I am a fan of Carly Rae Jepsen. This Pitchfork review contextualizes nicely her work, and links to an interesting essay:
2015’s E•MO•TION has the design of a big pop record, but it found more critical success than commercial. “With pop I think the hidden article of faith is that music can take over public space, stamp itself on a moment,” Pitchfork contributor Tom Ewing wrote in 2011. “If a pop single can’t do this, then what is it?” Like most pop music that’s only “pop” in an idiomatic sense, it tends to function as an unintended secret.
The Tom Ewing article:
[…] Music seems to get wider by the year.
Except one part doesn’t. The consequence of all this branching is that people’s idea of pop narrows. Once rock or hip-hop or dance music spin off into separate macro-genres, pop simply ends up as whatever’s left. At the start of the 1960s pop meant everything: yodelling heartthrobs, matinee crooners, leftover rockers, Motown and girl groups. Now its scope feels diminished: at worst it’s where listeners start off before they pick a style that suits them. At best it’s the biggest niche among many.