When pop enthusiasts look in the 2010s, they deserve to celebrate their exclusive lack of identity. The last 10 years have created the era of less homogeneous music in history, thanks to the culture and transmission of Internet enthusiasts who have made the monoculture exist. Of course, there were giant stars, but even those stars were partly giant capable of remaining in the first position paying specific attention to immediate adjustments in trends.

The 2010 proved to be a wonderful challenge for pop stars that expect to have the possibility of prospering in a market that is too saturated. Many have set the dish, pressing the definition of “pop”, which means having a successful song and tells as a pop star more than ever. While starting the 2020s, pop music has been in its most loose form in years.

How do we get to this moment? We are going to take a look at the greatest influences in the sound of pop this decade, ranging from reference points in the history of music to the pioneers who helped push their peers in a new direction.

Britney Spears’s fifth album came here in the height of one of his darkest periods: he had become a sensational luminaire and the issue of public mockery and his exam for its components, his whirlwind with Kevin Federline and his doubtful parents’ skills. Blackout responded to all of the above and made Spears experiment with his sound to an excessive that he had not tried before and has not returned since then, but perhaps it is because a giant pop component in his Estela tried the dark techno of Spears’s masterpiece. Having an effect on the album can be greater heard in the first KE $ ha, Charli XCX and PC Music, Future Sexy Future Pop, Spody Bubblegum through Kim Petras and the reputation of the tabloids through Taylor Swift as “Ready for her?” And “look what you made me do. ” -B. S.

Bruce Springsteen has not been unimportant for decades, so it is not as if it were a wonderful resurgence. But it is a testimony of Springsteen’s brightness that, in a time to reduce the functionality for the client’s client, the last true star and true rock and roll star has remained as influential as ever. Hearray, of course, a touchstone for innumerable artists susceptible to anything big: the murderers, Florence and the machine, Lucy Dacus and his compatriot of the heroes of the New Jersey Titus Andronicus, Hurra for the Raff Raff, the National, Julien Baker and the war were opposed to drugs. Springsteen’s political philosophy can also be heard from afar, from the correct control of providence punk tension, from the children of the city to half to Lorde’s “real”, a hymn of the elegance of the race so perfectly Springsteen-Ian, even he had to probe him. Springsteen’s musical influence has also begun to send a safe nostalgia that, when it comes to correctly, can make a difficult blow. Jack Antonoff, another New Jersey place, balanced those qualities skillfully in the music he did with the stands and produced for artists such as Lorde and Taylor Swift, while the star of the country Eric Church presented a subtlety of wind, and still succeeded, with his 2011 Smash “Springsteen”. And then, of course, Lady Gaga, who knew precisely what he did when he invited Clarence Clemons to play in two songs in this way, “Hair” and “The Edge of Glory. ” The latter specifically exists in the most pure springsteen, that of “Born to Run” and “Thunder Road”, and as in those songs, it is the saxophone of Clemons that provides “the edge of glory” its air of infinite possibility. This type of hope for the open path can be Springsteen’s greatest contribution to music, and the most productive incarnation of its inheritance: such a fair, epic and true quality can never demolish. -J. Blistin

Yes, there is his Steve Aokis and his skrillex and all the other events of the “Electro House” festival that have acquired this decade through abrasive and dynamic rhythms designed to make you jump from the back to the back as a pogo stick. But there was a turning point in the decade, somewhere between the emergence of the Azealia banks and the liberating memories of random access punk, where the story around the space has nostalgic and the classic manufacturers returned to the inheritance of Frankie Knuckles and Marshall Jefferson. In recent years, Calvin Harris has a vintage space radio champion with his “One Kiss” production paintings through Dua Lipa and “promises” through Sam Smith. In another part of the pop, the piano riff on the “green light” of Lorde was a direct game in the crochet of the “tangas of life” vintage through Derrick May, and Kygo led to the new trend of “tropical house” with views to the lists. -C. S.

It is difficult for one of the largest pop stars in the world began with cowboy boots and sang words like “dressing” with an exaggerated blow. But ten years after sleep, the tentacles of the first Swift albums, homonyms of 2006 and Intrepid in 2008, specifically, can still be felt everywhere. More obviously, every more productive act of 40 sticks rooted in the Music business of Nashville, from Kelsea Ballerini to the Florida Georgia line in Babe Rexha in Maren Morris, you can thank the pioneer plan in the past. But more widely, the first Swift albums presented country music as a naturally friendly pop format for a generation of young people like Lil Nas X, who was 11 when Speak now came out here. Like Maggie Rogers, who has published a “Tim McGraw” Swift blanket before this year, he said: “It is really difficult to sing” Chevy Truck “and just like the country does not sing. ” -J. Bernstein

