Halsey’s bid at true meaning on hopeless fountain kingdom is to simply prove she’s “more than capable of writing radio music,” as she told Rolling Stone. This is certainly less outwardly exploitative than the antiquated pop model of finding a teen, then corrupting their fictionalized innocent image for public ogling. And most musicians prefer to think they’re making art, not content-especially with an audience that demands increasing creative control from artists and an industry that doesn’t keep up. It’s easy to see why: Streaming is a hopeless penny fountain, radio is a hopeless playlist kingdom, so one scrounges any extramusical interest one can. Artists from The Fame-era Lady Gaga to suddenly-woke Katy Perry conduct album campaigns about how their music truly means something.
Beyoncé’s last two albums are bona fide franchises. Tove Lo’s debut as the voice of Max Martin’s Wolf Cousins writing collective was presented as a four-part concept album about emotional turmoil. There were actual fountains and actual newspapers sent to actual doorsteps, but in 2017 this is the status quo.
Halsey’s sophomore album *hopeless fountain kingdom *comes with a backstory to rival an ARG.
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