Rebecca Black, electronic-pop artist, is back with her EP “Age of the Exhibitionist.” The singer known behind the 2011 phenomenon “Friday” has since rebranded into a mature, experimental and significant figure in modern electronic-pop. 

While Black has obtained decent traction throughout the years, she was not receiving the same “break-through” moments other electronic-pop artists like Charli XCX (“Music, Fashion, Film”) or FKA Twigs (“EUSEXUA Afterglow”) have recently had. That was until her triple j “Like A Version” cover of “Fame is a Gun,” originally performed by Addison Rae (“Addison”), began trending across platforms. Audiences were captured by Black’s interpretation of the song, and she has had them hooked since. 

Since 2025, Black’s music has been continuing down a confident, bold and club-like trajectory. Her past release “SALVATION” is primarily house-electronic, with fast and rhythmic beats as the groundwork for her melodic-pop vocals. Black also seems to appreciate some drum and bass as multiple of her songs, such as “Tears In My Pocket,” incorporate rapid programmed drum beats. What is most evident however is her love for synth-pop. Imagine if 100 gecs (“10,000 gecs”) met PinkPantheress (Fancy Some More?). The result would be Black’s most recent discography. 

“Age of the Exhibitionist” is no different as far as the genre goes. Black has found her sound, and she is self-assured that this sound was made for her. The production quality has undoubtedly increased compared to her previous works. “Age of the Exbitionist” flows well consecutively. That is not to say all of the songs sound the same, but the tracks do all have a darker, more assertive tone. “Age of the Exbitionist” has potential to be one of the most recognized albums this year, especially when considering pop releases. As long as the album gains traction, Black could easily have another “break-through” moment this year. 

On “Age of the Exhibitionist,” there is a decent balance between experimenting and playing it safe. Many artists feel the need to reinvent the wheel, especially in the digital era where everything an artist releases could be criticized by thousands in seconds. Black accomplishes creating a unique sound without making the album unlistenable. Electronic artists often walk a fine line with this because of the pressure to always be experimental. Tracks such as “Pistol” and “Visions Again” lean more into the singer’s pop sound, whereas “Waschesalon” and “Metamorphia” sound like they were ripped from the set of an underground DJ. 

Some of the tracks did, unfortunately, feel a bit forced and slightly boring. A few of the songs are bound to appear surface level. Black probably feels massive pressure to maintain this “cool girl” brand image. When artists are so concerned with fitting a quota, this often reflects poorly on the music. Regardless, the album is still commendable. 

If there is one thing “Age of the Exhibitionist” has proved, it is that the 2020’s electronic music resurgence is only growing. Black now joins artists such as “Underscores (U),” “Slayyyter (WOR$T GIRL IN AMERICA)” and “ADÉLA (PRIMA)” in continuing to revive electronic-pop this year.