For the first few years of the 2010s, most of these stars of radio would continue their chart supremacy. Lady Gaga scored her longest-reigning No. 1 in 2011 with comeback single "Born This Way," Katy Perry would follow the five No. 1s of Teenage Dream with another two off 2013 follow up album PRISM (plus a bonus one in between on her Complete Confection reissue of Dream) and "TiK ToK" was just one of ten top 10 hits Kesha would score in the decade's first half. Meanwhile, Pitbull, Flo Rida and LMFAO would take the Black Eyed Peas' example to ever-goonier heights with high-voltage, brain-fried club rap that flooded radio rotations, party playlists and commercial blocks.
But with the rise of EDM in the years to come, the influence of dubstep and progressive house on the sound of pop music would make it louder and more dynamic, with lurching drops and euphoric instrumental releases often filling in where massive singalong choruses once stood. Later in the decade, the streaming-abetted dominance of hip-hop would turn the BPM down on pop music in general, and make rappers into monocultural figures as impactful -- and often more -- than the biggest singers of the moment. Eventually, the compact, speaker-bursting turbo-pop that defined 2010 would slowly open up its stranglehold on Top 40.
Another unignorable factor in the sound's fade in the eventual mainstream was the dramatic fall from grace of Dr. Luke. While rumors of conflict between Luke and longtime creative partner Kesha had long rumbled in the pop world, particularly following the release of her underwhelming second album Warrior -- leading to a 2013 "Free Kesha" fan movement -- in 2014, Kesha sued her writer/producer and label boss for sexual assault and battery, accusing him of drugging and sexually abusing her. Luke denied the allegations and counter-sued, but much of the industry (and most of his other former collaborators) sided with Kesha. Within a few years, Luke was almost completely absent from the charts, Max Martin had once again reinvented his sound with a new class of hitmakers (including Ariana Grande, Taylor Swift and The Weeknd) and the sound that the two men owned the early part of the decade with all but vanished from radio.
At decade's end, a great deal of affection remains for this boom period in so-called "pure pop," as evidenced by the recent success of artists like Ava Max and Kim Petras, whose glitzy, synth-heavy bops call back to Gaga and Perry's peaks a decade earlier. Such a narrowly Eurocentric, dance- and rock-oriented view of pop has the dangerous tendency to exclude the countless ways in which hip-hop and R&B have informed and advanced popular music over the last 40 years, however, and in the late-decade success of hybrid stars like Ariana Grande, Post Malone and Khalid, it's increasingly unclear what "pop" means as its own genre anymore. (Also, in the cult popularity of Petras remains a hard truth to reconcile: Part of the reason her music so successfully evokes turn-of-the-decade pop is because it's shepherded in part by Dr. Luke, a regular writer for Petras and a persistent presence in the industry, if no longer an omnipotent one.)
However, on the other side of things, Kesha eventually emerged from her legal woes -- which prevented her from making music outside of her relationship with Luke and his imprint, Kemosabe records -- in 2017, with her third album Rainbow. The music bore little similarity to the in-your-face (and various other body parts) dance-pop that brought her to stardom, instead opting for a rootsier mix of rock, soul, country and folk, albeit with the same kind of confrontational attitude that made her such an exciting presence earlier that decade. The most directly confrontational song was "Praying," a piano-led power ballad that served as a rejoinder to her former mentor, and declared, "I'm proud of who I am."
Rainbow topped the Billboard 200, and both single and album drew her best reviews to date, also earning her first two Grammy nominations, for best pop album and best pop vocal performance. It wasn't as big an FM hit as her early singles -- "Praying" peaked at No. 13 on Radio Songs -- but it was still arguably the biggest triumph of her career.