After conquering TikTok, U.K. electro princess PINKPANTHERESS pounces onto the award circuit—and the mainstream pop charts
PinkPantheress is on top of the world—specifically the world wide web—but when it comes to the kind of recognition that garners shiny gold statues for musical achievement, she’s still somewhat stunned that her name is actually a part of the current conversation.
“It means everything to me,” she says by Zoom video chat, only a few days after her two GRAMMY nominations—Best Dance Pop Recording for her viral track “Illegal” and Best Dance/Electronic Album for the mixtape album Fancy That—are announced. “I was so surprised that I got nominated at all because I just assumed that with my kind of music and how I’ve come up, which is more from the internet, that there weren’t necessarily any eyes looking my way. I kind of assumed that I wasn’t going to get nominated for at least a few more years. So, for it to be this early in my career, I feel very lucky.”
The 24-year-old U.K. singer and producer rubs her eyes and grins as she thinks about music’s biggest night and what it means for her career during our early morning conversation. “I’m just excited to see who wins,” she adds sincerely. “So yeah, regardless of winning at all, I think that it’s just an amazing thing to be able to say.”
In just under five years, she already has a lot to say in terms of accomplishments. Pantheress, whose family-given name is Victoria Beverley Walker according to several outlets (she does not use her old name), first shared her musical creations online via Soundcloud and TikTok anonymously around 2021, but as her profile grew and she became a personality, she also showed a knack for intuitively navigating both online notoriety and real-life stardom.
The Bath-born/Kent-raised popstar, whose mother is Kenyan and father is English, expressed herself online, like many creators did, during the pandemic, using the isolation we were all experiencing to produce and experiment on Garageband while on break from university in London. Her beguiling blend of hyper-pop and U.K. garage beats felt pitch-perfect for both platforms at the time, but her TikTok output really took off.
Her process has a lot of organic components, which is a huge part of the appeal. She says she always makes beats first, using sampled guitar sounds and breakbeat loops, and adds melody and lyrics later. But the initial seeds of her songs are often about reinterpreting influences around her, from pop culture (films, TV), nightlife, and the British artists she grew up listening to.
Sputtering breakbeats, rollicking reverb and dancey delays create a solid foundation for her ethereal, lushly layered vocals. Intentional or not, her cuts make for consummate reels and clips online. Attention spans are tested daily on our computers and smartphones, but her alluring fembot bangers and interludes have always popped from the pack.
It didn’t take long for record companies to take notice of the fan base she was building either. She signed to Parlophone and Elektra Records, sister labels under the Warner Music Group umbrella, releasing a debut mixtape called To Hell with It and winning BBC’s Sound of 2022 poll for songs including “Just for Me” and “Pain,” both of which went viral.
She followed up the release by joining forces with Willow Smith for an angsty duet called “Where You Are.” They linked up after a fan suggested they work together on TikTok (natch), and after following each other, they did just that, realizing they had a lot in common as Black women both trying to transcend labels. Co-produced by dubstep pioneer Skrillex and British beatsmith Mura Masa, the cut and its hipster-in-da-club video, directed by the creative duo BRTHR (best known for The Weeknd’s “Party Monster” clip) helped generate crossover buzz for both women.
The track also offered a chance to tap into her emo roots. Before diving into electro, Pantheress covered My Chemical Romance and Paramore in bands as a kid. The duet’s interpolated sample comes from the latter’s 2005 tune, “Never Let This Go,” and both Hayley Williams and guitarist Josh Farro are credited.
Take a look inside your heart, is there any room for me?
I won’t have to hold my breath till you get down on one knee because
You only want to hold me when I’m looking good enough
Did you ever feel me? Would you ever picture us?
Every time I pull my hair, well, it’s only out of fear
That you’ll find me ugly and one day you’ll disappear because
What’s the point of crying? It was never even love
Did you ever want me? Was I ever good enough?
– Boy’s A Liar (2023)
Then came the hit, “Boy’s a Liar” which reached number two on the U.K. charts and blew up even bigger, thanks to a 2023 “Pt. 2” remix featuring another big collab—with fellow web wunderkind Ice Spice, who added her brand of baddie hip-hop energy and brought more crossover opportunities. “We met on the internet,” Spice shared with British Vogue when the duet came out. “She’s a vibe and we clicked. That’s my sis.”
With a name nodding to the perpetually cool bubblegum-hued cartoon cat and the film franchise starring English comedy icon Peter Sellers, Pantheress’ retro influences have always been part of the package, and they helped her nab young listeners as she forged her path.
