{"id":1090,"date":"2026-07-05T13:43:44","date_gmt":"2026-07-05T13:43:44","guid":{"rendered":"https:\/\/commercialrelocationpros.com\/?p=1090"},"modified":"2026-07-05T13:43:44","modified_gmt":"2026-07-05T13:43:44","slug":"music-is-in-its-flop-era","status":"publish","type":"post","link":"https:\/\/commercialrelocationpros.com\/?p=1090","title":{"rendered":"Music Is in Its Flop Era"},"content":{"rendered":"
\n

This past May, the globally famous pop star Lizzo was spotted on the side of a busy road in Los Angeles, putting up her own posters. Wearing a white crop top and a tiny skirt, she dipped a long brush into a bucket of paste and then used her body to press her new album cover onto a wall. A passing car stopped, and its driver told her that his mom was a big fan. Lizzo asked, \u201cDid she presave my album?\u201d<\/p>\n

Read more What Trump\u2019s July 4 Speech Revealed<\/a><\/p>\n

This grunt work, captured in a video posted to Lizzo\u2019s social-media accounts, was part of a marketing campaign emphasizing her own unpopularity. Leading up to the release of her fifth studio album, Bitch<\/em>, early last month, the 38-year-old singer flooded the internet with posts expressing her irritation that her music wasn\u2019t finding its audience. She accused her label, Atlantic Records, of shirking its promotional duties. She also complained that algorithms, her personal enemies, and the decline of radio were all hindering her success. In the end, Bitch<\/em> indeed floundered, selling just 2,650 copies in its first week and missing the Billboard<\/em> 200 albums chart entirely.<\/p>\n

That\u2019s quite a fall from her previous studio album, Special<\/em>, which debuted at No. 2 in the summer of 2022 and generated the double-platinum disco bop \u201cAbout Damn Time.\u201d And although entertainers fading from glory is a classic story, Lizzo\u2019s problems come at a time when pop culture\u2014especially in the music world\u2014seems fascinated by failure. Fans, pundits, and even artists lately seem to be talking about flops more than successes.<\/p>\n

Among highly online pop obsessives, perhaps the defining slang of the era is Khia Asylum: <\/em>an imaginary jail containing divas who can\u2019t reliably land a hit. It\u2019s named for the singer Khia, who never had much success after her 2002 smash, \u201cMy Neck, My Back (Lick It).\u201d (Khia has never commented on being memorialized so rudely.) Bebe Rexha, a singer who\u2019s bounced around the industry for a while without ever achieving broad name recognition, recently posted a TikTok of herself in high heels on a treadmill\u2014a joke about the grueling life of an asylum dweller. Earlier this year, Charli XCX\u2014a critically acclaimed but commercially niche artist until the mainstream breakthrough of her 2024 album Brat<\/em>\u2014said on an influencer\u2019s chat show that she was \u201cso happy to be out\u201d of the asylum, \u201cbut just \u2019cause you get out once, it doesn\u2019t mean you\u2019re not going back.\u201d<\/p>\n

Other genres are hosting similar conversations. Hip-hop media has an ongoing debate about why so few new rappers have broken through in recent years. Titans such as Drake and Kendrick Lamar have endured intense scrutiny about whether their reach has been inflated by bots and psyops. Last year, the streamer turned emcee DDG publicized the fact that his new album had sold only a few hundred copies (thereby drawing attention to his music and inspiring one popular X post about how \u201cDDG is the first rapper to ever fake a flop\u201d).<\/p>\n

Even in the supposedly sales-agnostic indie world, latent performance anxiety has bubbled up. Just look at the resentful backlash to the revelation that the marketing firm Chaotic Good had created astroturfed social-media campaigns for a number of buzz bands. The songwriter Eliza McLamb wrote that she wished she\u2019d been able to fake a hype wave for herself; around the same time, the rock artist Hiroki Tanaka aired his frustration with his new album racking up just 2,000 streams after he\u2019d hustled to market himself on social media, just as his managers had advised him to do. Last month, the electronic artist James Blake summed up the mood across music when he posted consoling words for artists who feel like no one\u2019s tuning in: \u201cYou\u2019re probably doing better than you think.\u201d<\/p>\n

Is that true? Many of pop culture\u2019s most legendary flops have indicated clear-cut shifts in public tastes. Sunset Boulevard<\/em>\u2019s antiheroine Norma Desmond was a silent actress left behind by the talkies; the narrative of A Star Is Born<\/em> is about the eternal cycle of ingenues upstaging veterans; the flash in the pan Vanilla Ice, I was recently reminded, marked the turn from the earnest \u201980s to the jaded \u201990s. But today\u2019s struggling stars and their fans seem perplexed by what\u2019s going on. They blame larger systems; they sometimes resort to conspiracy thinking; they seem, well, trapped in an asylum. A new nightmare of downward mobility is in the air: fear of betrayal by the attention economy.<\/p>\n

