Halsey Says Label Won’t Let Her Make New Album After The Great Impersonator: What It Means for Artists Finally Speaking Truth About Creative Control

< p > Note from the author: I’m Zoe Bennett, here to deliver a tightly sourced, analytical take on why Halsey says she cannot currently release new music. A journalistic expert providing a well-researched, analytical take with key insights and data.

The central claim from Halsey is blunt and revealing: her record label won’t allow a new album at this moment because The Great Impersonator underperformed commercially, especially when measured against expectations set by her breakout Manic era. In an Apple Music interview with Zane Lowe published September 18, she stated, “I can’t make an album right now—I’m not allowed to,” labeling the restriction as a direct consequence of disappointing first-week sales and the label’s risk calculus. The Great Impersonator, released in October 2024, is the focal point of this friction.

Halsey’s defense of The Great Impersonator is nuanced. She contends that comparing every release to Manic is an unfair benchmark for an artist whose career arc includes a major shift in audience, genre experimentation, and health-related themes that informed the project’s concept. She notes that the album achieved a respectable first-week tally of around 100,000 copies sold, describing that figure as “a pretty big first week, especially for an artist who hasn’t had a hit in a long time.” Yet the label’s broader concerns appear to hinge on sustained commercial momentum rather than a single, strong debut.

Beyond numbers, Halsey discusses the paradox of being labeled a pop star once, then being asked to sustain a level of commercial performance that feels out of reach or misaligned with her current artistic identity. She acknowledges the pressures of comparing new material to Manic, a frame she rejects as a fair or inevitable standard. The interview surfaces a broader industry question: how much control should an artist retain when commercial metrics dictate creative opportunities? Halsey’s stance exemplifies the tension between an artist’s evolving sound and a label’s appetite for consistent, chart-topping output.

On the health front, The Great Impersonator has been connected, in part, to personal health struggles. The concept album drew inspiration from Halsey’s experiences with lupus and a bone marrow disorder, with a poignant line from the track Letter to God (1983) reflecting the anxieties of living with illness. Halsey has since indicated improvement in managing these conditions, a development that contextualizes her creative period and provides a potential basis for future work. In June 2024, she publicly shared progress and gratitude for access to medical care, underscoring the resilience behind her artistic journey.

From a business perspective, the story illustrates how a label’s risk management framework can constrain or extend an artist’s production calendar. While the interview centers on Halsey’s specific circumstances with Columbia Records, the scenario resonates with broader industry dynamics: when a label perceives an album as underperforming relative to a previous peak, it may delay or renegotiate releases, prioritizing sustained profitability over immediate creative output. This dynamic invites questions about reformulation of incentives for artists who push boundaries and experiment with genre or concept albums that do not guarantee mainstream radio play.

Halsey’s public discussion of these constraints adds to an ongoing narrative about artistic agency in the current music economy. She frames her career trajectory not as a straight line from hit to hit, but as a more complex arc shaped by health, personal storytelling, and the evolving music market. Critics and fans alike will watch whether the label’s stance shifts as public sentiment around The Great Impersonator evolves and as Halsey’s subsequent projects—potentially with different creative approaches or collaborations—emerge.

The interview also nods to the reception of her earlier hits and touring success. While the Great Impersonator tour stands as one of her highest-grossing runs, the accompanying album did not eclipsed Manic-era metrics, prompting a recalibration of expectations from both sides. This suggests a broader industry pattern: high-profile artists who experiment with concept albums may face a longer runway to achieve sustainable chart performance, inviting strategic patience from the teams guiding their careers.

As this story unfolds, the critical question remains: will the label loosen its constraints if The Great Impersonator continues to resonate with audiences or catalyze a broader cultural moment? Halsey’s remarks imply that creative autonomy is contingent on measurable commercial returns, even for a talent whose career timeline includes chart-topping collaborations and a dedicated global fanbase.

What to watch next is whether Halsey will recalibrate her approach to release strategy, perhaps releasing standalone singles, EPs, or a reimagined project that aligns with label expectations while preserving artistic intent. With health and creative ambition intact, the next phase could redefine how star power translates into album cycles in the streaming era.

In short, Halsey’s “not allowed” revelation shines a light on the delicate balance between artistry and the economics of the music industry. The coming months will reveal whether this standoff yields a renewed creative timetable or a strategic pivot that redefines audience expectations for major artists navigating label stewardship.