Love Quote by Siobhan Fahey

Pop music isn’t just a sound here; it’s a habitat. When Siobhan Fahey calls it “the whole culture of pop music,” she’s pointing past hooks and chart positions toward the ecosystem that makes pop feel like pop: image-making, gossip, fashion, videos, radio gatekeepers, club nights, tabloid narratives, the choreography of reinvention. The word “massive” matters because it rejects the usual rockist posture of embarrassment. She’s not defending pop as a guilty pleasure; she’s staking it as a serious, sustaining obsession.

The phrasing “fascination” and “ongoing passion” frames pop as a practice, not a phase. That’s a musician’s tell: the real intimacy isn’t only in performing but in watching the machine work, learning how desire gets engineered into three minutes. Fahey’s career context sharpens the point. Coming out of post-punk-adjacent Britain into the sleek, weaponized pop of Bananarama and later the high-concept theatrics of Shakespears Sister, she’s lived inside pop’s contradictions: it’s both art and product, both freedom and constraint, both personal expression and team sport. Her love is “for the culture” precisely because that culture is where the drama sits: the negotiations between authenticity and artifice, between what the audience wants and what a performer can bend them into wanting.

There’s subtext, too, in the insistence on passion. Pop is often treated as disposable; Fahey treats it as a lifelong language. That’s not nostalgia. It’s allegiance to a form built on now-ness, and to the craft of staying current without disappearing.