If there’s anything good about a depressing American economic downturn, it’s that we usually get effervescent and liberating pop music out of it.
For example, in 2008, while the Great Recession was decimating the housing market and ruining middle class Christmases all across the nation, Lady Gaga was releasing her debut album The Fame. With hits like “Just Dance” and “Poker Face,” Gaga quickly revitalized dance-pop and offered teens and young adults throughout America a comforting call to the club.
That same year we also got the rise of Katy Perry, who dropped her album One of The Boys and quickly became beloved for her kitschy image. She reached full stardom two years later though, with the release of her record-breaking album Teenage Dream.
Both Gaga and Perry have gone on to have exceptionally successful careers that sprouted in the economically disastrous year of 2008. And now, in 2025, they’ve both recently launched new album campaigns that specifically reference their previous “recession era” work.
One campaign was a complete tragedy though, while the other was a successful restoration.
Let’s start with the disaster, Katy Perry’s campaign for her 2024 album 143. She made the sticky decision to work with infamous producer Dr. Luke again, whom now is best known for his repeated sexual assault allegations–not for his late 2000s hits.
While she originally started collaborating with him again in order to revive her bubblegum pop tendencies, this distasteful decision led to outcry from pop fans. Perry went on to never really atone for her actions or justify the collaboration, and after the album was completely panned and came nowhere near the commercial success of her previous works, it was clear that her decision was a stupid one.
143 will go down as one of the biggest flops to ever flop. The record’s lead single “Woman’s World” peaked at number 63, which is extremely disappointing for someone who’s regarded as such a commercially successful pop star.
Lady Gaga on the other hand, has been incredibly successful with her recession restoration album campaign.
Her new album Mayhem, features singles “Die With a Smile” and “Abracadabra,” which have both been incredibly successful. “Die With A Smile” in particular is an absolute smash, hitting #1 and staying there for weeks as well as winning a Grammy.
“Abracadabra” calls back to her late 2000s and early 2010s sound of dark and feverish dance pop, and was met with exceeding praise for being one of the most interesting and compulsive pop songs released in a while.
The album overall is a great listen. Gaga goes out of her way to have fun and embrace oddities in her musical identity, and she really takes on the persona of a glam-rock Bowie-esq star. It’s one of her best records in years, and it’s been well received by both fans and critics.
Both Perry and Gaga are regarded as iconic pop stars, but there’s a massive difference between them. Perry is seen as a pop star, and Gaga is seen as an artist.
Gaga has built up a legendary reputation over the years, and she’s become universally beloved because of her multifaceted career. She appeals to everyone, from teenagers “Abracadabra-ing” on Tiktok, to grandparents listening to her Tony Bennett jazz collabs.
This isn’t meant to be some attack on Katy Perry by any means. At her best, she was able to create some of the greatest pop songs of the past 20 years. But, at her worst, she seems like she has very little vision for herself and her work, and right now it feels like she’s grasping onto any last bit of relatability and importance left in her career.
Both stars have been able to capitalize on the market of escapism pop throughout their careers. We needed it back in 2008, and we need it again in 2025. And while Katy tried to stuff pseudo-passionate pleas for feminism into 143’s lead single “Women’s World,” Gaga was able to get the same point across in tracks like “Shadow of a Man” on Mayhem all while upholding her typical level of artistry and introspection.
There’s absolutely nothing wrong with politically tinged pop music, but you have to be nuanced and smart about it. Part of the beauty of Gaga and Perry’s original appeal during the recession era was that their music distracted people from the disaster happening around them.
And while Gaga was able to tap back into that market, Perry wasn’t. Mayhem shows a promising return of fun and vivid pop after years of minimalistic pop being the trend, but 143 just plays into all of the typical pop cliches of the past decade.
So now, pop fans watch as Perry slides into irrelevance and Gaga re-enters the forefront. But hey, at least recession pop is back in full swing, even if the means don’t justify the outcome. Reasonably priced eggs or a good Gaga record–your choice.