Pop stars are losing their authenticity: It is a cliche, I know. Since the pandemic, it seems like many artists—including some of my past favorites—are placing more of their focus on creating brands that will bring in cash and sell out stadiums rather than produce or perform music which feels authentic, or, at least, feels like it says something. But, there is light at the end of the post-pandemic tunnel. Over this past year, I attended concerts from an unlikely pair of artists: Chappell Roan and Fontaines D.C. My takeaway is that musical authenticity seems to live somewhere in experience, and it is special to find artists who prioritize creating authentic experiences in live music when social media is constantly pushing us to place our attention anywhere but the concert floor.
Take artists like Sabrina Carpenter, Benson Boone, Gracie Abrams or sombr (stay with me). Attending the concerts of big stars like these is a capital E Event; bows, cowboy boots, leather jackets and/or bedazzled leotards are essential to their uniforms. On social media, we see these concerts as locations to tag and opportunities for poses to post. I do not intend to shame any fans for their outfits or Instagram pages, or discredit these artists’ abilities to build musical empires. I dress up for concerts. I post about concerts. But outfits and atmosphere alone cannot make an artist authentic, musical or otherwise. If so many of these concerts are motivated by outfits and photo-ops, do we, as consumers of said music, still value authenticity? Or, better yet, talent?
That depends on how you define authenticity. Most, and I mean most, of these artists have demonstrated their ability to make, or at least perform, good music. Carpenter’s 2022 album “emails i can’t send” was fun, witty and evidently persuaded enough people to lend some fuel to her skyrocketing career. I loved Abrams’ “Good Riddance,” and she obviously hit a chord with her young audience’s desire for melancholic yearning. sombr’s “back to friends” was, perhaps, at some point, a fine song. Place the emphasis where you will. As for Benson Boone—all of my Vassar readership might have just dissipated after reading that name, but I beg you again to stick with me—he has the capacity to entertain. Hiding under the shadow of his signature backflip, Benson Boone has a voice. Last year on his “American Heart” tour, he did a cover of Adele’s “Rolling in the Deep,” in Adele’s original key, and “Iris” by The Goo Goo Dolls. But, unfortunately, Boone’s singing voice does not translate to his songwriting.
Sadly, I do not think I can discuss fallen angels of musical authenticity without bringing up Taylor Swift. Early in high school, I listened to T. Swizzle often, but the modern Swift is not the same as my first impression of Swift at the “reputation” Tour of 2018, or even the pandemic “folklore” Swift of 2021. I understand the spoof on her changing personal aesthetic was the central point of the leviathan Eras Tour, but I, like many, have long been disenchanted. What happened to Miss Americana, and why is she married to Mr. “Viva Las Vegas”? A billionaire does not work at yogurt shops.
When I attended Chappell Roan’s concert around this time last year, I realized that triumphs of popular success and genuine live music experiences do not need to be mutually exclusive. Roan’s stage was the most extravagant, her costumes the most bedazzled, her merch lines the most extended, her lyrics the most screamed. And yet, it all emanated the overwhelming scent of authenticity.
And I remember entering Roan’s concert with a larger-than-life, neon-pink idea of what a Chappell Roan concert should be. There were aspects of her show which depended on concert-goers to come in with a general understanding of what to expect, like the unofficial outfit theme posted across fan accounts or the popular dancing trend of “HOT TO GO!” but the whole experience did not feel too neatly pre-packaged. Less popular tracks, like “California” and “Kaleidoscope,” were afforded equal, if not more, creative love as her biggest hits. The story of her album and personal journey as an artist sparkled alongside, and not in spite of, all the glitter. Songs did not come off as track titles made to sell deluxe editions.
This past week, I was thrilled to see Dublin-born rock band Fontaines D.C. at the Kings Theatre in Brooklyn, New York. Advertised as an “intimate” show, the indoor venue was even smaller than Forest Hills Stadium where I saw Roan. Though the Fontaines have not reached Roan-level stardom (yet), when compared to many of the big-ticket festivals they have been playing since their last album “Romance” released in 2024, the space could fool you into the sense that you were discovering a novelty (so long as you put aside the memory of a two-plus hour online queue for tickets).
Like Roan, my “Favourite” Irish lads reeked of authenticity. It may be unfair to include a so-called “post-punk” band in my argument about pop stars, but that genuine smell I got a whiff of from Roan seemed even more pungent last Monday night. Perhaps it was amplified by the performance of new songs from their upcoming album, “Dopamine Chamber,” or frontman Grian Chatten’s borderline goofy but undeniably cool stage presence. Every member of the Fontaines demonstrated talent and a certain level of unabashed realness.
Maybe authenticity was also reflected by the fun and surprisingly unpretentious energy of the attendees, which ranged from young people sporting Fontaines-branded neon football kits and sipping High Noons to middle-aged couples, like the pair in front of me taking selfies and exchanging Facebook memes. While the Fontaines sit at the juncture of genres often accused of “performative” followings (see The Strokes), it was refreshing to stand in a crowd that could chant back their punning, tongue-twisting, political and poetic lyrics while sharing in the simple collective experience of a good time. Plus, Chatten wore a t-shirt collaged with Rihanna’s face which read “Bad Gyal.” If that is not authentic, then I am not sure what is.
In short: neither Roan nor my beloved Fontaines are afraid of making a statement. But they also know how to have fun. They exemplify that enjoying yourself and consuming good music do not need to be mutually exclusive aspects of the live music experience, or music generally. As musicians, they are talented. As influential people, they have things to say. The quality of their performances simply follow suit.
To Fontaines D.C. and Chappell Roan: shine bright, like a diamond. To Benson, Taylor and those who I will not name again: I am not mad, just disappointed.