Robin Miriam Carlsson broke through in Sweden as a teenage R&B singer before re-emerging in the 2000s as Robyn, an independent pop auteur who fused club-ready electronic production with unusually raw emotional writing. 2010's Body Talk trilogy — capped by 'Dancing On My Own' — became a blueprint for 'crying on the dancefloor' pop, and 2018's Honey extended that fusion into hazier, more meditative house textures. She's cited across a generation of pop stars, Lorde included, as the artist who proved heartbreak and euphoria could share the same four-on-the-floor beat.
Robyn grew up on Kate Bush through her parents' record collection and has repeatedly named her a formative influence, singling out Hounds of Love and The Sensual World as albums that shaped her own sense of drama and vocal theatricality.
listen forCompare the title track of 'Hounds of Love' with Robyn's 'Missing U' — both build a wall of synth drama around a voice that swings from restrained to full-throated, using big, cinematic productions to stage very private feelings.
Robyn has described herself as a lifelong Prince devotee, recalling dancing to his music as a child and, in a 2007 interview, naming Prince alongside Madonna and Kate Bush as the music she most wanted to make; his playful, minimalist synth-funk arrangements are audible in her own stripped-back club productions.
listen forPlay Prince's 'Kiss' against Robyn's 'Fembot' — both hollow out the low end and lean on a springy, percussive synth hook to do the work a full band normally would, treating minimalism itself as the flex.
In the same 2007 interview where she named her core touchstones, Robyn cited Madonna directly as an influence on the kind of pop she wanted to make; Madonna's late-'90s pivot into electronic, dance-floor reinvention on Ray of Light is a clear precedent for Robyn's own path from teen-pop singer to independent electronic auteur.
listen forSet Madonna's 'Ray of Light' against Robyn's 'Honey' — both find a veteran pop voice going hazier and more trance-adjacent mid-career, chasing a shimmering, four-on-the-floor euphoria instead of a chorus built for radio.