The American cowboy myth dates back to the 1500s, when the Amerindian jeans were hired for the flock of farm animals for Spanish settlers to the west. In music, Cowboy celebrated a theatrical approach of this, that is, it was for the first time in the forties in the 40s through country-western acts such as Gene and the Maddox & Rose brothers. But when the so -called “Yee Haw Agenda”, informed through Brit Malandro in 2018, acquired importance at the time of the decade, whose limits can dress or act as a cowboy did not exist. Everything, from Mitski, be the cowboy, to Solange, when I pass the House / Blackplanet projects in tribute to Houston, the emergence of Kacey Musgraves, the fashion of the jeans throughout the hypo -hop, not to mention Lil Nas X and Fashion Fashion Road “, the phenomenon of” Old Town “, caused a bigger verbal exchange in the story that is recovered For fashion and music.

Dancehall-Pop has existed for some time, adding heard in Popular Shaggy songs and undoubtedly at the end of the 90s, at the beginning of the Ahites. Around 2016, however, Dancehall had reappeared on pop lists in a massive way. Directed through dipl paintings as manufacturer, as well as singles through artists with Caribbean roots (Rihanna, Nicki Minaj, IMO) and Gfinisher’s tourists (Drake, Justin Bieber, SIA) have more “tropical” and merger in the elements of Reggae and Moombahton. The horns, windows synthesizers and metal drums have more and more widespread on the radio, without any slowdown symptom. -B. S.

If there is one thing in which the pop star of the last decade can get along, it is because they have enjoyed the concept of “time. ” David Bowie, Madonna and Prince were among the first artists to make the concept notable, presenting old fashion characters or statements to the canon of popular music. Often perpetuated through the Stan culture and first repopularized through Beyonce and Lady Gaga, Star has deepened the way of killing the beyond and renamed a new symbol with an album that goes beyond running with new collaborators and starting an updated sound. -B. S.

What would have seemed the maximum of 40 sensible if it weren’t Drake? After all, it is the maximum sponable conservative of rap, looms and temporary distillation of any emerging music or subgenre scene. He led the rate or strengthened the interest of any musical movement and absolutely replaced the way in which many pop stars sang or launched their music. The phraseology cut the aggregate with immediate reflections on sadness has the main form of pop communication, and the tastes of Justin Bieber, Ariana Grande, Nick Jonas and Selena Gomez are transparent disciples of Drake’s Gospel. – B. S.

The whole pop star did not have the courage to say “Yes!” But in fact they felt the twerk-fuence of the most productive in the south of the south. Lil Jon, three 6 presentations of mafia and UGK felt or literally appeared in the launch of the largest stars in pop, and this only intensified through popularization without stopping the trap itself as the decade. In a way, looking for a trap for single pop has been required for a blow, with everyone, from Katy Perry to Lady Gaga, making a slight effort to imitate the syncopated rhythms of the genre to the successful degrees. -B. S.

As a term, Edm has been a more important word in the business way than a useful means to describe the music that forced a complete pop recalibration in early 2010. But although “Edm” has undermined the wide diversity of Sonique of a moment that covered everything, of the devastating Dubstep of skrilxx to the euphoric space of Avicii, there was a unifying sonic firm: the fall. In itself, the structure and release of tension are not new, however, the decreases in the early 2010s were women with full drum and bass force, counteracted, at least a little, with a riff that induces the upper finish. Perhaps there is no greater example of Pop domination of Drop than the two largest songs in 2011: “Rolling in the Deep” through Adele and “Party Rock Anthem” through LMFAO, which supposedly on the opposite sides of the musical spectrum that actually depends on the same structural tips, the structure choir that was submerged in a breathless impulse. But so much natural intensity was never going to last. In 2015, even Skrillex had turned to decrease the decrease in “D” through assistance to revitalize Justin Bieber’s career with “sorry. ” Now, when a fall was in the center of a song, occasionally prioritized bright synthesizers or chopped vocal hooks (see: The Chainsmokers), although it reproduces more and more with pop. Where the low end was natural and undeniable armed at the beginning of the decade, in the end, it was painted more as an anchor for the washed vibrations that prospered in the new transmission economy. It is difficult to call this trimester of paintings a comic since there is still a trance quality at 3 am, but it is true, the 2010 will not end with a wub, but a wave. -J. Blistin

The “me” decade has more than fodder for thematic celebrations after the arrival of Lady Gaga in 2008. She directed the way to a general synthesizer renewal, inspiring a generation of artists to dig deeply in the flavor adjacent to the new wave. In the most sensible 40, the big and exuberant and opulent sound of Big Hair and Spandex has an early presentation card for Ke $ ha, Katy Perry and Robyn before Carly Rae Jepsen and Taylor Swift renewed interest in the taste for the time of the decade. -B. S.