Lizzo\u2019s downfall in particular has the makings of a cautionary myth. She was once the ultimate example of how the internet had redefined popularity by upending old ideas of how a star could look and sound.<\/p>\n

When she launched her career, in the early 2010s, streaming and social-media networks were new on the scene, and their effects were still being understood. Platforms such as Spotify rewarded music that was useful<\/em>\u2014ready to be playlisted for workouts and party nights. Facebook and Instagram boosted entertainers who could be relatable\u2014<\/em>welcome additions to a feed filled with friends, brands, and memes. An underground rapper with a knack for motivational speech (and a charming talent for playing the flute), Lizzo hit the strike zone: personally specific, broadly appealing, able to inspire laughs and dancing at once. She began building a fan base, but, much more important, she built a following: lots of people who were happy for her to be an ingredient in their algorithmically shaped digital diets.<\/p>\n

Another technological sea change, the rise of short-form video, propelled her first smash hit, \u201cTruth Hurts.\u201d TikTok had only recently launched, blowing up in the United States in 2018, and it immediately compressed music consumption and online distraction into one addictive pastime. Lizzo proved a natural fit for it: Her songs were full of catchphrases and micro-comedy, and she had the kind of innate charisma that could draw millions of people to watch her shake a salad. \u201cTruth Hurts\u201d had been released in 2017 but didn\u2019t break through until 2019\u2014a lag that demonstrated the unpredictable way virality was starting to work. The track had been featured in a Netflix rom-com, which caused it to go viral on TikTok, where it inspired a trend in which users pretended to take a DNA test (like Lizzo sings about) to confirm their identity (a French TikToker took a test and held up a baguette).<\/p>\n

The same technological developments that fueled Lizzo\u2019s rise seemed to converge with a sociopolitical shift: the rise of so-called woke culture. (In fact, technology largely drove<\/em> this change by connecting different identity groups in new ways.) A proudly fat Black woman singing about loving herself for who she was, Lizzo made body positivity, anti-racism, feminism, and queer allyship central to her brand. Those attributes once would have marked her as an outsider to the mainstream, but now she was an obvious favorite of the cultural establishment\u2014heard in commercials, seen at awards shows, and anchoring her own Amazon reality series about plus-size dancers.<\/p>\n

But that rise was soon jolted by scandal. A 2023 lawsuit from three backup dancers alleged that she had created a hostile working environment, including by pressuring them to touch nude performers at a strip club in Amsterdam and by giving feedback that one plaintiff described as \u201cweight shaming.\u201d Lizzo denied the allegations, and portions of the suit were dismissed by a judge (others are still proceeding). But much of the publicity surrounding the case carried a clear implication: Lizzo\u2019s uplifting, inclusive shtick might be a front.<\/p>\n

Read more Why Doug Jones Keeps Running<\/a><\/p>\n

Her commercial struggles since then\u2014her 2025 mixtape, My Face Hurts From Smiling<\/em>, didn\u2019t chart\u2014now seem to make for a tidy narrative about Lizzo as the victim of a cultural mood swing, like Pat Boone after the Beatles. Her image was dinged just around the time that the progressive pop-culture wave of the 2010s seemed to be receding. Donald Trump\u2019s 2024 reelection had been interpreted as the ultimate rebuke of wokeness; Lizzo had now been expelled from the spotlight; QED.<\/p>\n

The story can\u2019t possibly be that simple, though. The lawsuit may well have turned some of her core fans away, and the culture wars may have also scared off some casual ones. But Lizzo wasn\u2019t just a social symbol; she was a musical force. Her songs are (still) in wedding-DJ rotation not because they serve some political ideal but because they are sticky, sassy smashes that people of all stripes can enjoy. At a time when everyone understood that popular culture was fracturing into pieces, she was still making songs for the center. And now her new stuff is nowhere.<\/p>\n

Lizzo\u2019s own rollout for Bitch<\/em> has hinted at shadowy explanations for why she doesn\u2019t have the juice (ha) she once did. \u201cIt\u2019s like, I have people who want to buy my album\u2014but how they gonna buy it if they don\u2019t know it\u2019s for sale?\u201d she said in a social-media video in which she spoke to the camera and rubbed her face, exasperated. \u201cIt\u2019s actually driving me crazy. I actually don\u2019t know how much more of this I can take.\u201d<\/p>\n

The energy she was giving off\u2014of a woman driven mad by the system\u2014resembled how lots of other musicians have been feeling lately. Conspiratorial framings of how popularity is awarded and denied can be seen in the Chaotic Good fracas, in widespread panic over AI replacing human creators, and in the pervasive belief that TikTok\u2019s algorithm has changed insidiously since an investor group including Larry Ellison\u2019s Oracle took it over. James Blake thinks that critics, influencers, and even fans can\u2019t be trusted anymore\u2014they might be paid off, or they might be simulated. \u201cIf you\u2019re an artist,\u201d he wrote on Instagram, \u201cremember that in 2026 there\u2019s not a single part of the system that isn\u2019t faked.\u201d<\/p>\n

