Label: Sumerian
Released: 23rd January 2026
Poppy’s seventh album, ‘Empty Hands’, does not pause to introduce itself. There is no interest here in explanation, justification or genre credentials. From the outset, the record presents itself as immediate and emotionally charged, a release that sounds purposeful rather than performative.
Written largely in the gaps between touring commitments, ‘Empty Hands’ arrives just over a year after ‘Negative Spaces’. Where its predecessor leaned into the scale of arena rock, this record feels driven by urgency rather than design. Poppy has described it as “riled up”, a phrase that fits the album’s direct approach. The songs move fast and rarely linger longer than they need to.
‘Public Domain’ opens with a jolt, all clipped aggression and impatience. ‘Bruised Sky’ follows by pushing the imagery further into end-of-days territory, while ‘Guardian’ goes bigger without grinding the song to a halt. Heaviness runs through all three, but it’s never treated as the point.
Musically, ‘Empty Hands’ draws from a broad palette. Arena rock, hardcore, grunge and metal all surface across the tracklist, alongside electronic detail and pop structure. Working with Jordan Fish, Poppy uses contrast as a guiding principle. Dense, distorted passages give way to moments of melodic focus, and songs are shaped to allow hooks to cut through even at their most abrasive. The album never settles into a single mode. The singles provide clear entry points, but they do not define the record in full.
As the album unfolds, its range becomes more apparent. ‘Eat The Hate’ is confrontational and concise, a 90s-leaning burst of provocation that knows when to stop. ‘If We’re Following The Light’ takes a slower route, gradually building into something expansive. Elsewhere, ‘The Wait’ carries a sense of momentum, while ‘Ribs’ moves into glitching, euphoric territory, broadening the album’s emotional scope without disrupting its cohesion.
One of the clearest shifts from ‘Negative Spaces’ is the emphasis on vocals. Poppy has described ‘Empty Hands’ as “more of a vocal record”, and that focus is evident throughout. Her voice sits firmly at the centre of the mix, moving between restraint and intensity. Choruses feel shaped by life on the road, with a clear sense of how they will land in a live setting. Even at its most aggressive, the album remains attentive to melody and phrasing.
Lyrically, ‘Empty Hands’ resists fixed interpretation. Poppy has been open about her reluctance to define her songs too precisely, and the album benefits from that openness. Certain ideas recur, including aggression, greed, self-preservation and the search for peace, but they are explored impressionistically rather than spelt out.
Despite its anger, the album leaves room for tenderness. Moments of melancholy and optimism sit alongside its harsher edges, giving the record emotional depth without softening its impact. This balance keeps ‘Empty Hands’ from feeling overwhelming and allows its contradictions to coexist.
What ‘Empty Hands’ offers is not reinvention or a bid for validation within any particular scene. Poppy has never shown much interest in proving where she fits, and this record continues that approach. It exists comfortably on its own terms, shaped by instinct, experience and a refusal to dilute feeling for clarity.
In a musical landscape preoccupied with authenticity tests and genre boundaries, ‘Empty Hands’ feels unconcerned with both. It is a direct and emotionally driven album from an artist who understands her tools and trusts her instincts. The record captures Poppy in motion, responding to the moment she is in and saying what she needs to say without stopping to explain herself.
Leave a Reply