In January, Scooter Braun—the head of Schoolboy Records and manager to Justin Bieber and Ariana Grande, among others—gave us our first indication of how Carly Rae Jepsen would be following up “Call Me Maybe.”
True, she followed it up with a really great pop album that got unfairly ignored, but this is different. This is the follow up to a song of the summer, an earworm on a scale we rarely see from a “debut” artist (the quotation marks referring to her previous success in Canada, typically erased in her media narrative following her breakout success). And as Braun’s comments to Billboard indicate, there was pressure on Jepsen to recapture the success that started it all:
“Her new single is coming in March. I told her that she couldn’t come out with anything unless it was on the level of “Call Me Maybe.” And, now we have a new one that is on that level.”
That’s a lot of pressure for a new single, and I would argue that “I Really Like You” delivered as best it could: it’s not “Call Me Maybe,” but nothing can recreate the sense of discovery that came with that song. The narrative of an unsung artist being elevated to the status of sudden stardom through the help of some famous friends was not just about Justin Bieber/Selena Gomez lipdubs—it was that the song was something people discovered, and then shared, and then acted out themselves and shared again. It became, for lack of a better term, a “cultural phenomenon” in a way we rarely see, and in a way that makes creating something on the same scale nearly impossible.
“I Really Like You” succeeds in being catchy, and got the type of attention it deserved: lots of headlines debating whether or not it lives up to “Call Me Maybe,” with none of them being able to definitively claim the single lacks the same DNA musically. The issue is that there’s no way to recreate a cultural phenomenon, which is a big part of why my personal interest in Jepsen’s followup has more to do with the album—packed to the gills with interesting producers and collaborators—than with the single, which based on Braun’s comments is engineered to tap into a vein that I would argue was a product of a specific time and a specific set of circumstances.