Pop music has dominated 2025, and today’s popstars haven’t failed to deliver. Following the success of her July 2025 EP “Voyeur (Deluxe),” British singer-songwriter Alessi Rose released the deluxe version of her project on Nov. 7, adding three new songs to the record. The additional tracks expand Rose’s universe of romance and humiliation, which pervade her discography.
Tate McRae similarly pulls no punches. Following the end of her “Miss Possessive” arena tour, McRae announced “SO CLOSE TO WHAT??? (deluxe)” a deluxe version of her third studio album, “So Close to What.” Released on Nov. 21, the latest iteration features five new songs and presents a more nuanced retelling of the relationship drama that unfolded on the original album.
Fans of both artists can rejoice at the new angles the singers pursue on their latest tracks.
‘Voyeur (Deluxe)’ by Alessi Rose
Rose’s latest EP, “Voyeur (Deluxe),” is best defined by what it isn’t: The artist doesn’t sugarcoat the entanglement of pain and pleasure produced by dating, particularly as a result of a troublesome “situationship.” Her music demonstrates a love-hate relationship with men — Rose simultaneously recognizes her own poor decision making while mocking the stereotype of an emotionally immature man. On the deluxe version, Rose leans into her pop persona with infectious production and cheeky lyrics.
“First Original Thought,” released on Sept. 26, captures listeners’ hearts with its disco sound and biting lyrics. The track is the perfect continuation of themes in “Voyeur,” and sees Rose tease a former partner who didn’t prioritize her until it was too late. Rose’s vocals soar on the track as she leans into its soundbite quality that primes it for virality.
Courtesy of Universal Music Canada
On “Get Around,” Rose goes for the shock factor. In just over two minutes, the hedonistic pop-rock track explores what it means to want someone who represents trouble. Rose doesn’t bother with pretenses — the song’s hook, “The boy’s bad news, he’s all I want / But he’s got lots of friends all over town / The boy’s got fans, I have it on / Some good authority he gets around / Well, could he get around, get around, get around to me?” signals a single-minded pursuit of pleasure. With an explosive bridge and gritty production, “Get Around” is unafraid and authentic, pivotable elements to Rose’s alluring brand.
“Voyeur (Deluxe)” ends with “Falling Forever,” a breathtaking addition to the EP. The track possesses a captivating sound: Pulsing drums combine with a dynamic beat to produce an electrifying atmosphere. The track is a fitting conclusion to the back-and-forth romance of the EP: In the song, Rose uses her trademark intensity to rebuff a partner who tries to reenter her life. The track’s bridge essentializes the spirit of Rose’s songwriting: “Prayed for this ’till I fell asleep / Now I see that there’s nothing to grieve / You’re so self-obsessed, and you’re fucking weak.” The desire that Rose articulates within her music is perpetually tinged by regret, representing how music can be catchy and radio-ready without being scrubbed of vulnerability and self-awareness. “Voyeur (Deluxe)” places Rose on the definite precipice of pop stardom.
‘SO CLOSE TO WHAT??? (deluxe)’ by Tate McRae
This year has been nothing short of busy for Canadian singer-songwriter McRae. In 2025, the artist has seen career triumphs in a tour that sold 1 million tickets — featuring Alessi Rose as one of the opening acts — and a personal life with no shortage of drama, particularly following the reported end of her relationship with Australian singer the Kid LAROI. As her boyfriend at the time, Kid LAROI seems to have been the muse of “So Close to What,” and was featured on the track “I know love.” But in the deluxe tracks on “SO CLOSE TO WHAT???” listeners see McRae come to terms with her tumultuous romantic life and the whirlwind year she’s had.
The deluxe version of “So Close to What” sees the new tracks at the top of the record, an opening to the original body of work. “TRYING ON SHOES” welcomes listeners to this expanded universe and evokes the same drama seen on “Siren Sounds,” a standout song on the original album. “TRYING ON SHOES” explores the curious nature of reinvention following a breakup: While McRae’s transformation may prove confounding to an ex-partner, it’s also an effort on her part to begin healing. With a symphonic sound, McRae’s pain takes on a certain elegance that endures even during the melodrama of lyrics like “I knew I must’ve dropped my diary in the pool for a reason (erased your every line) / Did you forget the kinda bitch with whom you were dealing? (If so, I can remind).” “TRYING ON SHOES” complicates the surface-level takes often seen on the original album.
“ANYTHING BUT LOVE” was part of the massive leak of McRae’s music preceding the release of the original album. Having made the rounds on social media — and receiving acclaim from fans — McRae released the track as part of the album’s deluxe version. Listeners instantly understand why the song is a fan favorite: The R&B sound is thrilling when combined with the attitude of her blunt lyrics. There’s no mistaking the vitriol of the line “My dad hates you, my brother hates you and I do too” as she transforms her pain into spite.
“NOBODY’S GIRL” loses the momentum of the preceding tracks, and sounds like an unpolished version of “ANYTHING BUT LOVE.” The track’s sound is fragmented, and lines like, “And when the job calls, gotta get it done / Gotta put myself second to none / At 22, it’s a little sad, but it’s fun” are convoluted. Is the implication of “At 22, it’s a little sad, but it’s fun” that by the age of 22, one should have matured past putting themselves first? In a failed effort to produce sonic coherence, McRae’s lyrics border on nonsensical. The spoken-word interludes also take themselves more seriously than they should. The line, “‘Real love doesn’t clip your wings,’” is unoriginal and more representative of a Disney film than a provocative pop album.
Perhaps the apex of “SO CLOSE TO WHAT???” is “HORSESHOE,” which picks up the slack of its predecessor with ease. McRae dives headfirst in the dissonance that results from outward success despite inner turmoil, and her signature vocals take listeners across these highs and lows. There is a deep sadness to her reflections on success, a definite departure from the lighthearted tone of the original album. Instead, lyrics like “I know the house burned down, but I finally saw the moon / Oh, but I’m still fucked up by you, you, you / I miss you, you, you (I miss you, babe)” seemingly reference the burning house of “Siren Sounds” — this connection represents McRae’s creative willingness to go deeper, while still harnessing tried-and-true pop formulas.
“TIT FOR TAT” was the first song to be released from the album’s deluxe version, earning high praise for its dance-pop sound and catchy chorus. The transition from “HORSESHOE” to “TIT FOR TAT” captures the oscillation that heartbreak produces: Despair is so quickly followed by detachment, only for the cycle to begin all over again.
This year’s best pop music releases derive their power from the ability to unify the flirty with the cutting. Whether it’s Alessi Rose slowly cementing her place as an emerging popstar, or Tate McRae reminding her fans and haters of all that she’s capable of, pop culture — and music — is only getting more interesting.
Alyssia Ouhocine is a Senior Staff Writer covering Arts & Culture. Hailing from Bayonne, New Jersey, she is concentrating in English and History with a particular interest in Algerian history and literature. When she’s not writing, she can be found listening to music and sending Google Calendar invites.
