Carly Rae Jepsen and E*MO*TION in "Popular Music"

Carly Rae Jepsen graduated last year, so to speak, from a culturally impactful one-hit-wonder into a mature and relevant pop musician with lasting appeal through the release of E*MO*TION. The title of the album says a lot, or very little, if you're Adorno. It is a good pop album, and "Run Away With Me" is maybe its most important single, and it is a good pop single. When scrutinizing Adorno, I think it is important to begin not with bad pop, but with good pop (even if the video is bad.) The focus of the song, lyrically, is feeling - specifically the throws of passion and the blind beauty in new love. This is seen in the refrain of the song. It contains all the essential elements of Adorno's pop: a catchy chorus, a bridge to change up the doldrum, an emphasis on youth and newness, etc. When discussing the move from operetta to musical, Adorno maligns the failure "to meet the most primitive standards of originality and and inventiveness." ("Popular Music," 22) This occurs because the social function of the pop song, writes Adorno, is identification, specifically an "appeal to a "lonely crowd" of the atomized; they reckon the immature, with those who cannot express their emotions and experiences, who either never had the power of expression or were crippled by cultural taboos...Socially the hits either channel emotions - thus recognizing them - or vicariously fulfill the longing..." ("Popular Music," 26-27) This CRJ song certainly meets that social function. It requires little to enjoy except an affinity for 80's pop and new wave, seamlessly merging synths of the era with interesting instrumentation and emotion-laden vocals. Thus, it offers an opportunity for vicarious love, spiritedness, and pleasure. The light nature of the instrumental and the tone of the song ensure this.
Now, I ask a simple question - doesn't it seem like Adorno has some ressentiment? Why are we weak to love light music, why are we necessarily crippled and insufficient on our own? Why does self expression and enjoyment of other expressions appear mutually exclusive?