Has Addison Rae Danced, Screamed, and Claimed Her Place as Pop’s Next Icon?
Has the recipe detailing the makings of a true pop icon been set in stone once and for all? Watching Addison Rae’s meteoric rise — from TikTok fame to the release of her debut album and her first London show — it’s tempting to think it might have.
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The moment the Addison Rae tour date landed on the calendar, my sister’s response was equal parts disbelief and humour: ‘What is she going to do on stage, the renegade?”
The comment, while hilarious, highlights the wider reputation of Addison that the new artist knows all too well. With her history on TikTok and as a former member of online collective the Hype House with Charli D’Amelio, Addison’s debut onto the music scene was met with an immediate sneer: another grab at preserving fame with no real grit, substance, or possibly, effort, behind it.
When her first hits “Obsessed” and then – originally leaked – “2 die 4” (feat Charli XCX) were released, Addison was widely labelled as not just an unserious musician, but cringe. The music was mocked across social media, and scepticism was everywhere. However, with the release of “Diet Pepsi” and with one iconic scream on the “Von Dutch” remix from (again) Charli XCX’s Brat, Addison slowly started to turn heads.
After the release of her seductively addictive debut album Addison this summer and seeing her live performances, it became convincing that she could be part of the pop icon resurgence that has brought forward the new Powerpuff Girls of pop: Sabrina Carpenter, Chappell Roan and Charli XCX.
With this album, Addison finally seems to have found her sound, which makes the self-titled record even more satisfying. Addison is girly hyper-pop at its finest with upbeat tempos, flirtatious lyrics and synth-like vocals that create Addison’s unique style. In comparison to “Obsessed” and “2 die 4,” this album is in a league of its own, heavily steeped in early-2000s nostalgia whilst taking inspiration from modern pop. The album cover reflects this — it is uniquely Addison but also visually reminiscent of albums from Britney Spears, Hilary Duff and Gwen Stefani.
As the crowd stood waiting for Addison to come out onstage there was already a feeling that this would be more than just an hour-long set from a new artist, but a true performance. A heavy chandelier loomed above as fairytale-esque gates with the initial “A” inscribed stood waiting, the theatre of it all reminiscent of Chappell Roan’s high fantasy set for her current tour, although on a more minimalist scale and, presumably, a much smaller budget.
The gates finally opened, and with the opening notes of “Fame is a Gun” ricocheting through the venue this fairytale motif was immediately confirmed. Addison, with her blonde hair and a blue frock, took on the perfect Cinderella archetype. From start to finish, her dancers were incredible and put the whole performance on a level of quality usually reserved for bigger artists. As Addison’s blue dress was ripped to shreds by her dancers to reveal a vibrant underwear set, complete with neon stockings, anticipation only grew for the rest of the show.
Friends who had already been to see Addison the previous night had sent an avalanche of videos, but avoiding them paid off. After hiding from Instagram feeds all day, the reward was being invested in the twists, turns and sheer drama of each song. It was camp at its finest, but simultaneously raw; not only was Addison’s engagement with the crowd phenomenal, but the way she spoke to the audience like an old friend captivated the room. Her gratitude bled from every pore; whether this was an attempt to make the show longer or a series of passionate yet adrenaline-filled statements, it didn’t matter, because every single person felt it.
Besides the actual performance, Addison’s outfits were also immaculately put together. Styled perfectly to each song, the outfits ensured high-fashion campness whilst prioritising the fluidity of Addison’s movements. A favourite moment came with the song “In The Rain” where Addison’s pearlescent cowl-neck dress, coupled with her blonde flowing hair, gave her the appearance of an ethereal mermaid, playing into the complete visual fantasy of the show.
The night surged with spectacle after spectacle: dancing through the hyper-pop beats of “New York,” basking in fake money raining from the sky during “Money is Everything,” and screaming to the top of lungs on command in “Von Dutch.” Leaving the venue, it felt like a pop star had been born that night, and the next morning on the way to work, replaying the videos taken was proof enough of being spellbound by Addison’s energy, artistry and the music itself. In a music scene where the rapid but meteoric rise of Sabrina Carpenter and Chappell Roan can happen in a single summer, there is no reason Addison can’t find the same virality — warts (or rather, past TikToks) and all.
