One look, a black jacket, and the whole room shifts. That is the exact headspace Jessmin locks into on Hyperfixated, the focus track and title track of her upcoming debut EP. It is commercial pop with the volume turned up: punchy guitars, a hook you can sing before the second chorus, and lyrics that refuse to play cool about a crush that has already won.
Guitar-driven pop is having a loud moment again. After years of synth-first maximalism, artists from Olivia Rodrigo to Chappell Roan put the instrument back at the center of the chorus, and listeners followed. Global guitar sales hit about $12.8 billion in 2025, and editorial playlists have kept rewarding songs that feel live even when they are built for streaming. Hyperfixated sits right in that lane. It is band-shaped pop, written for a room that moves, not just a playlist that scrolls.
Jessmin is Jessica Mougin, a songwriter and pop artist born in Audincourt, France, and raised in Alphen aan den Rijn in the Netherlands. She started performing young, then sharpened her writing at the Wisseloord Academy. Most of the songs begin the same way: guitar and laptop, personal and direct, rooted in real situations. She moves between energetic, band-driven cuts and stripped-back ones, but the through-line is melody and storytelling. Relationships, self-reflection, and emotional vulnerability, always inside a clear pop structure.
2026 has already mapped that range. Ur So Good, written with Nick Jongejan, landed on editorial playlists including New Music Friday, Fresh Pop, and EQUAL Benelux, and looked at the pull of someone hard to fully reach. Feathers went the other way, more intimate and detail-focused, and was named Tip Song of the Week by NPO Radio 2. Stuck In Yesterday brought the guitars back for a song about not being able to let a past relationship go. Hyperfixated is the next step: the energetic side and the personal side in one title track, with a cinematic official video built around the obsessive headspace of the song.
The lyric does not hide the plot. Someone walks in, the room shifts, the jacket fits, and the effortlessness is the whole problem. The chorus is the confession: “Somebody tell me why I’m so hyperfixated on you.” Heart racing, no plan, the classic should-I-go-and-tell-you argument with herself. Verse two puts him against the wall with a half smile, while she is stuck between hello and goodbye, rehearsing lines she will never try. The post-chorus just repeats the title until it feels like the thought loop it describes. A breakdown stacks “somebody tell me why” until the hook returns, then an outro admits she still does not know why. That repetition is the point. Commercial pop lives or dies on a hook you cannot shake, and this one is built like the feeling it names.
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Hyperfixated is the kind of commercial pop that still sounds like a person wrote it in a room with a guitar. What do you think of Jessmin’s sound? Drop it in the comments.
