Haute & Freddy: The LA Duo Electrifying Pop with Maximalist 80s Revival
Just when it seemed pop music might be moving on from the synth-heavy sounds of the 1980s, a thrilling new act has emerged to defiantly say: "Nope!" Haute & Freddy, the Los Angeles-based pop duo of Michelle Buzz and Lance Shipp, are sending a vibrant jolt through TikTok and the music scene with their maximalist, Regency-styled approach to 80s synth-pop revivalism.
A Dazzling Debut and TikTok Triumph
Their latest single, Dance the Pain Away, is being hailed as the year's first true pop banger. This dazzling sad-pop production bursts through the January gloom, effectively thrusting a spritzer into your hand and dragging you irresistibly to the dancefloor. The duo's debut album, titled Big Disgrace, is set for release on 13 March, marking a significant milestone for these fast-rising stars.
Despite their thrift-shop aesthetic that seems to span every era since the 1700s, Haute & Freddy's sonic signature is distinctly rooted in mid-80s Britain. Their music is filled with the evocative ghosts of classic sounds:
- The wavy synths reminiscent of Pet Shop Boys' West End Girls
- The winding basslines that echo Bronski Beat's Smalltown Boy
- The soaring crescendos that channel Erasure's iconic pop sensibility
Seasoned Songwriters Embracing Maximalism
Buzz and Shipp are no newcomers to pop craftsmanship. Between them, they boast impressive songwriting credits, having co-written for major artists including Katy Perry, Kylie Minogue, Britney Spears, and Calvin Harris. However, writing for these established and relatively mainstream acts ultimately pushed their own creative work to the opposite end of the spectrum.
They have wholeheartedly embraced maximalism in their own project, favouring:
- Dramatic orchestra hits
- Thunderous stadium drums
- Lyrics that emote wildly in every conceivable direction
This theatrical, over-the-top energy gives their music a unique, captivating quality that stands out in today's pop landscape.
Authenticity in a Constructed Pop World
While some might view them as a meticulously constructed label answer to artists like Chappell Roan—complete with distinctive Elizabeth I-style eyebrows—there's an undeniable authenticity to Haute & Freddy's output. Their seven singles to date feel less like rip-offs and more like a series of passionate love letters to the 80s synth-pop they clearly adore.
The songs prove as thrilling to hear as their saucy, dress-up-box visuals are to watch, creating a complete and engaging artistic package. For fans of Erasure, Chappell Roan, or Jade, Haute & Freddy offer a fresh yet nostalgic take on pop that's both emotionally charged and irresistibly danceable.
This Week's Best New Tracks
Beyond Haute & Freddy's standout release, this week brings a diverse array of exciting new music from across the genres:
Wendy Eisenberg – Meaning Business
The ever-curious and compassionate experimental New York guitarist ventures into new territory with this countrified beauty. Jubilant fiddle meets flashes of Jason Molina-esque darkness as Eisenberg contemplates the impermanence of identity.
Remember Sports – Nevermind
For anyone missing the crunchier side of Waxahatchee, this Philadelphia band delivers perfectly wistful, twangy barnburners designed to tickle your indie-rock pleasure centres.
Asake x Wizkid – Iskolodo
Two giants of African pop combine on a new EP, with Iskolodo standing out as a highlight. It's a featherlight blend of classic Afrobeat, jazz piano, amapiano bass, ghostly salsa samples, and gentle melodic chatter.
Charlotte Plank – Crybby Blue
One of British dance's finest vocalists returns with another winner. Plank confronts emotional blackmail over whomping speed garage beats, following her underrated 2025 gem Chemical Fashion.
James Welsh – Fret
The producer formerly known as Ocelot—and remixer for artists from Rob Zombie to Britney Spears—adopts his own name for a sharp-edged electronic record about grief. Fret prickles and seethes with unpredictable energy.
Durand Jones and the Indications – Let’s Take Our Time
As ever, Jones and his band sound as if they've stepped through a portal from the symphonic-soul 1970s. Aaron Frazer sings of old-school courtship rituals in a tender falsetto on this new offering.
Joshua Chiquimia Crampton – Ch’uwanchaña ~El Golpe Final~
Blending choppy distortion and bleating riffage, Crampton's distinctive guitar tone—last heard in his acclaimed sibling duo Los Thuthanaka—is instantly recognisable from the track's opening seconds.
