There’s something telling about the fact that PinkPantheress launched the first single from her second mixtape with a video boasting that it was 2:57 long. “Ion [I don’t] wanna see no more song length jokes,” ran the caption accompanying a brief video of her dancing to Tonight, a track that throws together a mass of musical reference points: a sample from US emo-rockers Panic! at the Disco stitched to a speedy four-to-the-floor house beat, a candy-sweet pop melody, a hefty bassline that suggests the influence of UK garage or drum’n’bass and a lyric that alludes to both Avril Lavigne’s Complicated and Kings of Leon’s Sex on Fire.
Since the English singer-songwriter-producer first came to public attention in 2021, by posting snippets of the tracks she had made on a laptop in her halls of residence to TikTok, brevity has been her calling card: most of the songs that caused her commercial breakthrough lasted barely 90 seconds; one, Attracted to You, was over and done in 67. They garnered hundreds of millions of streams. Moreover, they were the first steps on an impressive commercial ascent that’s involved a major label deal, a succession of gold and platinum awards, a place on the Barbie soundtrack and invitations from Olivia Rodrigo and Coldplay to support them on tour. Perhaps inevitably, they also attracted criticism from people who viewed her less as a success story than a symptom: wilfully insubstantial, attention-deficit music befitting an era in which pop has lost its place as the basic substance of youth culture, an age when its primary function is just to burble briefly in the background of videos offering makeup tutorials and wellness tips.
There are definitely points during Fancy That where you wonder if PinkPantheress’s approach isn’t occasionally a little flimsy for its own good, most obviously on Stars, which borrows from Just Jack’s 2007 pop-house hit Starz in Their Eyes – a track she previously sampled on Attracted to You – and features a childlike vocal that smacks of irksome affectation. But far more often, you find yourself wondering whether her detractors’ criticisms might have less to do with her actual music than with sexism and snooty condescension. (If you want to survey PinkPantheress’s main audience, check out her 2022 Boiler Room appearance, which finds her performing surrounded by cameraphone-wielding teenage girls.)
Her bricolage approach to songwriting is fairly obviously that of someone raised with streaming’s decontextualised smorgasbord as their primary source of music. You can hear it in the way she leaps from one source to another, unburdened by considerations of genre or longstanding notions of cool, like someone compiling a personal playlist. Despite her tongue-in-cheek protestations about Tonight, Fancy That has a brief running time, dispatching nine tracks in 20 minutes. But during that short spell, she pilfers from Underworld’s brainy electronica and 00s pop star Jessica Simpson. She puts an obscure William Orbit track featuring vocals by the Sugababes next to rapper Nardo Wick’s US trap hit Who Want Smoke? and Romeo by UK house duo Basement Jaxx, who have acted as mentors to her.
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There’s something infectious and gleeful about the way she stitches together her disparate influences into the frantic, neon-hued Noises or Nice to Know You, but her real skill lies in her ability to imprint her own identity on the results: the songs on Fancy That seldom feel like the sum of their parts. For all she’s fond of lifting other people’s immediately recognisable hooks – Stateside steals from Adina Howard’s Freak Like Me – PinkPantheress is fully equipped to craft earworm melodies of her own, as on the fizzy sugar rush of Illegal. Regardless of whether it was born out of a desire to attract an audience whose attention span has been shot by swiping, the succinctness of her songs seems less like evidence of insubstantiality than of a sharp writing talent: there are no longueurs, little room for indulgence, nothing extraneous.
It all hurtles by, so fast that you barely notice the odd song that doesn’t quite click, or that slips over the line that separates sweet from saccharine. The music on Fancy That feels simultaneously boiled down yet packed with ideas, fleeting but not lacking, familiar but fresh, focused less on making grand statements than with immediacy and unforced fun: all perennially good things for pop music to be. Clearly, PinkPantheress is a product of the current moment, with the accompanying concern about what happens when the current moment passes. But there’s something oddly timeless about her innate understanding of pop that suggests she might be fine.
Avalon Emerson/Storm Queen–On It GoesA terrific reworking of Morgan Geist’s gospel-infused 2010s house anthem that drags it into a new decade, giving it a new futuristic, dancefloor-focused sheen.