The moment of the unexpected neo-folk pop inaugurated through teams such as Mumford & Sons, Edward Sharpe and the magnetic zeros, and Lumineers had fallen in large part of the dominant existing in 2012, however, their solid influence has persisted for years. The arrangements founded in Mumford Crescfinisho were a precursor to the pop fall of the Lostmkers era, but not before artists such as Avicii i incorporated root music into their wonderful Tfinisher Edm. Hootenany Clap-Along’s rhythm of Lumineers-Erle-Pop predicts the omnipresent route more and more in pop. Folk Chic reached a fever in 2013-2015, when Imagine Dragons discovered applause and Pitbull and Kesha established a harmonic riff with the maximum sensible graphics. At the end of the decade, Florida Georgia Line launched Tryetes to the Instagram era in the “house” of Edward Sharpe. But, perhaps the maximum omnipresent, artists have used the aesthetics of equipment such as Mumford and Lumineers as an authenticity style of the logo for the next ten years, from the Macklemore savings agent count to Mageding 2018’s deployment through Justin Timberlake. -J. Bernstein

Fiona Apple did not invent the jazz singer in the piano: the number of times that, at the beginning of his career, questionable compared to Nina Simone is a test. But even among her unhappy contemporaries Tori Amos and Alanis Morissette, she is the first to popularize this way as a means to articulate the pain and resistance of a teenager. His shameless introspection, his channeled anger and his specific attention to the main points in his writing translates well to the Idolos Pop teenagers and young adults of 2019: Taylor Swift, Lorde and Lana del Rey are just some of the successors of his throne. -C. S.

Great due to the widespread diffusion of R&B in the first AUGHTS it seems to be a way to remind the public that appreciates sex and drugs (Justin Timberlake, we look at it), the genre in the beyond the track beyond the dominant current. Frank Ocean has led a new wave of R&B experimental artists, now known under the auspices of “R&B Alternative”, which was played with the atmosphere, production and narration in the line of the 90 Janet Jackson. After the immense good fortune of the ocean, the taste spread in the music of Beyoncé, Zayn Malik, Troye Sivan and Billie Eilish. -B. S.

For all the tactics in which Pop was reconfigured around the Great Edm tent at the beginning of the decade, the softest sounds of the seventies and 80 have controlled to locate the wallet to prosper. Pop scientist Bruno Mars has slipped the giant Phil Collins tested the battery in his first “Granada” success, while “someone he knows” through Gotye is, without a doubt, the last adult adult blow of the decade. As for the independent aspect of things, a pastiche began for the “one cool” to emerge in albums such as the Sax-Lean of Destroyer, Kaputt, the breakdown of the huts of M83 to dream, of the paintings of Bon Iiver of Blood Orange of Blood Orange. While the lines between pop and indie began to blur more, Soft Rock was a component of this bridge, with artists such as Carly Rae Jepsen and 1975 to fill their discs with 8 -year -old synthesizers and closed giant necklaces. While the past intensity of the decade had dissipated, a new King of Cushy Rock, an Ed Sheeran, emerged, with its faithful acoustic guitar and its well -used loop pedal. But he was not alone: ​​Charlie Puth combined Candy Rock knows with his love for funk and R&B in the voices, One Direction nodded with tastes of genesis and trip with “stealing my girl” and, as a solo artist, Harry Styles continued to lead those sounds with a slight psychedelic merit in songs like “Lights. ” In fact, a Smash Rock Smart Literal reappeared only last year, Kygo generating a remix canopy of “Higher Love” through Steve Winwood with voices from another hero of the 80s, Whitney Houston. -J. Blistin

The artists have been influenced through the writing of Mitchell’s introspective songs for decades, however, pop stars in the 2010 kissed the Canadian musician with a new worship that bordered the obsession: Harry Styles made a search to locate the woman who built the dulcimer used in Blue, Lana del Rey started the Canyon Canyon Canyon Rockwell! 

Mitchell’s exploration in other genres and a avant -garde study strategy also waves in the 2010s. Naomi McPherson de Muna recently caused the masterpiece of Jazz-Pop Hejira: “I am obsessed with her, and this is one of my favorite discs,” he said. “This is the beginning of his experimental musical era of his life. Look at this album. It makes me need to have a beret. ” -AM.

