“She doesn’t disappear for five years,” Mr. Poleman said. “She always stays in the forefront, so people have been able to move and grow with her.” And though Pink has been outspoken on social issues, “her songs test equally well in the red states as the blue states,” he added, citing her Everywoman persona. “She is the kind of person that a listener looks at and says, ‘You know what, this person is like me.’ She’s not fake, she’s not superficial, she’s the real deal.”

Born Alecia Beth Moore to working class parents in Doylestown, Penn., Pink was signed first as part of an R&B group to the urban-oriented, Atlanta-based LaFace Records. While her debut single, “There You Go,” recalled a Destiny’s Child leftover, it was the injection of some Lilith Fair into her sound — as well as the performed defiance at having subverted her label’s expectations — that made her a star.

On “Beautiful Trauma,” Pink is once again playing the part of the mainstream’s favorite nonconformist, singing of insecurities and imperfect relationships replete with drinking and fighting, but with an idealism that shines through and ensures maximum marketability. She’s always been a savvy collaborator; Pink recruited Linda Perry of 4 Non Blondes to write with her on “Missundaztood,” her defining and most popular album, released a year before Christina Aguilera put out the Perry-written “Beautiful.” Here she mixes work by established hitmakers like Max Martin and Greg Kurstin with the newcomers Julia Michaels, Jack Antonoff and Tobias Jesso Jr.

Still, the music is hardly a reinvention, with Pink’s manager, Roger Davies, calling it “just a continuation of the previous records” — that is, 13 well-crafted pop songs that can reload her concert set list and get her back on the road.

The album’s second single, “Revenge,” features Eminem, another once-controversial survivor from the industry’s turn-of-the-century boom time. (“I told my daughter he’s saying ‘you’re a horse,’” Pink said of the rapper’s angry verse, directed at an ex; he is not saying horse.) An elaborate music video shoot for the song the day after dinner, which included around 20 enormous, bloody eyeballs hanging from the ceiling of the Los Angeles Theater, also recalled the MTV glory days. “Everybody needs to gain 10 pounds to be in this video,” Pink, in classic form, told her backup performers upon seeing them in costume.