Last month, the Guardian published a feature about the demise of the monoculture. It suggested that streaming services, personalised algorithms and the declining influence of radio and television meant we now live in a world where stardom isn’t as universal as it once was. It used Sam Fender and Olivia Dean’s single Rein Me In as an example: here was a song that spent a record-breaking 23 weeks at No 1 yet hadn’t attained anything like the ubiquity you would once have expected: to judge by social media, plenty of people seemed to have never knowingly heard it.
If you were looking to advance this theory, you might alight on the career of Beatrice Laus, the 26-year-old British-Filipino singer-songwriter better known as Beabadoobee. To a certain cohort, primarily female and in their late teens and early 20s, she is not just a huge star, but a genuinely iconic figure. The latter is an over-used adjective in 2026, but if social media abounds with tutorials advising female fans how to copy your style and imitate your makeup – if you can be personally held partly responsible for the 2021 outbreak of adolescent girls drawing fake freckles on their faces in imitation of your own – then it probably fits, whether it discomfits Laus or not. The lyrics of Satellite, the closing track on her fourth album Pylon, suggests it does: “I give the generation a new infatuation,” she sings. “If only I knew how to cope with the times.”
