If you have not caught up, Rebecca Black is, dare I say, at the forefront of dance-pop and electropop music today. Introduced to the masses through her debut single in 2011, “Friday,” Black received scathing reviews as a teenager, eventually fading into relative obscurity. However, over the past few years, she has found her lane, releasing the records Let Her Burn in 2023 and Salvation in 2025, which have completely reshaped her public perception. Released on September 4, Age of the Exhibitionist, marks Black’s second studio album, continuing her upward trajectory as an artist, yet leaving room for growth. 

As one might imagine, this project features thudding bass and rapid-fire kicks to a prominent extent. From that statement, one might immediately expect monotone production, but, in reality, that could not be farther from the truth. There is an eclectic mix of influences throughout, ranging from trip-hop, EDM, to even R&B, and this combination works surprisingly well. For instance, immediately after the up-tempo, mania-inducing “Miss Delicious,” the trip-hop ballad “Pistol” follows, oddly complementing its prior track. While captivating, this mixture of influences can be a double-edged sword. By drawing on various musical influences, artists sometimes leech off too much and sound derivative, and unfortunately, Black occasionally falls victim. Most egregiously, on “Waschesalon,” Black’s production incorporates electro-industrial influences, but in doing so, it rehashes similar grotesque-sounding tracks to those on Slayyyter’s Wor$t Girl in America. To an extent, the album’s production seems to generally reflect overall trends in indie-sleaze revival. Fortunately, this issue is minimized because the production is well-executed. Case in point, the bridges throughout the record are smooth like silk. I personally paused and rewinded “Hot Wet Delirious” and “Speakerphone” because of how they transitioned from verse to chorus effortlessly, a rarity in today’s pop world that increasingly omits bridges.

From her aggressive, layered singing in “Anaheim Star” to her sultry sound on “Exhibitionism,” Black absolutely tests the waters vocally. Does this experiment always pan out? Not quite. See “Pistol,” for example, in which Black sings frustratingly breathily to the point where she sounds congested. But, when her experiment works, Black’s voice becomes just another instrument, creating an incredibly immersive experience. This effect is pronounced on “Speakerphone,” where her voice acts as a synthesizer at certain times. 

Lyrically, Black blurs the line between creative genius and comedy. On “Speakerphone,” she writes, “I’m ex bi-curious, now I’m try-sexual.” To a similarly hilarious effect, on “Waschesalon,” Black proudly announces, “I’m getting freaky with strangers like this is Chatroulette.” Comedic, no doubt. But, at the same time, who else is coming up with these one-liners? No one that I can recall. 

Perhaps, the strongest suit of this record is Black’s thematic cohesiveness. The album’s narrative begins on the first track, “Anaheim Star,” where she is encouraged to initiate a romantic endeavor with a familiar individual, singing, “I saw a face I recognized / Jessie said, ‘Take it, make it mine.’” This encounter develops on the following track, “Hot Wet Delirious,” in which Black acknowledges her great desire for this individual, but she also states, “Know I’ll regret your ecstasy / A recipe for a disaster.” Clearly, Black is hinting that this relationship will be short-lived, but the causes for why are not determined until "Exhibitionism." Here, Black seems to chase the validation of her partner, who seems to ignore her aside from her sexual advances. On “Corsetry,” this partner tells Black that “the distance keeps her up at night,” but our protagonist luckily sees through the facade and declares that “I know what I have to do,” ending the relationship in the song’s final line, “Kill the drums.” Afterwards, Black seemingly travels to a club in “Miss Delicious” to release her anguish and compares her ex-partner to a gun on “Pistol.” The following song “Backstage Baby Interlude,” changes the trajectory of the project, as Black states, “I’m the one who holds the pistol now.” Her statement is corroborated by the final few songs, where Black engages in several flings for enjoyment, not to pursue another relationship. 

However, this arc of a romantic pursuit may not literally be between two humans. Rather, it may be about Black’s relationship with fame, something she has been familiar with since a young age. For example, in “Anaheim Star,” she sings, “Demoralize me and change my name / How far I'll go once you gave me a taste,” highlighting how her surge to popularity through the infamous song “Friday” warped perceptions of her that still negatively affect her today. “Exhibitionism” most overtly critiques the transformative power of fame, as the chorus is a repeat of the title, indicating how much effort Black has to uphold her masquerade, possibly to avoid even further negative backlash. Furthermore, on “Corsetry,” Black sings, “Suck it in and pull it tighter, push me forward down the aisle,” a line incredibly fitting given the title of the track. Using this symbolism, Black indicates how fame is relentless and has unrealistic expectations, but the cycle continues because that is the way things are. “Visions Again” continues and finishes Black’s critique, repeatedly urging us to “question your point of view.” Many, including me, have perceptions of fame that are favorably influenced by Hollywood and other institutions that are harmful due to the stark contrast in actual reality. This theme Black explores is somewhat reminiscent of Mulholland Drive, as the film shares a similar critique of the entertainment industry, though Black offers a significantly different perspective as a musician.

In sum, Age of the Exhibitionist is a well-thought-out record. There is room for improvement, especially in the production and, relatedly, differentiating herself from other contemporaries. Black’s storytelling is impressive and craftful, even humorous at times. At this point, “Friday” is, definitively, no longer a cloud over her head. I find myself excited for what is to come, and I truly believe she has the potential to create a genre-defining project.