The enigmatic Queen of Art -Pop resonated with many artists, from Sia to Lady Gaga in Bat for Rosalia’s eyelashes. Lorde’s editor in the dark sounds almost like a love dog B, while the Grimes video for “Belly of the Beat” is a tribute to Bush and his wonderfully aesthetic. “She is almost like Rapunzel,” Big Boh said about Bush in her genius song “Running Up That Hill. ” “But in the most sensible hill of a hill somewhere right in a castle, sorry, stacking the piano and moaning. I have an idea that it was great. ” -AM.

“I looked at one of my favorite artists of this decade, Lana del Rey, was criticized without mercy for the beginning of his career and in my opinion, in my opinion, which the maximum influential user has in pop,” said Taylor Swift by accepting his wife of the billboard in December. “His vocal styles, his words, his aesthetics [have echoed and reused in every corner of music. “

Swift is right: the “Nancy Sinatra Gangster” by Del Rey, an Amy wine house softened for an even more entrenched generation in the fusion of rap-pop. Its beginnings, born to die, discovered an exclusive environment between nostalgia and the present, combining an organization of women of the 1960s and overcoming the references of the poets with a production of cut traps. His assembly of Taste Valley of the Dolls Jackie or through the French New Wave cinema. Its completely exclusive presence and its qualified composition, which only step forward with each album captivated a generation of pop stars in the hope of abandoning maximum user -friendly trends, such as Halsey, Selena Gomez, Camila Cabello and Swift. -B. S.

This is quite simple. Kanye West cites the use of Laurie Anderson’s vocina in “or Superman” as one of the greatest influences on how uses Autotune, and artistic ability, this strategy has impregnated a giant component of pop and hip-hop. -C. S.

Bounce has had a consistent effect on the sound of pop, on the dance of the component sphere, during the decade, thanks in giant components to the unbridled presence of Big Freedia. The ruling Queen of the Sub -Genre of Nola’s hip, remarkable for her use of the call and the answer, as well as the rhythms that sound precisely as indicated through Gfinisher’s call, influenced the early production race of dipl, transporting at the end of the decade the primary successes of Drake (“niza for what”) and Beyoncé (“formation”). – B. S.

WHEN BRUNO MARS ACCEPTED HIS ALBUM FROM THE YEAR GRAMMY FOR 24K MAGIC, HE BEGAN WITH TO TRIBUTE TO BABYFACE, JIMMY JAM, TERRY LEWIS AND TEDDY RILEY. The 4 had explained an era, combining R&B and vintage styles of R&B and Soul with the harsh hip-hop, and Mars turned out to be a devoted disciple, incorporating the damn spirit of those recordings in their inexpuddatory Funk-Soul pastiche. March, of course, not only. While R&B, in vintage sense, lost its advertising power, the beginning of the decade saw the appearance of a movement of choice (let’s not pass this genus Portmanteau with a beer in a specific blue tape) with Frank Ocean, Kelela, Kehlani, Miguel and the most psychcelic positions. The transparent and clear payment that explained the 90s gave the impression in the musical acts of India such as Phantogram and how to dress well, while later in the decade, Mars, Drake and, more recently, Normani and Teyana Taylor would attend the position in the current without stopping. -J. Blistin

“My father would simply close,” said Nate Ruess’s fun leader about Paul Simon’s masterpiece in 1986 this decade before. Even if Vampire Weekfinish has spent a giant component of the last ten years that allow Semi-SUCCs to his influences from Paul Simon, it was the decade in which a generation of young people who grew up with the Graceland game in the CD player of his car of his car began to describe the pop landscape, of the Feist (the album has become a check of the total decade) of the decision of the end of the decade). (Graceland is the maximum element of the pillar, he believes in dragons. “For Graceland, [Simon] had so much global influence,” said the leader of the organization Dan Reynolds to Rolling Stone in 2016. “This is the goal of imagining dragons: being a global organization. It is such a broad vision. “

The power of permanence and the evolution of pop punk and emo in the 2010 have their apparent and adequate corollary in the excellent patience of a burning issue. While bought groceries and fogged and jelled physical retail spaces, the hot topic was to walk; As the classic flickering and withered rock, emo and pop punk, etc. , etc. , both are, of course, inextricable. Hot Topic was based on Merch and survives today because of this; But just like emo and pop punk they have subtle while changing, a burning issue made sure that young people can also buy their chemical romance and my Malone shirts in the same place.

