Poppy, the enigmatic alt-pop chameleon, is poised to release her seventh studio album, Empty Hands, this Friday (23rd January), just 15 months after Negative Spaces. Over a whirlwind 2025, she performed 95 shows and collaborated with Babymetal, Evanescence’s Amy Lee, and Spiritbox’s Courtney LaPlante, cementing her as one of the most versatile figures in contemporary heavy music.
Starting 2026 quietly with her 31st birthday, Poppy (born Moriah Rose Pereira) spent the day in a woodland cabin with her cat, embracing a contemplative pause from the public eye. “I like my birthday. I think it’s a good start to the year,” she tells NME, her misty voice blending reflection with a hint of mischief.
Her career trajectory has always been mercurial, from viral YouTube clips to a musical repertoire spanning sugary pop, industrial metal, and glam rock. With Empty Hands, however, Poppy doubles down on her heavier inclinations. Reuniting with producer Jordan Fish (ex-Bring Me The Horizon) and songwriter Stephen Harrison (House Of Protection), she delivers a record teeming with gnarly metalcore, slick ’90s nods, and relentless sonic intensity.
| Album | Release Year | Key Producers | Genre Highlights | Notes |
|---|---|---|---|---|
| Flux | 2021 | Justin Meldal-Johnsen | Experimental pop | Collaborative arrangement-driven process |
| Zig | 2023 | Ali Payami | Pop-infused mechanised production | More structured, less fluid |
| Negative Spaces | 2024 | Jordan Fish, Stephen Harrison | Rock, metalcore | Explored heavier textures |
| Empty Hands | 2026 | Jordan Fish, Stephen Harrison | Metalcore, rock | Cohesive yet dynamic, full of aggressive and tender moments |
Poppy emphasises the fluidity of this partnership: “There’s a point of consistency where you no longer have to explain yourself. It’s understood and accepted.” Yet despite shared personnel and sonic threads, Empty Hands remains distinct from its predecessor. “Critics and fans may try to label it a genre, but I know where the line is drawn,” she asserts.
Lyrically, the album oscillates between visceral intensity and quiet introspection. Tracks like Dying To Forget channel raw fury, yet Poppy stresses the presence of tenderness. “It’s important for me to express what’s real in the moment,” she explains. Her cryptic line, “I am constantly nowhere / On the roam,” encapsulates her dual existence—simultaneously omnipresent in digital culture yet able to withdraw into analogue solitude.
Touring life demands detachment. Poppy avoids the online maelstrom, instead finding solace in books, journals, and collages. “I have to go a bit more analogue on tour,” she explains. When at home, she hibernates alongside her cat, preparing for future North American dates.
A decade into her career, Poppy’s drive remains unrelenting. “The discontent drives the exploration,” she reflects. For her, creation is both a personal compass and a generative force for others—an ongoing dialogue between imagination, performance, and self-discovery. Empty Hands is the latest testament to a restless, ever-roaming artistry.