This thesis offers a critical analysis and discussion of the philosophical and popular culture concept of hauntology and its application to popular music and theory of history, arguing that hauntology is limited in ways that make it unequipped for understanding popular music’s historicity as the form develops into the 2020s. Drawing on UK artist Dua Lipa’s 2020 album Future Nostalgia as a case study, the argument suggests that recent developments in music production and consumption challenge the hauntological understanding of pop’s historicity. It concludes that instead of looking at the historical in pop through the lens of hauntology, popular music’s relationship to historicity can be better understood through the framework of philosophical hermeneutics.