The maximum non-unusual moment of Punk and Emo was the appearance of 2014 five seconds of summer, connected to the cabin of an address in a way that made you think that Blink-182 was not parodying the children in the video “all small things”, but telling you who they really were. Brins of Weezer, Paramore, Fall Out Boy, Sum 41 and April Lavigne were heard in the Global Independiente on Mitski’s albums, Pup, Mommy, Swearin ‘, Waxahatchee, modern baseball and Charly Bliss, many of whom have contributed new perspectives to the music that had been exulated too much. There was also the appearance of rap emo and artists such as Lil Uzi Vert, Lil Peep and Juice WRLD, who made evident the concept that Drake had a lot of unusual with someone like Pete Wentz. The range of Emo and Pop Punk has also proven to be completely global, with a bad bunny that generates one of the maximum productive punk songs of the decade with “we have than havlar. ” As for the creators, they could not cause tubes as they did, however, their inheritance is in a position and many young people will overflow to see Weezer, Green Day and Fall Out Boy to excursion next year. -J. Blistin

Violet can be heard everywhere in the 2010. Janelle Monáe presented the decade with Archandroid, a beginning in Purple Rain’s vein (he even presented the CD to his mentor, with a flower and words written by hand). Like Bowie, it has an effect that has become even bigger after his death in 2016. The weekend he blatantly admitted his influence in Starboy of 2016, then there was this time Justin Timberlake organized a debatable listening party for Man of the Woods in Paisley Park. Especially with the recent reissue of its progress from LP 1999, the legacy of the musician of the past will continue to shape the long pop streak. -AM.

The decade began with the launch of “Dancing on My Own” by Robyn and ended with Pop Star that tried to create his own version. From Carly Rae Jepsen to Lorde through Katy Perry, any artist with a dream of extinction of anguish went to the dance floor and Robyn’s forceful anthem for a non -secular direction instead of the previously dominant torn ballads of the past. -B. S.

If there is a line of a Taylor Swift record prior to this decade that is dated, it is when it sings: “You said you had never met a woman who / had as many albums James Taylor as” begins again “of 2012. Seven years later, Swift is far from being the only creator of millennal successes as James Taylor among his maximista vital popular. Again “, the Irish folkie Hozier took over the maximum sensible 40 with” Take Me To Church “, covering Van Morrison’s point of view on the romanticism of the West Coast (” Sweet Thing “) On the way. A few years later, the trend, with Lorde” the heart of matter “through Don Henley for his retro-pop A divine inspiration in the harmonies of the cross, the fixed images, Nash and Young, and Lana is restarted as Rockwell through Joni Mitchell of the 21st century of the 21st century! -J

Wonder did not release an album in the 2010, but its influence, in specific its vintage era of the 70s, is omnipresent in Pop. The maximum apparent example is “Uptown Funk” through Bruno Mars, which would not have existed without songs in the key to life. Neo -Soul artists’ albums, such as Black Messia of Angelo and Radio Music Society of Esperanza Spalding, also echoed at that time. While they gave me home, Solange channeled Sol Psychedelic-Soul de Sol Psychedelic-Soul through “The old secrets”, its soundtrack for a film adaptation of a 1973 electronic book that suggests that plants are sensitive. From talking about book to Innervisions, the time still resonates with the pop stars today, just look at the Tryete to the Grammy Starded of the Singer in 2015. -A. M.

Although it is difficult to believe that the creators of successes like Shawn Mendes become Shoegaze as soon as I say no, Shawnarray . . . ), the sound of healing, the twins of Cocteau and other teams of the dreams of the last 80 / In the early 90s they had a primary resurgence in the aspect of the rock of the decade. Beach House is the apparent example of Dream Pop in the 2010 decade, however, the past Willwave breathing in 2010-2011, as well as his successors experienced online as Vaporwave, also continued the legacy of slow tempos and a strong reverberation. The war opposed to drugs has built all its sound in an aggregate of Springsteen and Synth-Pop, and you can locate echoes of their paintings in artists as remote as Miranda Lambert and Taylor Swift. -C. S.

Nicks and Taylor Swift’s duo in Grammys 2010 would have been a bit trembling, however, that meant the increase in power of Bella Donna, Stevie’s decade. He has become Sisters of the Moon with Haim, made a wedding rite for Vanessa Carlton and made her act as an actor in the history of American horror, causing a generalized worship of millennials as if it were in 1977.

Harry Styles, who enthroned his mentor in the Rock and Roll Hall of Fame previously this year, recently celebrated his new thin line with Nicks, duo in “Landslide. ” Florence Welch, who shaped his flavor and music as a sorcerer with Florence and the device after the icon, tried to make sense of his fascination in 2011. “There is something about Stevie that is pure,” he said. “When he sings, Angelica looks but also wild and free, as if he were absolutely lost in the song. He also definitely influenced me to use a layer. I love a layer on stage. ” -AM.