéla songs.
With that being said, the visuals and choreography in this song’s music video are striking, and watching it reminded me what a captivating performer Adéla is. I can absolutely see her talent and creative vision paying off and resulting in massive global success. I really think she’s a star and I can’t wait for a full-length album.
“SHE DID IT AGAIN (feat. Zara Larsson)” by Tyla
For a collaboration between two performers known for being engaging and charismatic, I have to say I was disappointed in this song. Its melody feels simultaneously meandering and stagnant to me; it doesn’t build up to an interesting chorus or bridge and is largely forgettable. Though Larsson’s verse was a highlight for me, ultimately, I think this song is sonically sort of flat and maybe even a bit lifeless.
I did enjoy the music video though, and I especially appreciated the obvious “Beautiful Liar” reference. Both Tyla and Larsson are incredibly telegenic presences on screen. There’s a chance this song could grow on me in the future, but right now it just isn’t gripping me.
“BROKE BITCH FREE$TYLE” by Slayyyter
I think this song really encapsulates what I find so appealing about Slayyyter: her unapologetic Midwestern gas station-chic party girl vibe. Her messiness feels authentic and that really comes through in her music, especially this single. This song is noisy and abrasive, with its industrial but sparse production allowing Slayyyter’s screaming vocals and growls to really shine.
I’ve really enjoyed watching Slayyyter rise to new levels of fame and recognition after the release of her fourth album “WOR$T GIRL IN AMERICA,” which has made its way into my daily rotation, and her energetic Coachella performances. It’s smart of her to capitalize on the momentum of her recent success and release a single that is so fun and so uniquely her.
“Middle of Nowhere” by Kacey Musgraves
Kacey Musgraves’ music can be somewhat hit-or-miss for me. I resonate much more heavily with her artistic voice on “Golden Hour” than anything she has released since. Still, she has a gorgeous voice and I’m always hopeful to hear what she comes out with.
“Middle of Nowhere” is the title track from her upcoming album, which is set to release May 1. The song leans back into her country roots and captures a sense of yearning for solitude, for wanting to disappear and to find peace in the middle of nowhere.
While I enjoyed the lyrical concept, I didn’t find the song sonically appealing. The verses and chorus are so different in tempo that they feel almost like two separate songs, which interrupts the flow of listening. Out of the two singles for this album she’s released so far, I prefer the humor and charm of “Dry Spell” to “Middle of Nowhere” by far.
