Noa Kirl is the most successful Israeli pop singer of our generation. She will soon conquer another coveted peak – a performance in Hayarkon Park. She is so successful that we have already forgotten who she is. When you think of Noah, you think of endless diligence, early meteoric success, a mad hunger to conquer, soar and achieve, until she looks more like an airplane carrier than a singer. She is a performer, an oasis, a presenter, a dancer. It has an “array” of agents and consultants and assistants.
She is no longer just a singer, and not just a girl or a woman – she is a machine. A well-oiled machine of PR and close executives, who calculate career steps. Engineered. Synthetic. Although she said in an interview, “I work with the heart and soul,” she relies more on attention-grabbing media exercises than on music.
The latest publicity stunt: Delete photos from Instagram. An “innovative” and “groundbreaking” move, which we have known for hundreds of precedents, is intended to promote a show or advertisement for a commercial company (in the meantime, it has managed to get the account back in operation). From the Israeli pop leader, she has become a leader, trailing behind unnecessary trends. Kirl started out as one of two girl singers just trying to succeed. The other was Adi Beatty. To Beatty we know what happened, but where’s Noa? And most importantly, where is the soul she is telling about?
Noa Kirl is the most prominent example of the lack of inner truth in Israeli music today. Pop can be a fun musical style, but also deep, varied and exciting (like that of the Fat Shop Boys, for example), but we seem to be under the onslaught of superficial songs that all sound the same. Cycles and covers and levels and collaborations and creation of hits for the purpose of a dance chorus, nothing more. Kirl sounds like Anna Zack, which sounds like Lake Bohbot, which can be confused with Eden Ben-Zaken. They are all clones with no source. Kirl is the most successful of them all.
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And right now, something in this machine is starting to falter. Experts speculate that the Nahas began parting ways with Jonathan Margie. If it was a breakup at all. If it was a relationship at all. Whether they knew each other at all, or whether it was all part of a terribly cold, post-modernist program of media announcements and orchestrated photographs to maintain a high media profile for both sides.
Margie was the last human station of the satellite to disconnect from Earth and cruise on its own count. Today it is unattainable and inaccessible. It looks like a hologram that does not exist in reality at all. Her bizarre attempt to conquer the United States ended (in the meantime) with a number of embarrassing performances in free pubs.
Absurdly, it is precisely the cold and capitalist America that is difficult to conquer when you come only with ambition and without emotion. In an interview with Israel Today, she explained: “I have to adapt myself to America. Let’s release a chorus of a song for Tiktok, see if it catches on and only then decide to release the song.” This practice has become commonplace recently, but is almost despicable. There is no belief or walk here with the truth of the artist, but a response to the needs of the children’s audience in Tiktok.
True art comes from within, not from outside credentials. Paul McCartney did not play “Let It Be” in Hyde Park to see if there were any views. Billy Aylish released songs, then full albums before being signed to Apple Music which saw her as a new artist. An artist, with an original and not a programmed robotic statement.
Kirl says her model is Beyoncé, who by the way, released her fifth album “The Visual Album” without prior notice and without marketing. Without marketing! Would you believe it, Noa? Courage in music is to connect to the abilities, skills and especially to the indulgence of your kishkes, if you have one. For Noa, the fear of failure and the ego transcend professional considerations. Her performance with Eden Hasson in the park was canceled due to a photo. The duet with Eden Ben-Zaken did not come out because “we dressed up with the picture and things started to go wrong.”
Her position at the top of Israeli music after she has already pulled out all the exercises in the book is problematic. One of them is to go on stage and pretend to be Sarah. Referring to her performances with playback, she said: “There is no situation that I do not sing at all. The microphone is always open. On a certain level.” I guess it’s very pleasing to her fan base. On some level.
Kirl was born to succeed. She is talented and has amazing abilities. She, her agents, publicists, assistants and managers know this well. It just seems that in this flight up, something that is most important is burned, like Icarus wings on the way to the sun.