Teased with snippets initially, her deceptively sweet-sounding material proved impactful off the bat. The unique rollout—she released a song a day at one point—allowed her to connect with fans in frequent, interactive ways, which also provided feedback about what might resonate as a full release. Soon enough, her cuts were being re-shared and used as trending post backdrops to convey everything from relationship flexes to dance moves to fashion and fits.
When asked why her material works so well on the TikTok platform and why Gen-Z fans feel so connected to her output, she points to the genres she incorporates as the most attention-grabbing part of what she does.
“I think that the music itself has always been sonically quite interesting and the mass of users of TikTok are American, younger people,” she explains. “I think that they’re not as familiar with something like drum and bass or garage or two step. And when I came in, I was pretty much exclusively making those genres. And a lot of jungle. I think they hadn’t heard it that way or that much.”
“I remember at the beginning of my career, the fans would be like, ‘Oh, this is like the Power Puff Girls theme tune,'” she continues. “And I was so intrigued, because as a British person that’s just not what I think of… it’s just the furthest thing I think of when referencing drum and bass or breakbeat. So for me, it was really interesting hearing all of these Americans being like, ‘wow, this is new, and I’ve never heard this before.’ I think that lent itself to its success. I think it’s one of the reasons why it did quite well.”
Pantheress is also very aware that she’s tapped into a cultural mood that reflects Gen-Z experiences and outlooks on life. COVID is behind us, but the feelings, fears, and stunted social patterns have shaped the online generation in ways we might not have expected. Her music speaks to it all, and it dares the listener to transcend the noise by embracing the chaos instrumentally rather than mentally.
The innovative soundscapes (which are really nostalgic nods to early forms of EDM) might come off cold or robotic if not for her plaintive lyricism and sensitive vocal work. Conveying vulnerability that young fans can relate to, there’s enough going on to ensure her songs are never downers. Her creative commiseration seems to put every challenge that life presents her—and us—in perspective.
“I think that we are all fairly sad individuals,” she explains. “And I think that having someone kind of like, spell it out in this very Lily Allen-esque way, and be just like, ‘yeah, I am sad… I’m in pain,’ is relatable. It’s something that we hear a lot in emo music, but not so much in pop, just being very open about being super sad.”
Allen’s name comes up a few times in our conversation. The London-bred singer’s narrative storytelling skills and ironic delivery are one of Pantheress’ more obvious influences vocally, though not in a copycat way. Hits such as “Smile,” “LDN,” and “Fuck You,” were light and lovely listens on the surface, but they packed plenty of nasty bites that made Allen a millennial It-girl. And with the indie sleaze era in which she emerged long behind us, the critically lauded West End Girl (chronicling the end of her marriage to Stranger Things actor David Harbour) felt like a full circle, intensely fierce comeback. Pantheress’ reverence and appreciation for Allen adds to her recognition at what feels like exactly the right time.
“She has a way of writing that always stuck with me,” Pantheress recalls. “She has such a unique style. I never wanted to imitate her, and I listened to such a broad spectrum of artists, but her writing skills to this day are my favorite. She’s so good at making even the mundane seem so dramatic, and she makes everything sound so matter of fact and very literal. It’s something that I always wanted to give off in my music. I do enjoy the drama of it, too. Like you’re not just saying, like, ‘Oh, I got cheated on.’ You’re saying, ‘it was 3 p.m. on a Tuesday…’ Her new album—it’s an insane style of writing where she’s painting a picture for the listener.”
While Allen’s wicked singalongs were and are quippy and satirical, Pantheress takes a more straight-forward confessional tone. Still, both artists understand the power of juxtaposing dark themes with exuberant textures. Ska and grime beats made Allen’s early work joyfully rhythmic, while Pantheress incorporates an array of high energy elements inspired by The Streets, Basement Jaxx, Groove Armada, and Calvin Harris, a few of whom she’s gotten to make music with.
I’m wastin’ away, I feel psycho
I got a confession, I’m never givin’ up
(My focus is everywhere, I’m not listenin’)
I just need to know if you’re capable of love
(I got a readin’ on my palm just to see)
And I think I need a picture ‘cause it’s never enough
To see you smilin’ in my mind when I lay still in the dark
It starts with you
Starts with you
I’m obsessed with the idea that one day it breaks up
‘Cause after that, I know I’ll never be as capable of love
– Capable of Love (2023)
Her debut studio album, Heaven Knows (2023) and its singles, “Mosquito,” “Capable of Love” and “Nice to Meet You,” further showcased her signature electronic ear candy, melding snappy synths and familiar samples with revelations about relationships and identity that feel oh-so real in the age of texting, dating apps and thirst traps.
