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In its second phase in the 1980s, the introduction of dance beats and more conventional rock instrumentation made the music warmer and catchier and contained within the conventions of three-minute pop. Synthesizers were increasingly used to imitate the conventional and clichéd sound of orchestras and horns. Thin, treble-dominant, synthesized melodies and simple drum programmes gave way to thick, and compressed production, and a more conventional drum sound. Lyrics were generally more optimistic, dealing with more traditional subject matter for pop music such as romance, escapism and aspiration. According to music writer , the hallmark of 1980s synth-pop was its "emotional, at times operatic singers" such as , and . Because synthesizers removed the need for large groups of musicians, these singers were often part of a duo where their partner played all the instrumentation.

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In the US, where synth-pop is considered a subgenre of and was described as "technopop" or "electropop" by the press at the time, the genre became popular due to the cable music channel , which reached the media capitals of New York City and in 1982. It made heavy use of style-conscious New Romantic synth-pop acts, with "" (1982) by generally considered the first hit by a British act to enter the Billboard Top Ten as a result of exposure through video. The switch to a "" format in US radio stations was also significant in the success of British bands. The success of synth-pop and other British acts would be seen as a . Synth-pop was taken up across the world, with international hits for acts including and from Canada, from Belgium, , , , and from Germany, from Switzerland and from Spain.

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Synth-pop continued into the late 1980s, with a format that moved closer to dance music, including the work of acts such as British duos , and . The Communards' major hits were covers of disco classics "" (1986) and "" (1987). After adding other elements to their sound, and with the help of a gay audience, several synth-pop acts had success on the US dance charts. Among these were American acts who had two top 10 singles in 1988, , and . British band scored a hit with their debut single "". Several German synth-pop acts of the late 1980s included , , and .[] Canadian duo had major success with their debut single, "" in 1989.[]

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In the mid-1980s, key artists included solo performer , who S.T. Erlewine has stated to have "merged the technology-intensive sound of new wave with the cheery optimism of hippies and late-'60s pop", (although with notable exceptions including the lyrics of "What Is Love?" – "Does anybody love anybody anyway?") and , whose "well-craft synth-pop" incorporated guitars and other more traditional pop influences that particularly appealed to a teen audience. Pursuing a more dance-orientated sound were whose album (1984), dealing with issues of homophobia and alienation, reached the top 20 in the UK and top 40 in the US. and , whose popularity peaked in 1984 with the album , which reached No.1 in the UK and the US top ten and spawned several top ten singles. Initially dismissed in the music press as a "teeny bop sensation" were Norwegian band , whose use of guitars and real drums produced an accessible form of synth-pop, which, along with an MTV friendly video, took their 1985 single "" to number two in the UK and number one in the US.

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