The moment the Addison Rae tour date landed on the calendar, my sister’s response was equal parts disbelief and humour: ‘What is she going to do on stage, the renegade?”
The comment, while hilarious, highlights the wider reputation of Addison that the new artist knows all too well. With her history on TikTok and as a former member of online collective the Hype House with Charli D’Amelio, Addison’s debut onto the music scene was met with an immediate sneer: another grab at preserving fame with no real grit, substance, or possibly, effort, behind it.
When her first hits “Obsessed” and then – originally leaked – “2 die 4” (feat Charli XCX) were released, Addison was widely labelled as not just an unserious musician, but cringe. The music was mocked across social media, and scepticism was everywhere. However, with the release of “Diet Pepsi” and with one iconic scream on the “Von Dutch” remix from (again) Charli XCX’s Brat, Addison slowly started to turn heads.
After the release of her seductively addictive debut album Addison this summer and seeing her live performances, it became convincing that she could be part of the pop icon resurgence that has brought forward the new Powerpuff Girls of pop: Sabrina Carpenter, Chappell Roan and Charli XCX.
With this album, Addison finally seems to have found her sound, which makes the self-titled record even more satisfying. Addison is girly hyper-pop at its finest with upbeat tempos, flirtatious lyrics and synth-like vocals that create Addison’s unique style. In comparison to “Obsessed” and “2 die 4,” this album is in a league of its own, heavily steeped in early-2000s nostalgia whilst taking inspiration from modern pop. The album cover reflects this — it is uniquely Addison but also visually reminiscent of albums from Britney Spears, Hilary Duff and Gwen Stefani.
As the crowd stood waiting for Addison to come out onstage there was already a feeling that this would be more than just an hour-long set from a new artist, but a true performance. A heavy chandelier loomed above as fairytale-esque gates with the initial “A” inscribed stood waiting, the theatre of it all reminiscent of Chappell Roan’s high fantasy set for her current tour, although on a more minimalist scale and, presumably, a much smaller budget.
The gates finally opened, and with the opening notes of “Fame is a Gun” ricocheting through the venue this fairytale motif was immediately confirmed. Addison, with her blonde hair and a blue frock, took on the perfect Cinderella archetype. From start to finish, her dancers were incredible and put the whole performance on a level of quality usually reserved for bigger artists. As Addison’s blue dress was ripped to shreds by her dancers to reveal a vibrant underwear set, complete with neon stockings, anticipation only grew for the rest of the show.
Friends who had already been to see Addison the previous night had sent an avalanche of videos, but avoiding them paid off. After hiding from Instagram feeds all day, the reward was being invested in the twists, turns and sheer drama of each song. It was camp at its finest, but simultaneously raw; not only was Addison’s engagement with the crowd phenomenal, but the way she spoke to the audience like an old friend captivated the room. Her gratitude bled from every pore; whether this was an attempt to make the show longer or a series of passionate yet adrenaline-filled statements, it didn’t matter, because every single person felt it.
Besides the actual performance, Addison’s outfits were also immaculately put together. Styled perfectly to each song, the outfits ensured high-fashion campness whilst prioritising the fluidity of Addison’s movements. A favourite moment came with the song “In The Rain” where Addison’s pearlescent cowl-neck dress, coupled with her blonde flowing hair, gave her the appearance of an ethereal mermaid, playing into the complete visual fantasy of the show.
The night surged with spectacle after spectacle: dancing through the hyper-pop beats of “New York,” basking in fake money raining from the sky during “Money is Everything,” and screaming to the top of lungs on command in “Von Dutch.” Leaving the venue, it felt like a pop star had been born that night, and the next morning on the way to work, replaying the videos taken was proof enough of being spellbound by Addison’s energy, artistry and the music itself. In a music scene where the rapid but meteoric rise of Sabrina Carpenter and Chappell Roan can happen in a single summer, there is no reason Addison can’t find the same virality — warts (or rather, past TikToks) and all.
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