Though her songs are famously short (usually two minutes or less, three tops), they still feel substantial. The variations of sound and image set her apart even as they open the door for wider appeal. This and her girlie fashion sense made Pantheress a fitting choice for inclusion on the 2023 Barbie soundtrack. Compiled by Mark Ronson, the comp sought to capture the bubbly make-believe world of the iconic doll, while also infusing Greta Gerwig’s cultural critique of women’s power dynamics at work and in romantic relationships.
Pantheress’ track, called “Angel,” was one of the strongest in the Barbie bunch, blending country twang, video game atmospherics and aesthetic auto-tuned croons into catchy disco dolly frolic that stood out, and prepped fans for her catchy new confections to come.
With this year’s Fancy That and its ultra-viral “Illegal,” Pantheress finally transcended TikTok, too. TT users were definitely doused, but even Instagrammers got an earful, which led to radio play as well.
“Illegal” was truly everywhere via reels, stories and in the main the feed itself. Some might say—and many media folk did—that it was the “song of the Summer” in 2025. Either way, it was an introduction to the compelling contrasts of Pantheress’ music, which also happens to represent where pop is heading. There was even a killer remix release, Fancy Some More, featuring stars like Anitta and Kylie Minogue.
My name is Pink and I’m really glad to meet you
You’re recommended to me by some people
Hey, ooh, is this illegal?
Hey, ooh, it feels illegal (Ha)
I’ve suffered quite a few times with paranoia
Oh, what’s your name? I don’t know what I should call ya
Hey, ooh, here’s twenty for ya
Hey, ooh, we’re getting high around the corner (Wow)
One after one, now you’re sittin’ on my bed
Then, later on, we can talk on it instead
Two into one while you’re sittin’ on my bed
Then, later on, I can feel shame in my head
We’ll meet again when my head works like it used to
And maybe next time I’ll tell my girl, “Come through”
I like the fact that we don’t communicate
As long as you don’t tell all your best mates
–Illegal (2025)
Sexy yet sensitive, polished but imperfectly personal, synthy and sampled but as honest as any acoustic guitar-plucking singer-songwriter out there, Pantheress’ modern mode of music-making is on track to win new fans and inspire others. Billie Eilish and Charli xcx might first come to mind as “bedroom pop” stars, but Pantheress’ DIY electronic production prowess is sure to be recognized more and more in 2026, whether she wins any GRAMMYs or not. Either way, she has set some big goals for herself this year and top of the list is elevating her live show.
“I used to perform very statically,” the artist, who’ll play Coachella 2026, shares candidly. “I wouldn’t call myself a performer. So yeah, I used to just not be that great and quite awkward on stage. I have really bad stage fright, but I feel like it’s diminished.”
Her aim is to make her shows much more “rave-like” and after catching a sweaty, sold-out show at the Wiltern in L.A. last month, we’d say she’s nearly there. Her fans bounced and bopped and sang and yelled and filmed her on their phones non-stop, often posting live, as she sang in front of vibrant LCD imagery and served lasers, costume changes and choreography with two backup dancers, adding to the spectacle.
“I’m kind of doing my own thing on the stage by myself, but also doing the ravey dance kind of stuff,” she says. “It was an amazing experience. I feel like as a performer, I’ve really tried to grow into my own and figure out what I want my live shows to look like. This time I wanted to have a DJ, and I wanted drama. I wanted to have elements of choreo that I’ve never planned or been confident enough to do. So, yeah, I think it was a really good, great way to showcase that…I didn’t leave a show thinking like, ‘Oh no, that was horrible, which I used to always feel like, so all in all, it was a great experience. And I can’t wait to carry on and do more.”
She’d also like to try new other things, she shares humbly and but excitedly as our Zoom chat minutes wane. “I would really love to get into acting,” she reveals. “I’d also really want to just keep building on my confidence. And I want to release an album and a new body of work that’s like an extreme shift for pop at some point, too.”
“I think that I’m still gaining all my skills, but since I produce and write most of my stuff, I just don’t think much is holding me back,” she continues. “Right now, I’m still working on gaining musical knowledge that can get me there, and learning the artistry. I just want to do everything. I want to try everything once.”
