Empty Hands - Poppy
A little over a year after the breakout success of Negative Spaces, Poppy returns with her follow-up, Empty Hands. Negative Spaces was a critical darling and quickly became one of my favorite records of 2024 (see my review here), with several tracks still finding their way into my workout and everyday playlists—a testament to its lasting appeal. As I listened to Empty Hands, I found myself wondering if it would have the same staying power and become a regular part of my listening routine.
From the outset, Empty Hands leans heavily on Poppy’s signature blend of sweet, “poisoned-honey” clean vocals and raw, unclean screams. However, the production—handled by Jordan Fish—often feels overly polished and formulaic, like it was formed in a lab. The instrumentation is so clean and sterile at times that it loses the organic energy that made Negative Spaces so compelling. Effects and tuning added to Poppy’s voice occasionally distract from her natural talent, and the overall sound sometimes resembles a Bring Me the Horizon record with a female vocalist, rather than a distinct artistic statement. Given Fish’s history with BMTH, this influence isn’t surprising, but it does raise the question of whether a new producer might help Poppy break out of this mold for future projects.
While much of the review so far has focused on the album’s shortcomings, there are notable strengths and standout tracks worth celebrating. Empty Hands mostly plays it safe, but when it ventures beyond expectations, it truly excels. The closing and title track, “Empty Hands,” is a prime example—it’s absolutely brutal, possibly the heaviest song Poppy has ever recorded, and it fucking rips. The blast beats and guitar chugs evoke early Suicide Silence and grindcore bands from the 2000s and early 2010s, while her unclean vocals shred through you like a cheese grater. She manages to slide a clean section in, providing a brief respite before chaos resumes. There’s also an incredibly heavy double-kick section around the 2:30 mark before launching into a nice stank-face-inducing breakdown that I absolutely love. Vocally, Poppy channels the ferocity of bands like Oceano, Whitechapel, and Chelsea Grin, making for a memorable finale.
Other tracks deserve mention as well. “Eat the Hate” stands out with its grunge-meets-pop-punk energy, reminiscent of a Nirvana B-side but with a bit more of a snarl. The song is seemingly about incels complaining about her music, and man… the lyrics are pretty wild. I usually don’t put as much focus on lyrics, but when you hear “Eat the hate, it makes me cum/Use your tongue to clean it up”, you gotta bring it up. “Dying to Forget,” “Time Will Tell,” and “If We’re Following the Light” also showcase Poppy’s versatility and are fun to listen to. The intro riff of “Time Will Tell” even seems to nod to Korn’s “Y’all Want a Single,” adding a playful touch to the song’s electronic and bass-driven sound. Also, the chorus is big, catchy, and sure to not leave your head anytime soon.
One area where Empty Hands falls short is its lack of genre experimentation. Negative Spaces was a cohesive, genre-bending record that kept listeners engaged with its creative twists and turns. In contrast, Empty Hands feels more like a double album, often repeating familiar sounds and ideas without pushing boundaries. Despite these reservations, there is still plenty to enjoy, especially in the standout tracks. The title track alone makes the album worth exploring, and it stands as my favorite Poppy song to date.
In summary: Empty Hands may not reach the innovative heights of its predecessor, but it delivers enough memorable moments and raw energy to satisfy fans of heavy music and those eager to hear Poppy push her limits (specifically on that title track I won’t shut up about). If you’re looking for brutal breakdowns, powerful vocals, and a few surprises, this album is well worth a listen.