Over the past few years or so, the quality of pop music in the UK has (in my humble opinion) improved dramatically. Much of this can be attributed to the influx of indie-pop crossover acts that began creeping out of the music industry’s figurative woodwork during the huge popularity of Franz Ferdinand and the Kaiser Chiefs mid decade. The pop scene has since become inundated by not only guitarists, but a variety of interesting instruments and devises that demonstrate a wonderful air of creative individuality, and a twist away from the always staid “Pete Waterman” style of pop music. Such events are incredibly refreshing for someone who grew up when the pop world was saturated by the likes of S club 7 and Boyzone, where much of the instrumentation was devised using the musical poison that is general midi. Within our new, noughties brand of quasi-pop, however, it is not just the instrumentation that has developed. There is a definite desire for talent, imagination and individualism, which is apparent in all the areas that surround music, from image to promotions to album art. This is evident with the likes of Hot Chip, The Joy Formidable and The Noisettes; a very brief but clear example of the difference between new endeavours and the manufactured style of pure pop (ala Girls Aloud, for example) that is seemingly in remission at present.
An element of this new-new-pop that I am particularly relishing at the moment is the veritable flood of female performers within this new creative mode. It could be said that the more indie side of pop has typically disregarded female musical involvement for the past couple of decades, opting for traditional, rock derived all-male formats based on camaraderie and fraternity. At the moment however, indie pop has become almost overrun with female involvement in a manner reminiscent of the original new pop/new wave of thirty years ago. Now cool, trendy, sexy women are heavily involved in the music scene again in a creative, intelligent, aesthetically driven manner, playing instruments, fronting bands and writing songs. Women are adding a fresh, quirky twist by their mere presence as a creative entities; we are currently witnessing a joyous demise of women, intelligent or not, being utilised by the music industry as simply sexy voice boxes.
Examples of this are particularly apparent within the veritable deluge of female performers creating pop crossover acts. Over the past couple of years, the likes of Bat for Lashes, Florence and the Machine, Little Boots and Marina and the Diamonds have been creating some of the most interesting music in the charts instrumentally, but not only that, they have also demonstrated significant song writing abilities, with feisty, educated lyrics and topics. These girls get music, and evidently have a real passion, commitment to, and ability for it, but what is also noteworthy is the manner in which they present themselves. Whilst they (importantly) seem to maintain a lot of creative control, like true post-modern feminists they realise that image is still an important selling point for women. However, instead of oozing pure female sexuality that is often typical in pop music, these girls portray themselves in a way that embraces femininity in a true and loving, yet subtly ironic, sharpened manner. This is particularly well exampled by the work and nature of Lily Allen (who I now cannot help but love in spite of her often obtusely venomous attitude, especially toward poor old masculinity). This is also evident with pure pop females such as La Roux and Lady Gaga, (albeit with Roux and Gaga the talent and music is slightly more questionable than those other ladies previously mentioned).
Although this music has an obvious femininity, it maintains an edge to it that has a more broad unisex quality and appeal. It is not too girly, but simultaneously harbours a deep-seated strength that is truly feminine. They are and there are brilliantly positive examples of the female side of the race out there at present, offering female role models that have true ability, individuality and purpose. Their crossover qualities relate them to a variety of music styles, which lend them to the admirations of different tastes, although these women are mostly white, and black ladies in UK music are heavily underrepresented at present. Ultimately, however, musical women are currently at the top of their game, and are offering great role models for young women - that you can be more than just pretty. For once I am a bit envious of teenage girls; for once they have some quality to relate to.
