Internet users seem to have found an unexpected character to collectively deride, and it’s the woman who once dared to croon ‘I Kissed a Girl.’ Katy Perry apparently provides much material for mockery these days. Despite her impressive wealth and the possession of a music anthology valued at $225 million, coupled with numerous platinum records and a worldwide tour, Perry seems to be in perpetual pursuit of a win.
Reflect on a common instance from her rejuvenated ‘Lifetimes’ tour which traverses from Mexico to the US, Canada, and Europe, before drawing to a close in Abu Dhabi. It’s her first such excursion in the last seven years. As the attendees filled the spaces, an unmistakable air of discomfort permeated the venue, especially when Perry invited an 11-year-old onstage, creating an off-putting spectacle.
Yet, the question that rings loudly is: Who is floundering more spectacularly than Katy Perry? Her recent offering, ‘143,’ has fallen far short of her past commercial success, bar her initial 2001 album ‘Katy Hudson.’ ‘143’ is akin to an upmarket eatery serving food so mediocre it verges on being offensive.
Fast approaching her fifth decade, Perry finds herself confronted with the choice between two diverging roads. Her recent albums have largely been commercial failures, her once viral music videos have faded into obscurity or become cringe-worthy relics, and her stint judging on American Idol appears to have backfired, shrinking her relevance rather than increasing it.
Nothing that Perry has produced since the ‘Teenage Dream’ days has managed to imprint itself on our charts, our culture, or our psyches in any meaningful way. The only exception might be her ill-fated foray into the cosmos. Despite these setbacks, Perry’s act still holds some commercial worth. But, as of the moment this was penned, seats were still readily available for her upcoming Madison Square Garden concert.
Yet, the true root of Perry’s ongoing disarray runs deeper. She shocked her fanbase by once again joining forces with Dr. Luke for her latest album – the same producer who was mired in a controversial lawsuit more than ten years ago, with Kesha accusing him of sexual assault, battery, and harassment. Their legal tussle wrapped up in an out-of-court settlement in 2023, but this did little to allay the outrage, especially when Perry’s support for political figures like Kamala Harris came across as half-hearted and unconvincing.
Interestingly, while staging herself as a progressive in public spheres, Perry is also known for her private associations with figures like Jeff Bezos. It’s a paradox that doesn’t go unnoticed. Where other celebrities often exist in dualities, Perry seems to thrive in contradictions. And people are beginning to question these inconsistencies.
Being a pop icon often requires an acceptance and embrace of hyperbolic excess. Perry, for a time, managed to mitigate these over-the-top stigmas with a simple, yet effective approach – humor. More than her striking blue eyes, her bosom or her vocal prowess, her distinctiveness was built on her ability to laugh at herself, our peculiar world and even at her audience.
Perry’s music carried a tinge of sarcasm, a punch at men desiring a fantasy rather than a genuine woman and a cheeky nod to women seeking more than just the role of a cute female. Performing ‘California Gurls’ during her Las Vegas residency three years ago, Perry straddled gigantic toilet paper rolls as a humanoid poop danced within an oversized, orange toilet. It was ridiculous, yet engaging.
Today, Perry is markedly different. She’s viewed sobbing in space while clutching a flower; a scene far removed from the jokes she once made. The once-jester now potentially stands as an object of ridicule herself. Katy Perry used to wield the humor, but in a strange twist of fate, it appears the laughter is now being directed at her.
Chaperoned around the nation by her Pentecostal pastors parents in her early years, Katheryn Elizabeth Hudson spent a sheltered childhood mostly within the confines of the churches they set up. Renowned for their stringent policies, her parents allowed them access to only the Trinity Broadcasting Network or conservative news.
Her musical talents were recognized at an early age, singing in her family’s church when she was just 13. Her first official foray into the world of music was under the guise ‘Katy Hudson’, a self-titled gospel album. At 17, she relocated to Los Angeles in search of secular musical opportunities.
Perry initially carved out an image more reminiscent of Alanis Morissette than Madonna, dabbling in irony without fully committing to feminism. Not quite the dim-witted pop star, yet far detached from scholarly pursuits, Perry sketched out a multi-faceted persona of both a man’s girl and a woman’s confidante.
Her success wasn’t taken too seriously by herself, providing her a unique position amid the star-studded milieu. But over time, that very sense of humor which was the linchpin of her charm seems to have been misguided, bungled, and ultimately, lost altogether.
Perry’s followers, too, have seen a drastic change, bypassing the need for the dated variety of escapist pop she represented. All these factors have woven together a reality where Perry’s brand of star power finds little room or necessity to exist.
Teetering on the precipice of irrelevance, Katy Perry’s comedic charm has diminished, exposing stark contradictions. As the laughter dwindles, her standing as a popular music figure is increasingly called into question. In a world that has moved beyond her brand of pop, there seems to be very little room left for a faded star like Perry.