Madelline Turns Existential Angst Into Theater in “Happy As Hell”
“Happy As Hell” is unexpected, like the moment a joke finally makes sense or when an offhand comment suddenly gives meaning to a recurring thought. Welcomed by layers of shimmering synths, the new single from rising singer Madelline puts into words the universal feeling of falling behind in life while introducing her bold new era of what she calls theatrical pop.
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Profound and at times dark, yet deeply relatable, the track moves between sudden silences and bursts of percussion that quicken the heartbeat. Its unapologetic lyrics spit guilt and sadness, but without slipping into exaggerated victimhood.
Madelline is no stranger to contrasts. Her career has flourished in that hazy space between bright pop and uncomfortable truths many avoid singing about. With over half a million monthly listeners and more than 20 million streams across platforms, the Canadian artist has carved her own place in the global scene through sincerity and theatricality.
On stage, Madelline moves seamlessly between runway and cabaret, blending music, dance, and performance. That same energy has led her to share stages with artists like Em Beihold and Sub Urban, as well as perform at unexpected events such as Cat Con 2025.
Theatrical pop draws inspiration from artists as diverse as Lily Allen, Marina, Taylor Swift, and Ashnikko. It’s a reinvention of pop that leans into raw sincerity and striking contrasts, standing in sharp opposition to the bubblegum and neon polish that have dominated the genre in recent decades.
Produced by Arthur Besna and Jon Buscema, Madelline bares her soul in “Happy As Hell” and lets it all out, crafting a personal reckoning that never quite finds closure but instead forges a fragile yet unbreakable bond with her devoted audience, those who have recognized themselves time and again in the existential contradiction of faking happiness, even in hell.
