APR 24
LYN LAPID FINDS FREEDOM IN "BUZZKILL"
BY LUNA CARDOSO
When Lyn Lapid's Producer Man went viral on TikTok in 2020, it didn't just go viral—it started a conversation. The raw, no-frills track exposed industry exploitation, catapulting then-teenage Lyn to the forefront of digital pop. Suddenly, she wasn't just a girl with a ukulele and a microphone; she was the viral voice of a generation trying to understand power, fame, and how to keep your art from being eaten up by the internet.
Five years later, she is still here. But she's no longer chasing the same highs.
Lyn's debut album, BUZZKILL, finds her in a very different mindset: older, more secure, and far more interested in crafting music that moves her than music that moves online. During a recent press conference with 1824°, we asked her how she balances that—how she creates space for authenticity while the world still focuses on numbers.
She was honest as ever: "I was trying to find that balance for a long time," she said. "For a while, I was stuck in this mindset that I had to make music for clicks, likes, shares... and it made music-making unenjoyable. But over time, I started giving less weight to the stats. I'm still figuring it out—but I'm getting closer to a healthy relationship between numbers and making music for myself."
Photography by Caity Krone
That clarity pulses through BUZZKILL. Across twelve tracks, Lyn trades the neat, hook-driven formula of internet pop for something looser, groovier, and far more vulnerable. Her writing combines elements of jazz, R&B, and alt-pop as she grapples with loneliness, belonging, toxic friendships, and the tug-of-war between self-acceptance and rejection. It's a messy, glowing debut that's raw but tender, full of late-night truths.
Her latest single, death wish, is a standout. It's slick, soulful, and emotionally direct—a glimpse into Lyn's current approach to layered storytelling. If Producer Man was a warning shot, BUZZKILL is the full conversation.
Later this year, she'll bring that world to life with her BUZZKILL World Tour. This will take her to venues across the United States, Canada, Europe, and the United Kingdom, including New York's Irving Plaza and Los Angeles' El Rey Theatre.
But wherever she goes, one thing is clear: Lyn Lapid no longer writes for the algorithm. She is writing for herself, and this may be the most radical thing an artist can do right now.
