On paper, most of her career has aligned with the Ava Maxes and the Bebe Rexhas of the world: precariously placed, C-tier pop stars whose music is shared between gay people with the question "why is this low-key good?" Artists destined to play at corporate Pride performances and maybe get a platinum single, if they're lucky, making inoffensive, nondescript electro-pop that could appropriately soundtrack a nightclub in a mid-budget Netflix original.
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After an early career of releasing demos on SoundCloud, her 2017 run of catchy debut singles positioned her as a newcomer who could potentially dominate the pop charts one day, her aesthetic slotting in comfortably among the more alternative, PC Music-adjacent pop darlings of the late 2010s. Kim Petras, the 30-year-old German-born pop singer, is currently in the process of figuring out where she wants to be in the pop music echelon. These placements, though, are precarious, and this type of pop relevancy could end in an instant if a star can't pivot fast enough to accommodate the changing tastes of an audience. Then there are up-and-comers shooting up the chart, aided by a fervent fanbase and the top 40 hits to match. Take, for example, Selena Gomez, who, before 2023, had her last big hit pre-pandemic, or SZA, an artist that is five times platinum but still not quite a household name.
In the hierarchy of pop music, there are defined tiers of success.īehind the iconic career divas that need no introduction - the Madonnas and Janets of the world - there are industry A-listers, celebrities with established, multi-album careers who could net a diamond record if the cards were right: Billie, Dua, Ariana.īeyond that is where things get a little murky there are high-tier floaters, precariously moving between the A and B levels of stardom and musical ubiquity depending on the year.
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