Some of this paranoia is warranted. But if fakery\u2014long part of the music-promo equation\u2014seems especially prominent right now, that\u2019s because of a dreary underlying truth: This era of the internet is becoming stale, and the trajectory it set culture upon is reaching a terminal point. After years of explosive expansion, U.S. growth for Spotify and TikTok have shown signs of slowing, likely because of market saturation. Gatekeepers and institutional kingmakers have been so steadily undermined that they might as well not exist. The revolution has been won\u2014the audience is in charge. And what the audience wants to do, at mass scale, is scroll.<\/p>\n

After all, the very same technologies that stars like Lizzo benefited from\u2014especially web video\u2014also functionally compete<\/em> with music consumption. As of this year, YouTube streams no longer count for the Billboard<\/em> charts; TikTok plays never have. And though some combination of utility and relatability appeared to drive pop stardom early in the Spotify age, those attributes seem to have decoupled over time. Many of today\u2019s musical figures are far more \u201cfollowed\u201d than they are listened to, effectively acting as influencers. And many popular songs these days have little personality\u2014relatable or not\u2014attached at all.<\/p>\n

This is why the Billboard<\/em> Hot 100 over the past few years has largely occluded into a repository for easy-listening music by the low-drama likes of Bruno Mars and the rising U.K. soul singer Olivia Dean. Exceptions\u2014hitmakers foregrounding personal pizzazz and narrative\u2014of course exist, and artists that have truly devoted fandoms are doing okay. But even Taylor Swift seems to be calibrating for the audience\u2019s growing disinterest and distraction. Last year\u2019s The Life of a Showgirl<\/em> broke records through brazen promotional tactics\u2014such as encouraging fans to buy many copies of the album\u2014that made it difficult to gauge how popular her music still was by traditional metrics. It was, in effect, an attempt to convert, by brute force, Swift\u2019s incredible social-media reach into equally incredible sales figures.<\/p>\n

Whatever you might say about Lizzo, she was an expert at demanding attention, both musically and meta-musically. Her songs could scan as mall-friendly background noise, but they had comedy and color and even a little edge. Bitch<\/em> pushes that edge ever so slightly. The album cover is a not-so-metaphorical middle finger; the songs are darker and more resentful than what she\u2019s known for. It asks a tiny bit more of its listeners than her past albums\u2014and, judging by the commercial performance, many of her followers were only ever lightly attached to her. Some former listeners may have heard the new singles and hit \u201cNext.\u201d Many others probably never got to that point because, as she suspects, whatever she\u2019s doing isn\u2019t algorithmically palatable.<\/p>\n

Lizzo now seems to be reckoning with that fact in a clear-eyed way. After her album bombed, she gave an interview to the YouTube music critic Swiftologist in which he asked, blankly: \u201cLizzo, are you in the Khia Asylum?\u201d She said no\u2014she\u2019s too famous, with too many previous achievements, for that.<\/p>\n

But she also struck a conciliatory tone about the record company she\u2019d previously lambasted. She relayed a story about asking her label why her album was performing so poorly even though she had been making lots of noise on social media. The answer was: \u201cWell, that\u2019s in the hands of the people.\u201d The real nightmare\u2014for her and so many others who are anxious about flopping right now\u2014is not that she\u2019s being blocked from the market, but rather that the market is all there is.<\/p>\n

Read more Prepare for Airplane Purgatory<\/a><\/p>\n<\/section>\n","protected":false},"excerpt":{"rendered":"

The algorithms aren\u2019t the only thing to blame for why some artists are failing to take off.<\/p>\n","protected":false},"author":1,"featured_media":1089,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-1090","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture"],"yoast_head":"\nMusic Is in Its Flop Era - Commercial Relocation Pros<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/commercialrelocationpros.com\/?p=1090\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Music Is in Its Flop Era - Commercial Relocation Pros\" \/>\n<meta property=\"og:description\" content=\"The algorithms aren\u2019t the only thing to blame for why some artists are failing to take off.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/commercialrelocationpros.com\/?p=1090\" \/>\n<meta property=\"og:site_name\" content=\"Commercial Relocation Pros\" \/>\n<meta property=\"article:published_time\" content=\"2026-07-05T13:43:44+00:00\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=1090#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=1090\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/#\\\/schema\\\/person\\\/3a3374a445f1b5d4852b1d7c15b9fe3a\"},\"headline\":\"Music Is in Its Flop Era\",\"datePublished\":\"2026-07-05T13:43:44+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=1090\"},\"wordCount\":2288,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=1090#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/commercialrelocationpros.com\\\/wp-content\\\/uploads\\\/2026\\\/07\\\/2e89f57d72eaac0edc6e750d03ae61ef.avif\",\"articleSection\":[\"Culture\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=1090#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=1090\",\"url\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=1090\",\"name\":\"Music Is in Its Flop Era - 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