Is it really poppin?

Tinashe has never been particularly interested in keeping her music inside one box, and Popstar continues that approach with a collection of glitchy electronics, alternative R&B, club rhythms and traditional pop hooks. Across 16 tracks, she jumps between different vocal styles and production choices, sometimes creating something genuinely mesmerizing and sometimes making the music feel more awkward than adventurous. The appeal is in that unpredictability. Strange synths, distorted vocal effects and deep, rumbling bass give the album a personality that separates it from more predictable pop releases. However, not every experiment lands equally well. Some of the beats feel deliberately off-kilter in an interesting way, while others become clunky enough to distract from the songs themselves.

“Sunglasses” introduces the album with mechanical, winding synths, plucky bass and soft, almost conversational vocals. The production feels like an R&B song being gradually taken apart and rebuilt with digital glitches, distorted textures and unusual rhythmic choices. It's ambitious, and the contrast between her airy delivery and the thick bass gives the track an appealing atmosphere, but the beat occasionally feels as though it's fighting against itself. “Too Easy” follows with deeper drums and a similarly unpredictable groove, finding a strange balance between awkward timing and an addictive rhythmic pulse. The vocal approach is familiar, but the production keeps things interesting. By the time “Melatonin” arrives, the album starts to find its footing. The repeated hook is catchy, the beat is tighter, and the combination of deeper electronic sounds and more focused singing makes the track feel like a complete song rather than an experiment searching for a destination.

That tension between polished pop and stranger electronic ideas continues through “Empty Stadium” and “Flashbacks.” The former uses soft ambient textures, string arrangements, deep bass and layered backing vocals to create something spacious and delicate. Tinashe's delivery feels less focused on showing off individual vocal tricks and more concerned with fitting naturally into the atmosphere. “Flashbacks,” on the other hand, embraces the album's more chaotic side, mixing soft piano with glitchy vocal effects and sudden changes in tone. The contrast between its elegant production and more exaggerated vocal moments can be entertaining, although the song occasionally feels awkward in its execution. These tracks capture both sides of Popstar: Tinashe clearly has an ear for unusual textures, but some of those choices work better as production details than as the centerpiece of a song.

The record becomes more consistently engaging when it leans toward R&B. “I'd Rather Be Alone” pairs deep, heartbeat-like bass with soft synths and layered vocals that sound smooth and confident. The textures are more restrained here, allowing the groove and vocal performance to take priority. “Crash Out” brings a heavier low end and a relaxed, West Coast-inspired bounce, with Tinashe sounding comfortable over the beat rather than forcing a particular persona. “Pillow Fight” is another highlight, using dreamy keys, playful percussion and thick bass to create a laid-back atmosphere that feels refreshing amid the album's more restless experiments. “Nobody Wanna Dance Anymore” follows a similar path, building its appeal around deep bass, strong vocal harmonies and a hypnotic rhythm. These songs demonstrate that the album doesn't need to be constantly throwing strange sounds at the listener to stay interesting. Sometimes the strongest choice is simply giving a good groove and a solid vocal performance room to develop.

“Twentyfive Eight” brings back the more unusual electronic textures, combining out-of-sync synths, deep bass and light vocals into a relaxed, slightly surreal groove. It feels like a welcome return to the album's stranger opening moments without becoming as awkward as some of them. The brief “The Show Must Go On” functions more as a transition than a fully developed song, but it leads neatly into the title track. “Popstar” is understated compared with what its name might suggest, using soft, echoing vocals and a simple beat to explore the pressure and expectations surrounding the idea of fame. Tinashe sounds sincere here, and the uncomplicated arrangement allows the song's emotional side to come through. The vocal performance becomes particularly effective toward the end, when the beat recedes and her voice has more space to carry the moment.

The final stretch is more divisive. “Brainrot” pairs a lively, almost '90s techno-inspired beat with faster, higher-pitched vocals that sometimes become grating, especially when the title is repeated over and over. The instrumental is genuinely fun, but the vocal approach doesn't always click. “Cloud 9” goes in the opposite direction, piling on deep, booming bass and high-pitched synths until the low end becomes almost physically abrasive. The lighter textures introduced toward the end help the arrangement settle, but the song takes some patience to get through. Fortunately, “Heavy Weight” closes the album on a gentler note, with acoustic guitar and soft vocals providing a welcome contrast to the preceding electronic overload.

Popstar works best when Tinashe balances experimentation with the qualities that have made her such a compelling R&B artist: strong melodies, confident delivery and an instinct for a memorable groove. The glitchy production gives the album character, and the more traditional R&B tracks offer some of its most satisfying moments. However, the stranger beats and vocal choices occasionally feel awkward rather than genuinely innovative, leaving parts of the album less memorable than they should be. There's a lot to appreciate here, particularly in the way Tinashe moves between styles without relying on guest appearances, but the record would be stronger if every experiment served the song as effectively as the best moments do.